PHOT 154, History of Photography, Grossmont College, Family of Man exhibition, Photography in South America, Photography in West Africa, Photography in Japan, Cold War

1. Following WWII, photographers started to take a more
broad humanist approach to their work. It was the
beginning of what would eventually be termed “identity
politics” because photographers chose topics that dealt
specifically with distinctive aspects of particular cultures.

2. Family of Man exhibition, 1955.
Organized by Edward Steichen, director of the Photography Dept.
at the Museum of Modern Art, NY.

3. Wynn Bullock, Child in the Forest, 1951

4. August Sander, Bricklayer

5. W. Eugene Smith, A Walk to Paradise Garden

6. Family of Man, exhibition view
“A mirror of the essential oneness of mankind throughout the world.” - Steichen

7. Family of Man, exhibition view

8. • The exhibition is “essentially a picture story to support
a concept; an editorial achievement for Steichen,
rather than an exhibition of photography.” (NY Times)
• Steichen didn’t treat the photographs as individual
works but as pieces of a larger statement.
• The show was enthusiastically received by the public,
who were ready to affirm the goodness of mankind.
• The show travelled to over 30 countries and was
seen by 9 million people.

9. Unknown, Atomic Cloud at Bikini, 1946

10. Tension between the United States and Russia after
WW II: the Cold War
• Western leaders began to worry that the spread of
communism threatened democracy and capitalism
everywhere.
• Communism needed to be “contained” - by
diplomacy, by threats or by force. This idea shaped
American foreign and domestic policy for decades.
• Many people in the United States worried that
communists (“subversives”) could destroy American
society from the outside.
• Between 1945-52, Congress held hearings designed
to put an end to “un-American activities” in the federal
government, public schools and even in Hollywood.
• Anti Communist “Red Scare” of the 1950s.

11. Central & South America
• In the postwar period, many people living in Central
and South America resented the influence of the
United States - culturally, politically, economically.
• They wanted to forge a distinctive Latin American
identity in the arts and photography.
• Their ideology changed - from before WWII, when
they looked at the European experiments in
photography (Surrealism/New Vision) - to a wide
range of photographic practices, notably
photojournalism.

12. Alberto Korda, Che Guevara, 1960

14. Alberto Korda, Che Guevara, 1960

16. “As a supporter of the ideals for which Che Guevara died, I am not averse
to its reproduction by those who wish to propagate his memory and the
cause of social justice throughout the world, but am categorically against
the exploitation of Che’s image for the promotion of products such as
alcohol, or for any purpose that denigrates the reputation of Che.”

20. The First Colloquium of Latin American
Photography, Mexico City, 1978
• Photographers wanted to affirm the
multicultural character of Latin America.
• The event (s) brought attention & prominence
to Latin America photography.
• Photographers in Bolivia, Brazil, Chile, Cuba,
Guatemala & Venezuela became more
active.
• Hecho en Latinoamerica (Made in Latin
America) - exhibition with the Colloquium.

21. Pedro Meyer, The Temptation of the Angel, 1991

22. Pedro Meyer, Wealthy Woman With Two Maids and
Male Servant Behind Her. 1978

23. The First Colloquium of Latin American Photography
• Helped to internationalize Latin American
photography.
• Led to a series of international exhibitions that helped
to bring Latin American photography to a global
audience for the first time.
• Many of the exhibitions were based on extensive
curatorial surveys. Generally, Latin American
curators lacked funds to conduct such extensive
exhibitions.

24. Ann Parker, Two Brothers, 1973

25. Claudia Andujar, Yanomani Youth During Traditional
Festival, 1978

26. Claudia Andujar, Yanomani Youth On a Swing, 1978

27. Photography in Mexico
• Subject matter was local: ordinary urban scenes, as
well as traditional religious practices among rural
people.
• Some photographers such as Nacho Lopez felt that
photojournalism was the most expressive form of
photography. It allowed him to work within the social
context - the drama of every day life.
Nacho Lopez, Campesino, 1949

28. Nacho Lopez, Man Carrying Mannequin

29. Hector Garcia, Campesino Covered With a Leaf, 1965

30. Hermanos Mayo

31. Hermanos Mayo

32. Manuel Alvarez Bravo, Cemetary

33. Manuel Alvarez Bravo, Day of the Dead, 1933

34. Manuel Alvarez Bravo, Good Reputation Sleeping,
1938-39

35. Graciela Iturbide, Our Lady of the Iguanas, 1979

36. Graciela Iturbide, Angel Woman, Sonora Desert, Mexico
1979

37. Seydou Keita, Two Women, 1959

38. Seydou Keita, Two Women on Bike, 1979

39. Peter Magubane, Johannesburg, South Africa (DRUM
magazine),1967

40. Peter Magubane, Soweto,Student Riots South Africa 1976

41. Peter Magubane, Soweto,Student Riots South Africa 1976

42. Ernest Cole, Porridge

43. Ernest Cole, House of Bondage, pub. 1967

44. Ernest Cole, from House of Bondage, pub. 1967

45. Ernest Cole, from House of Bondage, pub. 1967

46. David Goldblatt, from The Transported, 1989

47. David Goldblatt, from The Transported, 1989

48. David Goldblatt, from The Transported, 1989

49. David Goldblatt, from The Transported, 1989

50. Raghubir Singh

51. Raghubir Singh

52. Raghubir Singh

53. Raghubir Singh

54. Shinzo Fukuhara, 1910

55. Yosike Yamahata, Boy With Rice Ball, 1952

56. Shomei Tomatsu, A Bottle Melted And Deformed By
Atomic Bomb Heat, Radiation and Fire, 1961

57. Shomei Tomatsu, Man With Scar Tissue

58. Ken Domon, Hiroshima: The Marriage of A-Bomb
Victims, 1957

59. Shisei Kuwabara, Untitled, from Minimata
Disease, 1972

60. W. Eugene Smith, Minimata, 1972

61. W. Eugene Smith, Tomoko in Her Bath, Minimata, 1972

62. Eikoh Hosoe, Kamaitachi 31, 1968

63. Eikoh Hosoe, Kamaitachi, 1968

64. Eikoh Hosoe, portrait of Yukio Mishima,1961

65. Eikoh Hosoe, Yukio Mishima, from Barakei (Punishment
by Roses), 1961

66. Eikoh Hosoe,Yukio Mishima, from Barakei (Punishment
by Roses), 1961

67. Daido Mariyama, Back of Head, Tokyo, 1981

68. Daido Mariyama, Woman,Tokyo, Midnight, 1981

69. Daido Mariyama,Tokyo, 1981

70. Daido Mariyama, Tokyo, 1981

71. Daido Mariyama, Stray Dog, 1971