by Gerald Boerner
“Let the subject generate its own photograph. Become a camera.”
— Minor White
“For technical data – the camera was faithfully used.”
— Minor White
“When a photograph is a mirror of the man and the man is a mirror of the world, spirit might take over.”
— Minor White
“No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen.”
— Minor White
“It follows that ‘self-expression’ as the aim of the photographer is not in itself sufficient.”
— Minor White
“No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen.”
— Minor White
“Be still with yourself Until the object of your attention Affirms your presence.”
— Minor White
“Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.”
— Minor White
“When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don’t leave until you have captured its essence.”
— Minor White
“The image may be compared to a detail of the Christmas story. The detail of the animals in adoration of the Birth. The tiny black and white stones in the left signify a birth of something in myself that adores the cosmic force.”
— Minor White
Minor White (1908 – 1976)
Minor Martin White was an American photographer born in Minneapolis, Minnesota.
White earned a degree in botany with a minor in English from the University of Minnesota in 1933. His first creative efforts were in poetry, as he took five years thereafter to complete a sequence of 100 sonnets while working as a waiter and bartender at the University Club. In 1938, White moved to Portland, Oregon.
Shortly after graduating from college, White purchased a 35 mm Argus camera and traveled to the West Coast. He worked at the Beverly Hotel in Portland, Oregon as a night clerk from 1937 to1938 and began his career in photography.
Becoming a Photographer
While in Portland, White lived at the YMCA. He was active in the Oregon Camera Club and spent his time photographing, exhibiting, and teaching photography to eager students.
In 1938 White was chosen as a creative photographer for the Works Progress Administration. His assignment was to photograph the Portland waterfront and the city’s nineteenth-century iron-façade buildings, which were beginning to be demolished.
White also arranged two exhibitions for the WPA during that time. One was on early Portland architecture; the other, on the Portland waterfront.
In 1940 the WPA sent White to teach photography in its Art Center located in La Grande, Oregon near the Idaho border. He later directed the Center and wrote art criticism for local exhibitions while he was there.
White returned to Portland in 1941 with the intention of establishing a photography business. In the same year, he participated in the Image of Freedom exhibition at the Museum of Modern Art in New York. Recognizing the high quality of White’s work, the museum acquired some of his images for its permanent collection.
White’s first one-man exhibition of photographs taken in Eastern Oregon was held at the Portland Art Museum in 1942. His photographs were also published in Fair Is Our Land, edited by Samuel Chamberlain during that year. In addition, the Portland Art Museum commissioned White to photograph the Dolph and Lindley houses, two historical residences in the city.
The Army Years
After serving in military intelligence during World War II, White moved to New York City in 1945. He spent two years studying aesthetics and art history at Columbia University under Meyer Schapiro and developing his own distinctive style. He became involved with a circle of influential photographers including Alfred Stieglitz, Edward Weston, and Ansel Adams; hearing Stieglitz’s idea of "equivalents" from the master himself was crucial to the direction of White’s mature post-war work.
The "equivalents" of White were often photographs of barns, doorways, water, the sky, or simple paint peeling on a wall: things usually considered mundane, but often made special by the quality of the light in which they were photographed. One of his more popular photographs is titled Frost on Window, a close-up of frost crystals on glass. However, in regard to an equivalent, the specific objects themselves are of secondary importance either to the photographer or the viewer. Instead, such a photograph captures a sentiment or emotionally symbolic idea using formal and structural elements that carry a feeling or sense of "recognition": a mirroring of something inside the viewer.
In an essay titled "Equivalence: The Perennial Trend", White described a photographer who took such pictures as one who
"…recognized an object or series of forms that, when photographed, would yield an image with specific suggestive powers that can direct the viewer into a specific and known feeling, state, or place within himself." — Gantz
Because of the way in which he wanted his photographs to be experienced, White was very particular with regard to the both technical aspects of his art and the quality of the images he produced (Lemangy, 192). To transmit his messages—to ‘direct the viewer’—White employs a variety of methods; he creates symbols to represent emotions, he accompanies his images with text or places them in sequence.
The California Years
At Ansel Adams’ invitation, White moved back to the West Coast to join Adams, Dorothea Lange and Imogen Cunningham in the first American fine art photography department which was forming at the California School of Fine Arts in San Francisco. White served from 1946 to 1953. This period of his life was covered in the 2006 book: The Moment of Seeing: Minor White at the California School of Fine Arts. White’s first major exhibition was in 1948 at the San Francisco Museum of Art.
White co-founded the influential magazine Aperture in 1952 with fellow photographers Ansel Adams, Dorothea Lange, and Barbara Morgan; writer/curator Nancy Newhall; and Newhall’s husband, historian Beaumont Newhall. White edited the magazine until 1975.
In 1953 he moved to Rochester, New York and for four years worked as a curator at George Eastman House, and also edited their magazine Image. He taught at the Rochester Institute of Technology from 1956 to 1964. Prominent students from this period include Paul Caponigro and Jerry Uelsmann.
White spent the last ten years of his life teaching at MIT where, among others, he taught Raymond Moore. His class on Zone System photography was very popular. It was restricted to seniors and often oversubscribed. In 1970 he was given a Guggenheim Fellowship.
White’s Style
White had been interested in the theater throughout his life, beginning in high school, and it was natural that he sometimes worked as a photographer for theater groups. The influence of theatrical work can be seen in much of his photography in his dramatic compositions, expressionistic lighting, and the manner in which he revealed the character of his models.
More than any other photographer of his time, White attempted to explore the depths he perceived beneath the surfaces of things and within his models. He avoided the pictorialism of photographers such as F. Holland Day or the surrealism of artists such as George Platt Lynes, but he attempted to infuse into his photographs a spirituality that might transform the worldly and the carnal.
White’s Nudes
An early sequence that White entitled The Temptation of Saint Anthony Is Mirrors serves as an example. Consisting of nudes and portraits of a model named Tom Murphy, the sequence is one of White’s most evocative. It was also the first time he allowed himself to portray the nude male body.
A famous image from the sequence simply entitled Tom Murphy (1947) illustrates White’s theatrical lighting, as well as his need to closet his homosexuality and to transform the carnal into the spiritual. The model is depicted seated on the beach, feet and hands pushed flat on a piece of textured wood. A beautifully formed piece of driftwood is artistically placed to rise up through the bend in the model’s left leg to rest on his right shoulder. The wood covers the model’s genitals, but it also makes a telling statement about what is unrevealed and forbidden.
The subject of the photographer’s gaze is concealed but the subject of the photograph is definitely declared. Murphy’s head is buried in such deep shadow as to appear decapitated. He was the "hidden" subject of four other male nudes in a group that White created during 1948.
By 1950 the photographer was working with another young man. In the Fifth Sequence / Portrait of a Young Man As Actor, White worked in collaboration with the sitter, Mark Adams, who was also an artist and amateur actor.
Although his male nudes are an important achievement, they were not shown in public until the important 1989 exhibition entitled Minor White: The Eye That Shapes.
White’s Last Years
Although he was diagnosed with angina as early as 1966, White lived an extremely active life. While he curated exhibitions and taught at MIT, he also created his own work, conducted workshops, and gave seminars across the country. The pace was grueling and it began to affect his health.
White retired from the faculty of MIT during 1974 in an effort to reduce stress, but was also appointed Senior Lecturer and became a Fellow of the MIT Council of the Arts in 1975. He resigned as editor of Aperture the same year but also saw the first substantial exhibition of his photographs tour Europe.
White loved his work and accepted offers to lecture at the Victoria and Albert Museum, teach some classes in England, and participate in a symposium at the University of Arizona in Tucson. Finally, however, he suffered a heart attack that hospitalized him for several weeks.
But even the heart attack failed to stop his work. When he recovered, he became consulting editor of Parabola Magazine and received an honorary doctorate of Fine Arts from the San Francisco Art Institute.
On his death White was hailed as one of America’s greatest photographers. He is remembered largely for his ideas about the spiritual in photography. His influence can be seen in the work of students of his such as John Daido Loori, a photographer and Zen master. At the current time, 2007, there are several signs of a renewed wider interest in his work and life.
Background and biographical information is from Wikipedia articles on:
Minor White that can be found at…
http://en.wikipedia.org/wiki/Minor_White