WALKER EVANS

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WALKER EVANS: “Many Are Called” (1938)

Walker Evans’ Many Are Called is a three-year photographic study of people on the New York subway. Using a camera hidden in his jacket and a cable release running down his sleeve, Evans snapped unsuspecting passengers while they traveled through the city. Evans said that these photographs were his “idea of what a portrait ought […]

ASX.TV: Walker Evans – “In His Own Words” (2012)

ASX.TV: Walker Evans – “In His Own Words” (2012)

Throughout his career, Walker Evans’s goal remained unchanged: to produce photographs that are both evocative and mysterious and also an accurate record of the day. Evans came from a tradition of American photographers interested in identifying the unique character of everyday American life. Hear Evans talk about his work during the Depression, his collaboration with […]

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WALKER EVANS: “Message from the Interior”

Ghost is Guest By Anna Solal, Translated from French by Chris Farmer and Florian Aimard The book’s title – Message from the interior – is both open and reserved, preparing the reader not only for its subject matter, but also for the atmosphere of intensity it contains. Here, through objects and places, the photographer speaks to […]

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WALKER EVANS: “A Penitent Spy (Excerpt)” (2000)

Cuba, 1933 By Belinda Rathbone, excerpt from Walker Evans: A Biography, 2000 By the late 1960’s, the influence of Walker Evans on a younger generation of American photographers had proved to be as profound as it was subtle. For an artist who never sought disciples, Evans had acquired an extraordinary range of them, far beyond […]

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WALKER EVANS: “The Poetry of Plain Seeing” (2000)

Independence Day, Terra Alta, West Virginia, July, 1935 By Leo Rubinfien, originally published in Art in America, December 2000 A traveling retrospective (2000) prompts the author to recall the austere formalist–and often mordant “self-made well-bred man”–behind the conventional image of Walker Evans as an empathetic social documentarian. Few artists are more candid about their esteem for […]

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INTERVIEW: “Oral History Interview with Walker Evans” (1971)

Abandoned plantation house, Monticello, Georgia, 1936 Oral history interview with Walker Evans, 1971 Oct. 13-Dec. 23, Archives of American Art, Smithsonian Institution. Interview with Walker Evans Conducted by Paul Cummings in Connecticut, October 13, 1971 In New York City, December 23, 1971 PAUL CUMMINGS: It’s October 13, 1971 – Paul Cummings talking to Walker Evans […]

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WALKER EVANS: “The Passion of Walker Evans” (2000)

By Daniel Mark Epstein, New Criterion, March 1, 2000 America’s infatuation with photography has thrived upon its easy accessibility. By 1903, the year Walker Evans was born, George Eastman had made the roll-film camera so cheap that soon no family reunion or Sunday picnic need ever lack a “photo artist” to immortalize it. Amateur camera […]

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INTERVIEW: “An Interview with Walker Evans” Pt. 1 (1971)

Interview Excerpt from, Leslie Katz with Walker Evans, 1971. Leslie Katz: You took photographs of whatever interested you? Walker Evans: Oh yes. I was a passionate photographer, and for a while somewhat guiltily. I thought it was a substitute for something else – well, for writing, for one thing. I wanted to write. But I […]

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INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)

Negro house in New Orleans. Louisiana, January, 1936 “The Thing Itself is Such a Secret and so Unapproachable” George Eastman House, Image Magazine, Vol. 17., No.4, December, 1974, Originally Published in Yale Alumni Magazine, February, 1974. Walker Evans, the eminent American photographer, who taught photography at Yale until his retirement several years ago, talks informally […]

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WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)

Scavenging the Landscape: Walker Evans and American life By Melissa Rachleff, Originally published in Afterimage, Jan-Feb, 1996 The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as “progressive,” came unhinged. By 1933, four years after the stock market crash, one quarter of the work force […]

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WALKER EVANS: “Walker Evans’s ‘Counter-Aesthetic'” (2003)

Gay Burke, Tuscaloosa, Alabama, October 28, 1973 By Jane Tormey, originally published in Afterimage, July 1, 2003 During the last two years of his life Walker Evans took nearly 1000 portraits of friends and students using an SX-70 Polaroid camera in a peculiarly impulsive and uncontrolled way. This body of work constitutes a noticeable departure from […]