The First Art Newspaper on the Net    Established in 1996 Monday, November 29, 2021

Exhibition explores how photography, graphic design, and magazines transformed mid-century American visual culture
Frances McLaughlin-Gill. Nan Martin, Street Scene, First Avenue, 1949. Gelatin silver print. Private collection. © Estate of Frances McLaughlin-Gill.

NEW YORK, NY.- The Jewish Museum presents Modern Look: Photography and the American Magazine, an exhibition exploring how photography, graphic design, and popular magazines converged to transform American visual culture from the 1930s to the 1950s. The exhibition will be on view from April 3 through July 11, 2021.

Modern Look: Photography and the American Magazine highlights a time when avant-garde techniques in photography and design reached the United States via European émigrés, including Bauhaus artists forced out of Nazi Germany. Whether in the service of advertising or fashion, image-making began to burgeon as the relationship between photography and text grew more nuanced. As the standard of photojournalism rose, so did the power of the photograph. In magazines like Life or Look, it came to be understood as a potent new language, superseding the written word as a means of kindling the imagination. The unmistakable aesthetic made popular by such magazines as Harper’s Bazaar and Vogue — whose art directors, Alexey Brodovitch and Alexander Liberman, were immigrants and accomplished photographers — emerged from a distinctly American combination of innovation and pragmatism. 

Featuring over 150 works including vintage photographs, art book layouts, and magazine cover designs, the exhibition considers the connections and influences of designers and photographers such as Richard Avedon, Lillian Bassman, Lester Beall, Margaret Bourke-White, Louis Faurer, Robert Frank, William Klein, Herbert Matter, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand. The exhibition is organized into five sections: “Art as Design, Design as Art,” “Fashion as Desire,” “The Contested Page,” “Reimagining Industry,” and “Graphic Effect.”

Despite the looming shadow in the 1930s of World War II, the magazine and book-publishing world thrived in New York City. The section “Art as Design, Design as Art” explores the ways the city’s budding graphic-design culture gave rise to a diversity of photography—as it absorbed literary, painterly, and cinematic elements—and challenged the conventional distinction between the fine and the applied arts. In 1933, Alexey Brodovitch founded the Design Lab in Philadelphia as a weekly gathering of students to focus equally on photography and graphic design. Brodovitch dared a generation of photographers and designers to challenge their formal conventions and encouraged and expected the flouting of rules.

“Fashion as Desire” highlights the fusion of art and fashion during the 1940s, when American modernism in magazine publishing established itself during the boom economy of the war years. Photographers such as Erwin Blumenfeld, or Irving Penn and Richard Avedon, both influenced by Brodovitch, as well as by Edward Steichen, merged art and fashion in their work, and altered the genre of portraiture.

In post-war America, magazines began to set aside their lofty aesthetic goals. “The Contested Page” explores this shift, when magazines exceeded the bounds of consumer culture and touched instead upon realities such as class, race, and social status. The work in this section evinces a broad transformation in documentary photography. Gordon Parks, the first Black photographer hired at Vogue, went beyond fashion and expanded both the political and aesthetic boundaries of photography. Photographers were not just interested in making work that pleased the eye but also sought to challenge the status quo. Also included is the work of two pioneering art directors: Cipe Pineles, who helped create Charm, “the magazine for women who work,” and Lillian Bassman (also a noted photographer), who helped promote the careers of Richard Avedon and Robert Frank at Harper’s Bazaar. Those represented in this section, from the proto-feminist Frances McLaughlin-Gill to Lisette Model and Parks, believed in the power of mass media to make visible that which needed to be seen and to confront the stereotypes that had dominated popular culture.

“Reimagining Industry” focuses on the period of the 1940s and 1950s when business executives realized that a competitive edge could be gained by hiring artists and designers to promote their company’s house journals. This was particularly true for industries whose connection to innovation was key to their success. For instance, in 1945, Will Burtin was hired as the art director for Fortune magazine, where he demonstrated an extraordinary knack for graphically communicating scientific phenomena and theory. He then went on to Scope, a house periodical for scientists and the medical community sponsored by Upjohn Pharmaceuticals. This journal, previously shaped by Lester Beall into an unexpected visual publication, is considered to be the most artistically designed biomedical journal in history. Examples of covers and spreads from each journal, as well as Westvaco Inspirations for Printers, are included in this section.

“Graphic Effect,” the final section of the exhibition, shows how photographers in the 1950s moved towards a more interpretive, idiosyncratic viewpoint, becoming less concerned with a transparent narrative. Their work began to question Henri Cartier-Bresson’s famous notion of the “decisive moment” in favor of their own, equivocal perception of it. Lisette Model rejected the “decisive moment” in her work and emphasized the significance of the snapshot. At this time, photographers were increasingly frustrated with editorial control, and many of them, such as Louis Faurer and Saul Leiter, were disinclined towards photojournalism. This concluding section illustrates how photographers ensured that their images have the last word.

The exhibition is organized by Mason Klein, Senior Curator, The Jewish Museum. Exhibition design by Leslie Gill and Ines Yupanqui, Leslie Gill Architect; graphic design by Yeliz Secerli; and lighting by Clint Ross Coller.

Today's News

April 5, 2021

Taking Big Bird to new heights

Experiencing museums as they should be: Gloriously empty

Exhibition brings into dialogue seminal works by Man Ray & Francis Picabia

New York show of Philip Guston work to include Klan images

Regen Projects opens a solo exhibition by Los Angeles-based artist Liz Larner

Miles McEnery Gallery opens an exhibition of new paintings by Shannon Finley

Two brothers posed for a portrait. One lived to see it in the Met.

Winfred Rembert, 75, dies; Turned painful memories into art

Clyfford Still's rare masterwork PH-568 leads Sotheby's Hong Kong Contemporary Art Spring Sales 2021

Van Dyck, Lippi, Savery and Waldmüller sell for strong prices in Koller's Old Masters & 19th Century Paintings auction

Performing arts make a cautious return in New York

Fine Autograph and Artifacts featuring Hollywood in April 14 auction

From Rivera to Warhol to Banksy, a torrent of astonishing prints and multiples come to Heritage Auctions

Heritage Auctions rewrites comic-book record book with $4.45-million session

Exhibition explores how photography, graphic design, and magazines transformed mid-century American visual culture

Bruneau & Co. Auctioneers announces online-only Spring Estate Fine Art & Antique auction

Gallery NAGA opens an exhibition of works by Joseph Barbieri

The Walker Art Center names Pablo de Ocampo as Director and Curator of Moving Image

2021 Exhibit Columbus announces design concepts

They are giving Hemingway another look, so you can, too

Film Forum is reopening with a classic: Fellini's 'La Strada'

'Follies' was my first Broadway show. 50 years later, I remember it all.

Miller & Miller to hold online-only Canadiana & Folk Art auction

Skywhales national tour program announced

5 Facts about Payday Loans That You Must Know

Best Social Platforms for Artists

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful