A close reading of Helen Levitt's famous photograph of three children at play on a New York stoop
Helen Levitt’s (1913-2009) photographs from the 1930s and 1940s of the communities of New York City’s Harlem are startling achievements of street photography. They catch the evanescent configurations of gesture, movement, pose and expression that make visible the street as surreal theater, and everyday life as art and mystery. The unguarded life of children at play became, understandably, Levitt’s particular preoccupation.
Levitt resisted political readings of her work, and distanced herself from the progressive impulses of social documentary photography. But class, race and gender are everywhere at work in Levitt’s images. The diffidence and deceptive artlessness of the images also hide her devotion to both popular and avant-garde cinema, attention to the work of other photographers and frequenting of New York’s museums and galleries. Here, Shamoon Zamir, Professor of Literature and Art History at New York University Abu Dhabi, examines the different registers and contexts of Levitt’s work through a reading of New York, one of Levitt’s iconic images.
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FORMAT: Pbk, 7.25 x 9 in. / 48 pgs / 35 color. LIST PRICE: U.S. $14.95 LIST PRICE: CANADA $20.95 ISBN: 9781633451209 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 3/9/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Museum of Modern Art, New York. Text by Shamoon Zamir.
A close reading of Helen Levitt's famous photograph of three children at play on a New York stoop
Helen Levitt’s (1913-2009) photographs from the 1930s and 1940s of the communities of New York City’s Harlem are startling achievements of street photography. They catch the evanescent configurations of gesture, movement, pose and expression that make visible the street as surreal theater, and everyday life as art and mystery. The unguarded life of children at play became, understandably, Levitt’s particular preoccupation.
Levitt resisted political readings of her work, and distanced herself from the progressive impulses of social documentary photography. But class, race and gender are everywhere at work in Levitt’s images. The diffidence and deceptive artlessness of the images also hide her devotion to both popular and avant-garde cinema, attention to the work of other photographers and frequenting of New York’s museums and galleries. Here, Shamoon Zamir, Professor of Literature and Art History at New York University Abu Dhabi, examines the different registers and contexts of Levitt’s work through a reading of New York, one of Levitt’s iconic images.
