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The Family of Man

January 01, 1970

This article is about the photography exhibition. For other uses, see The Family of Man (disambiguation).
For the biblical family of man, see Generations of Noah.

The Family of Man was an ambitious[1][2] exhibition of 503 photographs from 68 countries curated by Edward Steichen, the director of the New York City Museum of Modern Art's (MoMA) department of photography. According to Steichen, the exhibition represented the "culmination of his career".[3] The title was taken from a line in a Carl Sandburg poem.

Softcover book catalogue of The Family of Man, designed by Leo Lionni, Piper photo by Eugene Harris. First issued for $1.00 in 1955 by Ridge Press, 4 million have sold and it is still in print.

The Family of Man was exhibited in 1955 from January 24 to May 8 at the New York MoMA, then toured the world for eight years to record-breaking audience numbers. Commenting on its appeal, Steichen said, "The people in the audience looked at the pictures, and the people in the pictures looked back at them. They recognized each other."[4] The physical collection is archived and displayed[5] at Clervaux Castle in Edward Steichen's home country of Luxembourg, where he was born in 1879 in Bivange. It was first exhibited there in 1994 after restoration of the prints.[6]

In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value.[7]

Tours edit

United States edit

World tour edit

As part of the Museum of Modern Art's International Program, the exhibition The Family of Man toured the world, making stops in thirty-seven countries on six continents. More than 10 million people viewed the exhibit,[8] which is in excess of the largest audience for any other photographic exhibition. The photographs in the exhibition focused on the commonalities that bind people and cultures around the world, the exhibition serving as an expression of humanism in the decade following World War II.[9]

The recently-formed United States Information Agency was instrumental in touring the photographs throughout the world in five different versions for seven years,[10] under the auspices of the Museum of Modern Art International Program.[11] Notably, it was not shown in Franco's Spain, in Vietnam, nor in China.

First European tour edit

Copy 1 (503 photo panels, 50 text panels) was organized by Edward Steichen. Duplication, with minor changes, of the exhibition presented at MoMA, Jan 24-May 8, 1955 and subsequently circulated in the United States (1956–57). Commissioned by the USIA for circulation in Europe (circulated 1955-1962. Dispersed 1962). It was shown in:

Germany Berlin, Hochschule fur Bildende Kunst, Sept 17–Oct 9, 1955
Munich, Municipal Lenbach Gallery, Nov 19–Dec 18, 1955[12]
Hamburg
Hanover
Frankfurt, Haus des Deutschen Kunsthandwerks, Oct 25–Nov 30, 1958
France Paris, Musee National d'Art Moderne, Jan 20–Feb 26, 1956
Netherlands Amsterdam, Stedelijk Museum, March 23–April 29, 1956[13]
Rotterdam, Floriade, May–Aug 1960
Belgium Brussels, Palais de Beaux Arts, May 23–July 1, 1956
England London, Royal Festival Hall, Aug 1–30, 1956
Italy Rome, Palazzo Venezia
Milan, Villa Communale
Yugoslavia Belgrade, Kalamegdan Pavilion, Jan 25–Feb 22, 1957
Austria Vienna, Kunstlerhaus, March 30–April 28, 1957
Denmark Aarhus
Aalborg
Odense
Greece Athens
Finland Helsinki Taidehall

Central America, India, Africa, Middle East edit

Copy 2, a duplicate of Copy 1 was commissioned by the USIA, circulated 1955–1963 and dispersed in 1963. It was shown in:

Guatemala Guatemala City, Palacio de Protocolo, Aug 24–Sept 18, 1955
Mexico Mexico City, La Fragua- Conference of Central American States, Oct 21–Nov 20, 1955
India Bombay, Jehangir Art Gallery, June 18–July 15, 1956, ext. July 20
Agra, University of Agra Library, Aug 31–Sept 19, 1956
New Delhi, Industries Fair Grounds-IX Session of General Conference of UNESCO, Nov–Dec 5, 1956
Ahmedabad, Cultural Center, Jan 11–Feb 1, 1957
Calcutta, Ranji Stadium, March–April, 1957
Madras, Madras University, June 10–July 21, 1957
Trivandurum, Sept 1–22, 1957
South Korea Seoul[14]
Southern Rhodesia Salisbury, Rhodes National Gallery, March–April, 1958
Union of South Africa Johannesburg, Gov't Pavillion-Rand Spring Show, Aug 30–Sept 13, 1958
Cape Town
Durban, Nov 11–25, 1958
Pretoria, Jan, 1959 Windhoek Port Elizabeth Uitenboge
Kenya Nairobi, Oct, 1959
United Arab Republic Cairo, Dec, 1960
Alexandria, Nov, 1960
Damascus
Afghanistan Kabul
Iran Tehran

Second European tour edit

Copy 3, a duplicate of Copy 1 commissioned by the USIA. Circulated 1957–1965 and at Steichen's request, this version of the exhibition was presented to the Government of Luxembourg for permanent display at Common Market Headquarters, Luxembourg, 1965. Previously, it was shown in:

Norway Oslo, Museum of Applied Arts, Jan 15–Feb 10, 1957
Sweden Stockholm, Lilijevalchs Konsthall, March 22 – April 7, 1957
Göteborg, Svenska Massan/Gothenborg Fair, June 8–23, 1957
Halsingborg, Halsinborg Exposition, Jul 12 – Aug 18, 1957
Iceland Reykjavík, Sept–Oct, 1957
Denmark Copenhagen, Charlottenborg Gallery, Nov 22–Dec 26, 1957
Switzerland Zürich, Museum of Design, Jan 25 – March 2, 1958
Basel, Kunsthalle, March 8 – April 16, 1958
Geneva, Musee Rath, April 16 – May, 1958
St. Gallen, Aug–Sep, 1958 Bern, Jun–Aug, 1958
Yugoslavia Zagreb, Oct–Nov, 1958
Italy Milan, Villa Communale, Jan–Feb, 1959
Turin
Florence
Poland Warsaw, National Theatre, Sept 18 – Oct 21, 1959
Wrocław, Museum of Slask, Nov 8 – Dec 27, 1959
Wałbrzych, Jan 1 – Feb 7, 1960
Jelenia Góra, Feb 14–28, 1960
Kraków, March 1–15, 1960
Poznań, April 9 – May 1, 1960
Dąbrowa Górnicza, May 10–31, 1960
Belgium Ghent
Luxembourg Musee de l'Etat, July 23, 1966

South America, Australia and South-East Asia edit

Copy 4, a duplicate of Copy 1. Commissioned by the U.S.I.A. Circulated 1957–62. Dispersed 1962. It was shown in:

Cuba Havana, Museo Nacional Palacio de Belas Artes, March 6 – April, 1957
Venezuela Caracas, University of Caracas, July 5–30, 1957
Colombia Bogotá, Oct–Dec, 1957
Chile Santiago, University of Chile, Jan–Feb, 1958
Uruguay Montevideo, April 12–27, 1958
Australia Melbourne, Preston Motors Show Room, opened February 23, 1959
Sydney, David Jones Department Store, opened April 6, 1959
Brisbane, John Hicks Showrooms, May 18 – June 13, 1959
Adelaide, Myer Emporium, June 29 – July 31, 1959
Laos Bientani, That Luang National shrine – That Luang Festival
Indonesia Jakarta
 
Poster for the Exhibition The Family of Man in three languages

Middle East edit

A revised version of the original shown at MoMA 1955. Circulated in the United States, 1957–59, then acquired by the USIA for circulation abroad (1957–58; dispersed 1958), and shown in Tel Aviv, Israel and Beirut, Lebanon

Soviet Union edit

Copy 5: Following a bilateral agreement between the USA and USSR, in 1959 the American National Exhibition was to be held in Moscow and the Russians were to have had the use of New York City's Coliseum. This Moscow trade fair at Sokolniki Park was the scene of Soviet Premier Nikita Khrushchev and United States Vice President Richard Nixon's 'Kitchen Debate' over the relative merits of communism and capitalism.

The Family of Man was a late inclusion that had not been originally envisaged in MoMA's itinerary. With a grant to the Museum of $15,000 (less than half of what it requested) and funding from the plastics industry for the radical pre-fabricated translucent pavilion design to house it, a fifth copy of the show was salvaged from what was left of the Beirut and Scandinavia showings, augmented with new prints.[15]

In Moscow, in the context of a trade show 'supermarket' meant to demonstrate lavish consumerism, and a multimedia display assembled by Charles Eames, the collection's overtones of peace and human brotherhood symbolized a lifting of the imminent threat of an atomic war for Soviet citizens in the midst of the Cold War.[16][17] This meaning seemed to be grasped especially by Russian students and intellectuals.[16] Recognising the importance of the Moscow exhibition as "the high spot of the project,"[4] Steichen attended its opening and made copious photographs of the event.[15]

Clervaux Castle, Luxembourg edit

The original prints from Copy 3 exhibited in the permanent collection at Clervaux Castle in Luxembourg have been restored twice, once in the 1990s and more comprehensively during a closure of the museum in the years 2010-2013.[18]

An innovative exhibit edit

The physical installation and layout of the Family of Man exhibition were designed to enable the visitor to view it as if it were a photo-essay[19] about human development and cycles of life, that affirmed a common human identity and destiny against the contemporary Cold War threats of nuclear war.

Architect Paul Rudolph designed a series of temporary walls set amongst the existing structural columns,[20] which guided visitors past the images,[21] which he described as "telling a story",[22] encouraging them to pause at those that attracted their attention. His layout and display features were adapted as much as possible to the international venues, which varied considerably from the original space at MoMA.

Open spaces within the layout encouraged viewers' interaction; to choose their own path through the exhibition, and to gather to discuss it. The layout and placement of prints and their variation in size encouraged the bodily participation of the audience, who would have to bend down to examine a small print displayed below eye level and then to step back to view a mural image, and to negotiate both narrow and expansive spaces.[23]

The prints range in size from 24 cm × 36 cm (9.4 in × 14.2 in) to 300 cm × 400 cm (120 in × 160 in) and were made, in the case of the contemporary images, by assistant Jack Jackson,[24] from the negative supplied to Steichen by each photographer. Also included were copies of historical images, for example a Mathew Brady civil war documentation, and a Lewis Carroll portrait.[15] Blown-up, often mural scale images, angled, floated or curved, some inset into other floor-to-ceiling prints, even displayed on the ceiling (a canted view of a silhouetted axeman and tree), on posts like finger-boards (in the final room), and the floor (for a Ring o' Roses series), were grouped together according to diverse themes. Repeated prints of Eugene Harris' portrait of a Peruvian flute-player formed a coda, or acted as 'Pied Piper' to the audience, in the opinion of some reviewers,[23][25] and according to Steichen himself, expressed "a little bit of mischief, but much sweetness—that's the song of life."[26] Lighting intensities varied throughout the series of ten rooms in order to set the mood.

The exhibition opened with an entrance archway papered with a blow-up of a crowd in London by Pat English framing Wyn Bullock's Chinese landscape of sunlight on water into which was inset an image of a truncated nude of a pregnant woman in an evocation of creation myths. Subjects then ranged in sequence from lovers, to childbirth, to household, and careers, then to death and, on a topical and portentous note, the hydrogen bomb (an image from LIFE magazine of the test detonation Mike, Operation Ivy, Enewetak Atoll, October 31, 1952) which was the only full-colour image; a room-filling backlit 1.8 m × 2.43 m (5.9 ft × 8.0 ft) Eastman transparency, replaced for the travelling version of the show with a different view of the same explosion in black and white.

Finally, full cycle, visitors returned once more to children in a room in which the last picture was W. Eugene Smith's iconic 1946 A Walk to Paradise Garden. As the centrepiece of the exhibition a hanging sculptural installation of photographs including Vito Fiorenza's Sicilian family group and Carl Mydans' of a Japanese family (both from nations which were recent enemies of the Allies in WW2), another from Bechuanaland by Nat Farbman and a rural family of the United States by Nina Leen, encouraged circulation to view double-sided prints and invited reflection on the universal nature of the family beyond cultural differences.

Photos were chosen according to their capacity to communicate a story, or a feeling, that contributed to the overarching narrative. Each grouping of images builds upon the next, creating an intricate story of human life. The design of the exhibition built on trade displays and Steichen's 1945 Power In The Pacific exhibition which was designed by George Kidder Smith for MoMA, Steichen's commissioning of Herbert Bayer for the presentation of his curatorship of other exhibitions and his own long history of initiation of innovative exhibits dating back to his association with Gallery 291 early in the century.[23][27] In 1963 Steichen elaborated on the special opportunities offered by the exhibition format;

In the cinema and television, the image is revealed at a pace set by the director. In the exhibition gallery, the visitor sets his own pace. He can go forward and then retreat or hurry along according to his own impulse and mood as these are stimulated by the exhibition. In the creation of such an exhibition, resources are brought into play that are not available elsewhere. The contrast in scale of images, the shifting of focal points, the intriguing perspective of long- and short- range visibility with the images to come being glimpsed beyond the images at hand —all these permit the spectator an active participation that no other form of visual communication can give.[28]

Texts used in the exhibition and book edit

The enlarged prints by the multiple photographers were displayed without explanatory captions, and instead were intermingled with quotations by, among others, James Joyce, Thomas Paine, Lillian Smith, and William Shakespeare, chosen by photographer and social activist Dorothy Norman.[29] Carl Sandburg, Steichen's brother-in-law, 1951 recipient of the Pulitzer Prize for Poetry and known for his biography of Abraham Lincoln, inspired the title of the exhibition with a line from his poem The Long Shadow of Lincoln: A Litany (1944);[30]

There is dust alive
With dreams of the Republic,
With dreams of the family of man
Flung wide on a shrinking globe;

It was Sandburg who added an accompanying poetic commentary also displayed as text panels throughout the exhibition and included in the publication, of which the following are samples;

There is only one man in the world and his name is All Men. There is only one woman in the world and her name is All Women. There is only one child in the world and the child's name is All Children.

People! flung wide and far, born into toil, struggle, blood and dreams, among lovers, eaters, drinkers, workers, loafers, fighters, players, gamblers. Here are ironworkers, bridge men, musicians, sandhogs, miners, builders of huts and skyscrapers, jungle hunters, landlords, and the landless, the loved and the unloved, the lonely and abandoned, the brutal and the compassionate — one big family hugging close to the ball of Earth for its life and being. Everywhere is love and love-making, weddings and babies from generation to generation keeping the Family of Man alive and continuing.

If the human face is "the masterpiece of God" it is here then in a thousand fateful registrations. Often the faces speak that words can never say. Some tell of eternity and others only the latest tattings. Child faces of blossom smiles or mouths of hunger are followed by homely faces of majesty carved and worn by love, prayer and hope, along with others light and carefree as thistledown in a late summer wing. Faces have land and sea on them, faces honest as the morning sun flooding a clean kitchen with light, faces crooked and lost and wondering where to go this afternoon or tomorrow morning. Faces in crowds, laughing and windblown leaf faces, profiles in an instant of agony, mouths in a dumbshow mockery lacking speech, faces of music in gay song or a twist of pain, a hate ready to kill, or calm and ready-for-death faces. Some of them are worth a long look now and deep contemplation later.

Book edit

Jerry Mason (1913–1991) contemporaneously edited and published a complementary book[31] of the exhibition through Maco Magazine Corporation,[32] formed for the purpose in 1955 in partnership with Fred Sammis.It was the first time hard-cover and soft-cover editions were published simultaneously.[33] The book, which has never been out of print, was designed by Leo Lionni (May 5, 1910 – October 11, 1999). Many of Lionni’s book covers, like that of The Family of Man, incorporate playful modernist collages of apparently cut or torn coloured paper, which he repeats, for example in his 1962 design for The American Character and for children’s books, an aesthetic also used in exhibitions from his parallel career as a fine artist.[34] The publication was reproduced in a variety of formats (most popularly a soft-cover volume)[35] in the 1950s, and reprinted in large format for its 40th anniversary, and in its various editions has sold more than four million copies. Most images from the exhibition were reproduced with an introduction by Carl Sandburg, whose prologue reads, in part:

The first cry of a baby in Chicago, or Zamboango, in Amsterdam or Rangoon, has the same pitch and key, each saying, "I am! I have come through! I belong! I am a member of the Family. Many the babies and grownup here from photographs made in sixty-eight nations round our planet Earth. You travel and see what the camera saw. The wonder of human mind, heart wit and instinct is here. You might catch yourself saying, 'I'm not a stranger here.'[36]

However, an omission from the book, highly significant and contrary to Steichen's stated pacifist aim, was the image of a hydrogen bomb test explosion; audiences of the time were highly sensitive to the threat of universal nuclear annihilation.[37] In place of the huge colour transparency to which a space was devoted in the MoMA exhibition, and the black-and-white mural print that toured countries other than Japan, only this quotation of Bertrand Russell's anti-nuclear warning, in white type on a black page, appears in the book;[38]

[...] The best authorities are unanimous in saying that a war with hydrogen bombs is quite likely to put an end to the human race [...] There will be universal death — sudden for only a minority, but for the majority a slow torture of disease and disintegration.

 
Robert McDaniels, lynched April 13, 1937, in Duck Hill, Mississippi

Absent also from the book, and removed by week eleven of the initial MoMA exhibition, was the distressing photograph of the aftermath of a lynching, of a dead young African American man, tied to a tree with his bound arms tautly tethered with a rope that stretches out of frame.[39]

For most purchasers, this was their first encounter with a book that gave priority to the photographic image over text.[15]

In 2015, to mark the sixtieth anniversary of the inaugural exhibition, MoMA reissued the book as a hardcover edition, with the original jacket design from 1955 (albeit without the signature of designer Leo Lionni) and duotone printing from new copies of all of the photographs.[40]

Photographers edit

 
Migrant Mother (1936), Dorothea Lange

Steichen's stated objective was to draw attention, visually, to the universality of human experience and the role of photography in its documentation. The exhibition brought together 503 photos from 68 countries, the work of 273 photographers (163, or 59.3% of whom were Americans)[41] which, with 70 European photographers, means that the ensemble represents a primarily Western viewpoint.[42] That forty were women photographers can in some part be attributed to Joan Miller's contribution to the selection, and to Dorothea Lange who assisted her friend Edward Steichen in recruiting photographers.[43] She contacted her FSA and Life connections who in turn promoted the project to their colleagues. In 1953 she circulated a letter; "A Summons to Photographers All Over the World," calling on them to;

show Man to Man across the world. Here we hope to reveal by visual images Man's dreams and aspirations, his strength, his despair under evil. If photography can bring these things to life, this exhibition will be created in a spirit of passionate and devoted faith in Man. Nothing short of that will do.[44]

The letter then listed topics that photographs might cover and these categories are reflected in the show's final arrangement. Lange's work features in the exhibition.

Steichen and his team drew heavily on Life archives for the photographs used in the final exhibition,[45] seventy-five by Abigail Solomon-Godeau's count, more than 20% of the total (111 out of 503), while some were obtained from other magazines; Vogue was represented by nine, Fortune (7), Argosy (seven, all by Homer Page), Ladies Home Journal (4); Popular Photography (3), and others Seventeen, Glamour, Harper's Bazaar, Time, the British Picture Post and the French Du, by one. From picture agencies American, Soviet, European and international, which also supplied the above magazines, came about 13% of the content, with Magnum represented by 43 of the pictures, Rapho with thirteen, Black Star with ten, Pix with seven, Sovfoto, which had three and Brackman with four, with around half a dozen other agencies represented by one photo.[46]

Steichen travelled internationally to collect images, through 11 European countries including France, Switzerland, Austria and Germany.[47] In total, Steichen procured 300 images from European photographers, many from the humanist group, which were first shown in the Post-War European Photography exhibition at the Museum of Modern Art in 1953.[47] Due to the incorporation of this body of work into the 1955 The Family of Man exhibition, Post-War European Photography is thought of as a preview to The Family of Man.[47] The international tour of the definitive 1955 exhibition was sponsored by the now defunct United States Information Agency, whose aim was to counter Cold War propaganda by creating a better world image of American policies and values.[47]

Though most photographers were represented by a single picture, some had several included; Robert Doisneau, Homer Page, Helen Levitt, Manuel Álvarez Bravo, Bill Brandt, Édouard Boubat, Harry Callahan (with two), Nat Farbman (five of Bechuanaland, and more from Life), Robert Frank (four), Bert Hardy and Robert Harrington (three). Steichen himself supplied five photos, while his assistant Wayne Miller had thirteen chosen; by far the greatest number.[46]

The following lists notable participating photographers, excluding those with no professional or exhibiting history (see original 1955 MoMA checklist):[48]

Reception and criticism edit

Photography, said Steichen, "communicates equally to everybody throughout the world. It is the only universal language we have, the only one requiring no translation."[49] When the exhibition opened most reviewers—and Eleanor Roosevelt who wrote in her column My Day, "I could not have enjoyed anything more .... "—loved the show. Some embraced the idea of this 'universal language', as with Don Langer's response in the New York Herald Tribune:" It can truly be said that with this show, photography has come of age as a medium of expression and as an art form,"[50] and even The New York Times art critic Aline B. Saarinen, in an article titled "The Camera versus the Artist" asked "Has photography replaced painting as the great visual art of our time?”[50] Others lauded Steichen as a sort of author and the exhibition as a text or essay. Photographer Barbara Morgan, in Aperture, connected this concept with the show's universalising theme;

In comprehending the show the individual himself is also enlarged, for these photographs are not photographs only — they are also phantom images of our co-citizens; this woman into whose photographic eyes I now look is perhaps today weeding her family rice paddy, or boiling a fish in coconut milk. Can you look at the polygamist family group and imagine the different norms that make them live happily in their society which is so unlike — yet like — our own? Empathy with these hundreds of human beings truly expands our sense of values.[51]

Expressing the contrary view, Cora Alsberg and George Wright, partners and freelance writers, co-wrote a response ‘One Family’s Opinion’ in the same Aperture issue devoted to the show, that;

Any really great photographer, like a great painter, creates his own visual universe...You can distinguish a Gene Smith from a Cartier Bresson without a signature. You can instantly recognize an Adams, a Weston, a Laughlin print, or that of any mature worker whose previous work you've seen...But mixed with others in a show, he surrenders this individuality-just as a writer might if he gave permission for single paragraphs to be quoted by an editor in any sequence and in any context.[52]

Hilton Kramer, then managing editor of the magazine Arts, asserted a negative view, one taken up by more recent critics, that The Family of Man was a;

self-congratulatory means for obscuring the urgency of real problems under a blanket of ideology which takes for granted the essential goodness, innocence, and moral superiority of the international 'little man; 'the man in the street: the active, disembodied hero of a world-view which regards itself as superior to mere politics.[53]

Roland Barthes too was quick to criticise the exhibition as being an example of his concept of myth - the dramatization of an ideological message. In his book Mythologies, published in France a year after the exhibition in Paris in 1956, Barthes declared it to be a product of "conventional humanism," a collection of photographs in which everyone lives and "dies in the same way everywhere." "Just showing pictures of people being born and dying tells us, literally, nothing."[54]

Many other noteworthy reactions, both positive and negative, have been proffered in social/cultural studies and as part of artistic and historical texts. The earliest critics of the show were, ironically, photographers, who felt that Steichen had downplayed individual talent and discouraged the public from accepting photography as art. The show was the subject of an entire issue of Aperture; "The Controversial 'Family of Man.'"[55] Walker Evans disdained its "human familyhood [and] bogus heartfeeling"[56] Phoebe Lou Adams complained that "If Mr. Steichen's well-intentioned spell doesn't work, it can only be because he has been so intent on [Mankind's] physical similarities that...he has utterly forgotten that a family quarrel can be as fierce as any other kind."[57]

Some critics complained that Steichen merely transposed the magazine photo-essay from page to museum wall; in 1955 Rollie McKenna likened the experience to a ride through a funhouse,[58] while Russell Lynes in 1973 wrote that Family of Man "was a vast photo-essay, a literary formula basically, with much of the emotional and visual quality provided by sheer bigness of the blow-ups and its rather sententious message sharpened by juxtaposition of opposites — wheat fields and landscapes of boulders, peasants and patricians, a sort of 'look at all these nice folks in all these strange places who belong to this family.'"[59] Jacob Deschin, photography critic for The New York Times, wrote, "the show is essentially a picture story to support a concept and an editorial achievement rather than an exhibition of photography."[60]

From an optic of struggle,[61] echoing Barthes, Susan Sontag in On Photography accused Steichen of sentimentalism and oversimplification: "... they wished, in the 1950s, to be consoled and distracted by a sentimental humanism. ... Steichen's choice of photographs assumes a human condition or a human nature shared by everybody." Directly quoting Barthes, without acknowledgement,[29] she continues; "By purporting to show that individuals are born, work, laugh, and die everywhere in the same way, The Family of Man denies the determining weight of history - of genuine and historically embedded differences, injustices, and conflicts."[62]

Allan Sekula in "The Traffic in Photographs" (1981)[63] posits The Family of Man as a capitalist cultural tool levering world domination at the height of the Cold War;[64] "My main point here is that The Family of Man, more than any other single photographic project, was a massive and ostentatious bureaucratic attempt to universalize photographic discourse," an exercise in hegemony which, "In the foreign showings of the exhibition, arranged by the United States Information Agency and co-sponsoring corporations like Coca-Cola, the discourse was explicitly that of American multinational capital and government–the new global management team–cloaked in the familiar and musty garb of patriarchy." Sekula revises and expands this notion in relation to his ideas about economic globalisation in an article in October entitled "Between the Net and the Deep Blue Sea: Rethinking the Traffic in Photographs".[65]

Others attacked the show as an attempt to paper over problems of race and class, including Christopher Phillips, John Berger, and Abigail Solomon-Godeau, who in her 2004 essay, while describing herself as among "those who intellectually came of age as postmodernists, poststructuralists, feminists, Marxists, antihumanists, or, for that matter, atheists, this little essay of Barthes's efficiently demonstrated the problem — indeed the bad faith — of sentimental humanism", concedes that "as photography exhibitions go, it is perhaps the ultimate "bad object" for progressives or critical theorists", but "good to think with".[66] Many of these critics, including Solomon-Godeau who openly admits it,[66] had not viewed the exhibition but were working from the published catalogue which notably excludes the initially shown but soon removed picture of the lynched Robert McDaniels and the image of the atomic explosion as the apex at the end of the exhibition.[29][15]

While The Family of Man was being exhibited there at its last venue in 1959 several pictures were torn down in Moscow by the Nigerian student Theophilus Neokonkwo. An Associated Press report of the time[67] suggests that his actions were in a protest at colonialist attitudes to black races.[68]

Conversely, other critics defended the exhibition, referring to the political and cultural environment in which it was staged. Among these were Fred Turner,[19] Eric J. Sandeen,[15] Blake Stimson[69] and Walter L. Hixson.[70] Most recently, a compilation of essays[71] by contemporary critics supported by newly translated writings contemporary to the exhibition's appearances collected and edited by Gerd Hurm, Anke Reitz and Shamoon Zamir presents a revised reading of Steichen's motivations and audience reactions, and a reassessment of the validity of Roland Barthes' influential criticism in "La grande famille des hommes" in his Mythologies.

A number of photographers and artists refer to their experience of The Family of Man exhibition or publication as formative or influential on them and some, including Australian Graham McCarter, being motivated by it to take up photography.[72] These include; Ans Westra,[73] Marti Friedlander,[74] Larry Seigel, John Cato,[72] Paul Cox,[75] Jan Yoors,[76] Pentti Sammallahti,[77] Robert McFarlane (photographer),[72] John Blakemore,[78] Robert Weingarten,[79][80] and painter Francisco Toledo.[81]

Tributes, sequels and critical revisions edit

In the years since The Family of Man, several exhibitions stemmed from projects directly inspired by Steichen's work and others were presented in opposition to it. Still others were alternative projects offering new thoughts on the themes and motifs presented in 1955. These serve to represent artists', photographers' and curators' responses to the exhibition beside those of the cultural critics, and to track the evolution of reactions as societies and their self-images change.

World Exhibition of Photography edit

 
Catalogue of the 1965 Weltausstellung der Fotographie (World Exhibition of Photography)

Following The Family of Man by 10 years, the 1965 Weltausstellung der Fotografie (World Exhibition of Photography) was based on an idea by Karl Pawek and, supported by the German magazine he edited, Stern, toured the world.[82] It presented 555 photographs by 264 authors from 30 countries, outweighing the numbers in Steichen's exhibition. In the preface to the catalogue entitled "Die humane Kamera" ('The human Camera'), Heinrich Boll wrote:

"There are moments in which the meaning of a landscape and its breath become felt in a photograph. The portrayed person becomes familiar or a historical moment happens in front of the lens; a child in uniform, women who search the battlefield for their dead. They are moments in which crying is more than private as it becomes the crying of mankind. Secrets are not revealed, the secret about human existence becomes visible."

The exhibition, wrote Pawek, "would like to keep alive the spirit of Edward Steichen's wonderful ideas and of his memorable collection, The Family of Man".[83] His exhibition posed the question 'Who is Man?' in 42 topics. It focused on issues that were sublimated in The Family of Man by the idea of universal brotherhood between men and women of different races and cultures. Racism, which in Steichen's show was represented by a lynching scene (replaced in the European showings by an enlargement of the famous picture of the Nuremberg trials), is confronted in the Weltausstellung der Fotografie section VIII "Das Missverständnis mit der Rasse" ('The Misunderstanding about Race') by the black man in the photograph by Gordon Parks who seems to view from his window two scenes of attacks on black people (photographed by Charles Moore). Another photograph by Henri Leighton shows two children walking together in public holding hands, one black, one white.

Though reference to the content of the older exhibition in the new is evident, the unifying idealism of The Family of Man is here replaced with a much more fragmented and sociological one.[84] Sarah E. James points to its use of harsh juxtaposition to create a "stereoscopic vision" to entrain viewers reactions.[85] The exhibition met with rejection by the press and functionaries in the photographic profession in Germany and Switzerland, and was described by Fritz Kempe, photographer, photo historian and board member of a prominent photo company, as "tasty fodder to stimulate the aggressive instincts of semi—intellectual young men.".[86] Nevertheless, it went on to tour 261 art museums in 36 countries and was visited by 3,500,000 people.

2nd World Exhibition of Photography edit

 
Cover of Stern (Hamburg) (1968). Die Frau: 2 Weltausstellung der Photographie

In 1968, a second Weltausstellung der Photographie (2nd World Exhibition of Photography) was devoted to images of women[87] with 522 photographs from 85 countries by 236 photographers, of whom barely 10% were female (compared to 21% for The Family of Man), though there is evidence of the effect of feminist consciousness in images of men in domestic environments cleaning, cooking and tending babies. In his introduction, Karl Pawek writes: "I had approached the first exhibition with my entire theological, philosophical and sociological equipment. 'What is Man?'; the question had to awaken ideological ideas. [...] I also operated from a philosophical point of view when presenting the[se] photos. As far as woman was concerned, the theme of the second exhibition, I knew nothing. There I was, without any philosophy about woman. Perhaps woman is not a philosophical theme. Perhaps there is only mankind, and woman is something unique and special? Thus I could only hold on to what was concrete in the pictures." The exhibition tour included the Institute of Contemporary Art (ICA), which at the time rarely showed photography, and her experience of installing it was in part the inspiration for Sue Davies to start The Photographers Gallery, London.

The Family of Children edit

UNESCO named 1977 The Year of Children and in response the book The Family of Children was dedicated to Steichen by editor Jerry Mason, and imitated the original catalogue in its layout, in the use of quotations and in the colours used on the cover.[88] As for Steichen's show there was a call-out for imagery but 300,000 entries were received compared to the 4 million at the MoMA show, resulting in a selection of 377 photos by 218 participants from 70 countries.

The Family of Man 1955-1984 edit

Independent curator Marvin Heiferman's The Family of Man 1955·1984 was a floor to ceiling collage of over 850 images and texts from magazines, newspapers and the art world shown in 1984 at PSI, The Institute for Art and Urban Resources Inc. (now MoMA PS1) Long Island City N.Y.[89] Abigail Solomon-Godeau described it as a reexamination of the themes of the 1955 show and critique of Steichen's arrangement of them into a "spectacle";

...a grab bag of imagery and publicity ranging from baby food and sanitary napkin boxes to hard-core pornography, from detergent boxes to fashion photography, a cornucopia of consumer culture much of which, in one way or another, could be seen to engage the same themes purveyed in The Family of Man. In a certain sense, Heifferman's [sic] riposte to Steichen's show made the useful connection between the spectacle of the exhibition and the spectacle of the commodity, suggesting that both must be understood within the framing context of late capitalism.[46]

Oppositions: We are the world, you are the third world edit

In 1990 the second Rotterdam Biennale lead exhibition was Oppositions: We are the world, you are the third world - Commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, the Soviet Union and the Netherlands.[90] The cover of the catalogue imitates the layout and colour of the original but replaces the famous image of the little flute player by Eugene Harris with six images, four photographs of young women from different cultural backgrounds and two excerpts from paintings. In the exhibit scenes of an endangered ecology and the threat to cultural identity in the global village predominate, but there are intimations that nature and love may prevail, despite everything artificial that surrounds it, notably so in family life.[84]

New Relations. The Family of Man Revisited edit

In 1992 the American photographer and critic Larry Fink published a collection of photographs under the heading of New Relations. The Family of Man Revisited in the Photography Center Quarterly.[91] His approach updated Steichen's vision by integrating aspects of human existence which Steichen had omitted both because of his wish for coherence and of his innermost convictions. Fink provides only the following commentary: "Rather than a fawn pretence to anthropological/sociologic analysis of the events depicted; rather than categorise and choose democratically for social relevance. I took the path of least resistance and most reward. I simply selected quality images with the belief that the path of strong visual energies would visit equal strong social presences". He concludes:

The show is a compendium of visual hints. It is not an answer or even a full question, but cognitive clues....

family, nation, tribe, community: SHIFT edit

 
Cover of the exhibition catalogue 'family, nation, tribe, community, SHIFT' 1996

In September/October 1996 the NGBK (Neue Gesellschaft fur Bildende kunst Berlin - New Society for the Visual Arts Berlin) in the context of Haus der Kulturen der Welt (House of World Cultures Berlin) conceived and organised the project family, nation, tribe, community: SHIFT with direct reference to the historical MoMA exhibition. In the catalogue, five authors; Ezra Stoller, Max Kozloff, Torsten Neuendorff, Bettina Allamoda and Jean Back analyse and comment on the historical model and twenty-two artists offer individual approaches around the following themes: Universalism/Separatism, Family/Anti-family, Individualisation, Common Strategies, Differences. The works are predominantly from artist photographers rather than photojournalists; Bettina Allamoda, Aziz + Cucher, Los Carpinteros, Alfredo Jaar, Mike Kelley, Edward and Nancy Reddin Kienholz, Lovett/Codagnone, Loring McAlpin, Christian Philipp Müller, Anna Petrie, Martha Rosler, Lisa Schmitz, Elaine Sturtevant, Mitra Tabizian and Andy Golding, Wolfgang Tillmans, Danny Tisdale, Lincoln Tobler, and David Wojnarowicz reflect major contemporary issues: identity, the information crisis, the illusion of leisure, and ethics. In his introduction to the exhibition, Frank Wagner writes that Steichen had offered a vision of an harmonious, neat and highly structured world which, in reality, was complex, often unintelligible and even contradictory, but by contrast, this Berlin exhibition highlights 'first' and 'third' world tensions and is eager to concentrate on a variety of attitudes.[92]

The 90s: A Family of Man? edit

 
The 90s, A Family of Man?: Images of mankind in contemporary art

The following year Enrico Lunghi directed the exhibition The 90s: A Family of Man?: images of mankind in contemporary art, held 2 October–30 November 1997 in Luxembourg, Steichen's birthplace and by then the repository of the archive of a full version of his The Family of Man. Aside from their understanding of Steichen's efforts to present commonalities amongst the human race, curators Paul di Felice and Pierre Stiwer interpret Steichen's show as an effort to make content of Museum of Modern Art accessible to the public in an era when it was regarded as the elitist supporter of 'incomprehensible' abstract art. They point to their predecessor's success in having his show embraced by a record audience and emphasise that dissenting voices of criticism were heard only amongst 'intellectuals'. However, Steichen's success, they caution, was to manipulate the message of his selected imagery; "After all," they write, "wasn't he the artistic director of Vogue and Vanity Fair ... ?".[93] They proclaim their desire to retain the exhibiting artists' 'autonomy' while not posing their work as the antithesis of Steichen's concept, but to respect, and echo, its arrangement while "raising questions"<it does not become clear, if the above words in simple '..' are actual quotations or just relativise the terms themselves.--> as indicated by the question mark in their quotation of the original title. The exhibition and catalogue 'quote' from Steichen, setting pages of the book of his exhibition with their quotations around groupings of images (in monochrome) beside the works of contemporary artists (predominantly in colour) collected in themes used in the original, though the correlation fails for some contemporary ideas, which digital imaging, installation and montage works effectively convey. The thirty-five artists include Christian Boltanski, Nan Goldin, Inez van Lamsweerde, Orlan and Wolfgang Tillmans.

The Family of Man 2 edit

From 1999 to 2005, Leica Users Group members: Alastair Firkin, Satoshi Oka, Tim Spragens, Tom Smart and Stanislaw Stawowy organized The Family of Man 2 project to celebrate new millennium, 50 years of the Leica M system, and the Edward Steichen project anniversary. As with Steichen's project, the thousands of photos received were edited to 500, 100 annually during the project. It was exhibited online[94] and an album[95] with winning photos was privately published.

Reconsidering The Family of Man edit

The Photographic Society of America (PSA) drew on their archives to stage Reconsidering The Family of Man during April and May 2012.[96] Not hung and mounted as an installation, Artspace at Untitled executive director<--Artspace at Burris' display? unintelligible. + Untitled (publication)--> Jon Burris' linear display was based on the concept of Steichen's original exhibit but concentrated on his sub-theme of the passage from birth to death. From the close to 5,000 photographs in the PSA collection, a selection of 50 original prints was made for their show. One work in common with the original exhibition was Ansel Adams' Mount Williamson from Manzanar which in The Family of Man was presented at mural scale, while the PSA used a vintage, 11" x 14" Adams print from their collection, displaying it while a first edition copy of The Family of Man publication opened to a double-page spread of Adams photograph.[97]

The Family of the Invisibles edit

As part of the 2015-2016 France-Korea year, curators of the Centre national des arts plastiques (Cnap) and the Fonds Régional d’Art Contemporain of Aquitaine (Frac Aquitaine), Pascal Beausse (Cnap), Claire Jacquet (Frac Aquitaine), and Magali Nachtergael, Assistant Professor at the Sorbonne, collaborated to produce the exhibition The Family of the Invisibles at the Seoul Museum of Art (SeMA) and the Ilwoo Space in Seoul, from 5 April to 29 May 2016.[98] The show was devoted to invisible and minority figures, their demands for identity, and the possibility of reconfiguring a politics of representation to the ideal of giving a place to each member of the human community as represented in more than 200 emblematic photographs. The works from the 1930s to 2016, drawn from the Cnap and Frac Aquitaine collections were selected on the principle of Roland Barthes' deconstruction identified by the curators in his Mythologies and in Camera Lucida, the latter being treated as a visual manifesto for minorities. The exhibition was presented in the Seoul Museum of Art in four sections, culminating in provocative contemporary photography including the 2009 series of deceased migrants wrapped in cloth in Les Proscrits ('The Outcasts') by Mathieu Pernot, and Sophie Calle’s 1986 Les Aveugles in which she photographed those things that her blind subjects described as the most beautiful. The "Prologue" of the exhibition at the Ilwoo Space, provided a critical and historical counterpoint. Texts by Pascal Beausse, Jacqueline Guittard, Claire Jacquet and Magali Nachtergael, Suejin Shin (Ilwoo Foundation) and Kyung-hwan Yeo (SeMA) were presented in a catalogue.[99]

 
Installation view of The Family of Man permanent exhibition at Clervaux Castle, Luxembourg.

The Family Of No Man: Re-visioning the world through non-male eyes edit

The Family Of No Man: Re-visioning the world through non-male eyes, held July 2–8, 2018 in Arles brought together responses to an open call by Cosmos Arles Books, a satellite space of the Rencontres d'Arles, by 494 female and inter-gender artists from all around the world, in a revisitation of Edward Steichen’s original. Works were displayed in interactive installations outdoors and indoors, and uploaded to an online platform as they were received.

Permanent installation, Chateau Clervaux, Luxembourg edit

The permanent installation of the exhibition today at Chateau Clervaux in Luxembourg follows the layout of the inaugural exhibition at MoMA in order to recreate the original viewing experience, though of necessity, it is adapted to the unique space of two floors of the restored Castle. Since the 2013 restoration it has incorporated a library (that includes some of the catalogues of the sequel exhibitions above) and contextualises The Family of Man with historical material and interpretation.[100]

     

Cultural references to The Family of Man edit

  • Karl Dallas' song, The Family of Man, also recorded by The Spinners and others, was written in 1955, after Dallas saw the exhibition.[101]
  • In 1962, Instytut Mikołowski published Komentarze do fotografii. The Family of Man by Polish poet Witold Wirpsza (1918–1985), a commentary on individual photographs and selected displays from the exhibition.[102][29]

References edit

  1. ^ The Family of Man is "one of the most ambitious and challenging projects, photography has ever attempted. It was conceived as a mirror of the universal elements and cmotions in the everydayness of life and demonstrates that the art of photography is a dynamic process of giving form to ideas and of explaining man to man". Steichen quoted in United States. American Embassy. Office of Public Affairs; University of Illinois Urbana-Champaign (1956), Visitors' reactions to the "Family of man" exhibit, American Embassy, Office of Public Affairs, from the original on 9 March 2015, retrieved 19 October 2014
  2. ^ "Museum of Modern Art Press Release January 31, 1954: Museum of Modern Art Plans International Photography Exhibition" (PDF).
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  89. ^ Shelley Rice: "Photographic Installation. An Overview". In SF Camerawork Quarterly, vol. 12 no. 1 Spring 1985.
  90. ^ ...1990). Oppositions : commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, the Soviet Union and the Netherlands. Uitgeverij, Rotterdam.
  91. ^ Center Quarterly (Woodstock, New York: Photography Center) no. 50 (1991). "It's All Relative" [re: Larry Fink, "New Relations The Family of Man Revisited": p. 4-17.
  92. ^ Family, Nation, Tribe, Community SHIFT: Zeitgenössische künstlerische Konzepte im Haus der Kulturen der Welt, Berlin: Neue Gesellschaft für Bildende Kunst HGBK, 1996.
  93. ^ Paul di Felice, Pierre Stiwer (1997). The 90s: A Family of Man?, catalogue for the exposition at Casino Luxembourg, Forum d'art contemporain and Galerie Nei Liicht de Dudelange, eds. Casino Luxembourg/Forum d'art contemporain/Café-Créme, translations by Marie-Jo Decker, Jean-Paul Junck, Pierre Stiwer. Luxembourg, I997, ISBN 2-919893-07-6.
  94. ^ "The Family of Man II".
  95. ^ The Family of Man 2 Project by the Leica Users Group edited by Alastair Firkin | Blurb Books. 2 June 2008.
  96. ^ "Reconsidering the Family Of Man – An Exhibition". OKC.NET. 2012-02-03. Retrieved 2019-10-22.
  97. ^ Burris, J. (2012, 04). "The PSA Print Collection and Reconsidering The Family of Man at Artspace". PSA Journal, 78, p. 18-21.
  98. ^ "Exhibition announcement on the Institut Francais, Seoul website". from the original on 2018-11-26. Retrieved 2018-11-26.
  99. ^ Preface: Kim Hong-Hee, Lee Myonghi. Texts by Pascal Beausse, Jacqueline Guittard, Claire Jacquet, Magali Nachtergael, Sangwoo Park, Yeo Kyung-hwan; The Family of the Invisibles. Paris : Centre national des arts plastiques ; Bordeaux : Frac Aquitaine ; Séoul : Seoul Museum of Art, 2016, 400p. ill. in black and white and colour, English/Korean ISBN 9788994849768.
  100. ^ Anke Reitz (2018) "Re-exhibiitng The Family of Man: Luxembourg 2013", in Gerd Hurm, Anke Reitz, Shamoon Zamir (editors), The Family of Man Revisited: Photography in a Global Age, London: I. B. Tauris, ISBN 978-1-78672-297-3.
  101. ^ Dallas, Karl. "The Family of Man". Bandcamp. from the original on 27 September 2016. Retrieved 26 September 2016.
  102. ^ Witold Wirpsza (1962). Komentarze do fotografi. Kraków: Wydawnictwo Literackie.

Further reading edit

  • Berlier, Monique, ‘The Family of Man: Readings of an Exhibition’. In Hardt, Hanno; Brennen, Bonnie (1999), Picturing the past : media, history, and photography, University of Illinois Press, ISBN 978-0-252-02465-8
  • Chapter 3 ‘Subtle Subterfuge: The Flawed Nobility of Edward Steichen's Family of Man.’ In Bezner, Lili Corbus (1999), Photography and politics in America : from the New Deal into the Cold War, Johns Hopkins University Press ; Wantage : University Presses Marketing, ISBN 978-0-8018-6187-1
  • Gedney, W and Donaghy, D. ‘From The family of man (1955) to Robert Frank. William.’ In Mora, Gilles (2007), 1945-. Photographie Amé́ricanie de 1958 à 1981 [The last photographic heroes : American photographers of the sixties and seventies] (English ed.), Abrams, ISBN 978-0-8109-9374-7
  • Giocobbi, Giorgio, ‘Humanist Photography and The "Catholic" Family of Man.’ In Caruso, Martina (2016), Italian humanist photography from fascism to the Cold War, London Bloomsbury, ISBN 978-1-4742-4693-4
  • Goldberg, Vicki (1999), American photography a century of images, San Francisco, Calif Chronicle Books, ISBN 978-0-8118-2622-8
  • ‘Photography as popular culture: The Family of Man.’ In Green, Jonathan (1984), American photography : a critical history 1945 to the present, H.N. Abrams, ISBN 978-0-8109-1814-6
  • Gresh, Kristen. 2005. "The European Roots of 'The Family of Man' ". History of Photography 29, (4): 331-343.
  • Lury, Celia; ProQuest (Firm) (1998), Prosthetic Culture : Photography, Memory and Identity (1st ed.), Taylor and Francis, pp. 41–74, ISBN 978-0-203-42525-1
  • Hurm, Gerd (ed.); Reitz, Anke (ed.); Zamir, Shamoon (ed.) (2018), The family of man revisited : photography in a global age, London I.B.Tauris, ISBN 978-1-78672-297-3
  • James, Sarah E. (2013). "A Post-Fascist Family of Man? Karl Pawek's Photo-Essay and its Stereoscopic Vision". Common ground : German photographic cultures across the iron curtain. New Haven. pp. 47–102. ISBN 978-0-300-18444-0. OCLC 802103158.{{cite book}}: CS1 maint: location missing publisher (link)
  • Mauro, Alessandra (2014), Phototelling, Contrasto due, ISBN 978-88-6965-545-6
  • Mauro, Alessandra (2014), Photoshow : landmark exhibitions that defined the history of photography, Thames & Hudson, ISBN 978-0-500-54442-6
  • Orvell, Miles (2003), American photography, Oxford University Press, pp. 115–120, ISBN 978-0-19-284271-8
  • Priem, K and Thyssen, G. ‘Puppets on a string in a theatre of display? Interactions of image, text, material, space and motion in The Family of Man’. In Modes and meaning: displays of evidence in education, Routledge, 2016, ISBN 978-1-138-67010-5
  • Ribalta, Jorge; Museu d'Art Contemporani (Barcelona, Spain) (2008), Public photographic spaces: exhibitions of Propaganda, from Pressa to The Family of Man, 1928-55, Museu d'Art Contemporani de Barcelona, ISBN 978-84-92505-06-7
  • Sandeen, Eric J. Picturing An Exhibition: The Family of Man and 1950s America. Albuquerque: University of New Mexico Press, 1995.
  • Sandeen, Eric J. ‘The Family of Man on the Road to Moscow.’ In Nye, David E.; Gidley, M. (Mick) (1994), American photographs in Europe, VU University Press, ISBN 978-90-5383-304-9
  • Steichen, Edward (2003) [1955]. The Family of Man. New York: The Museum of Modern Art. ISBN 0-87070-341-2
  • Szarkowski, J. “The family of man”. In Elderfield, John; Museum of Modern Art (New York, N.Y.) (1994), The Museum of Modern Art at mid-century : at home and abroad, Museum of Modern Art : distributed by H.N. Abrams, ISBN 978-0-87070-154-2
  • ‘The family of man: refurbishing humanism for a postmodern age’ (2004) In Solomon-Godeau, Abigail (2017), Parsons, Sarah (ed.), Photography after photography: gender, genre, history, Duke University Press, ISBN 978-0-8223-7362-9
  • Steichen, Edward (2004), Back, Jean; Schmidt-Linsenhoff, Viktoria (eds.), The family of man 1955-2001: Humanismus und Postmoderne : eine Revision von Edward Steichens Fotoausstellung = Humanism and postmodernism : a reappraisal of the photo exhibition by Edward Steichen, Jonas Verlag, ISBN 978-3-89445-328-2
  • Stimson, Blake (2006) The Pivot of the World: Photography and Its Nation. Cambridge, Massachusetts: MIT Press.
  • Turner, Fred (2012) 'The Family of Man and the Politics of Attention in Cold War America' in Public Culture 24:1 Duke University Press. doi:10.1215/08992363-1443556
  • Unesco; Collins Bartholomew Ltd (2012), Memory of the world (1st ed.), United Nations Educational, Scientific and Cultural Organization (UNESCO) ; Glasgow : HarperCollins, ISBN 978-0-00-748279-5
  • Hurm, Gerd / Reitz Anke / Zamir Shamoon (2018) ' The Family of Man Revisited. Photography in a Global Age '. London / New York : I.B. Tauris. ISBN 978-1-78453-967-2

External links edit

  • Photographs documenting the complete original exhibition at MoMA
  • Official website of the Museum The Family of Man, Clervaux, Luxembourg
  • Official educational platform of the Museum The Family of Man
  • Official website of the Estate of Edward Steichen
  • Steichen Collection Musée National d'Histoire et d'Art, Luxembourg
  • The Bitter Years, Waasertuerm Gallery
  • Museum of Modern Art, Grace M. Mayer Papers
  • Steichen family papers the Beinecke Library Yale University
  • Smithsonian, National Air and Space Museum - American Expeditionary Force Photo Section (Steichen) Collection 1917-1919
  • Smithsonian, National Air and Space Museum - Edward J. Steichen World War II Navy Photographs Collection, 1941-1945
  • Carl Sandburg Home
  • University of Illinois Library, Carl Sandburg Papers
  • CarlSandburg.net: a Research Website for Sandburg Studies

January 01, 1970
family, this, article, about, photography, exhibition, other, uses, disambiguation, biblical, family, generations, noah, ambitious, exhibition, photographs, from, countries, curated, edward, steichen, director, york, city, museum, modern, moma, department, pho. This article is about the photography exhibition For other uses see The Family of Man disambiguation For the biblical family of man see Generations of Noah The Family of Man was an ambitious 1 2 exhibition of 503 photographs from 68 countries curated by Edward Steichen the director of the New York City Museum of Modern Art s MoMA department of photography According to Steichen the exhibition represented the culmination of his career 3 The title was taken from a line in a Carl Sandburg poem Softcover book catalogue of The Family of Man designed by Leo Lionni Piper photo by Eugene Harris First issued for 1 00 in 1955 by Ridge Press 4 million have sold and it is still in print The Family of Man was exhibited in 1955 from January 24 to May 8 at the New York MoMA then toured the world for eight years to record breaking audience numbers Commenting on its appeal Steichen said The people in the audience looked at the pictures and the people in the pictures looked back at them They recognized each other 4 The physical collection is archived and displayed 5 at Clervaux Castle in Edward Steichen s home country of Luxembourg where he was born in 1879 in Bivange It was first exhibited there in 1994 after restoration of the prints 6 In 2003 the Family of Man photographic collection was added to UNESCO s Memory of the World Register in recognition of its historical value 7 Contents 1 Tours 1 1 United States 1 2 World tour 1 2 1 First European tour 1 2 2 Central America India Africa Middle East 1 2 3 Second European tour 1 2 4 South America Australia and South East Asia 1 2 5 Middle East 1 2 6 Soviet Union 1 2 7 Clervaux Castle Luxembourg 2 An innovative exhibit 3 Texts used in the exhibition and book 4 Book 5 Photographers 6 Reception and criticism 7 Tributes sequels and critical revisions 7 1 World Exhibition of Photography 7 2 2nd World Exhibition of Photography 7 3 The Family of Children 7 4 The Family of Man 1955 1984 7 5 Oppositions We are the world you are the third world 7 6 New Relations The Family of Man Revisited 7 7 family nation tribe community SHIFT 7 8 The 90s A Family of Man 7 9 The Family of Man 2 7 10 Reconsidering The Family of Man 7 11 The Family of the Invisibles 7 12 The Family Of No Man Re visioning the world through non male eyes 7 13 Permanent installation Chateau Clervaux Luxembourg 8 Cultural references to The Family of Man 9 References 10 Further reading 11 External linksTours editUnited States edit 1955 24 January 8 May Museum of Modern Art 1955 22 June 4 September Minneapolis Institute of Art 1955 7 October 4 December Dallas Museum of Art 1956 24 January 4 March Cleveland Museum of Art 1956 29 April 20 May Munson Williams Proctor Arts Institute 1956 25 May 15 July Baltimore Museum of Art 1956 4 25 June Saint Louis Art Museum 1956 July Corning Museum of Glass 1956 9 30 July GEH Dryden Gallery 1956 3 30 October Museum of Fine Arts Boston World tour edit As part of the Museum of Modern Art s International Program the exhibition The Family of Man toured the world making stops in thirty seven countries on six continents More than 10 million people viewed the exhibit 8 which is in excess of the largest audience for any other photographic exhibition The photographs in the exhibition focused on the commonalities that bind people and cultures around the world the exhibition serving as an expression of humanism in the decade following World War II 9 The recently formed United States Information Agency was instrumental in touring the photographs throughout the world in five different versions for seven years 10 under the auspices of the Museum of Modern Art International Program 11 Notably it was not shown in Franco s Spain in Vietnam nor in China First European tour edit Copy 1 503 photo panels 50 text panels was organized by Edward Steichen Duplication with minor changes of the exhibition presented at MoMA Jan 24 May 8 1955 and subsequently circulated in the United States 1956 57 Commissioned by the USIA for circulation in Europe circulated 1955 1962 Dispersed 1962 It was shown in Germany Berlin Hochschule fur Bildende Kunst Sept 17 Oct 9 1955 Munich Municipal Lenbach Gallery Nov 19 Dec 18 1955 12 Hamburg Hanover Frankfurt Haus des Deutschen Kunsthandwerks Oct 25 Nov 30 1958 France Paris Musee National d Art Moderne Jan 20 Feb 26 1956 Netherlands Amsterdam Stedelijk Museum March 23 April 29 1956 13 Rotterdam Floriade May Aug 1960 Belgium Brussels Palais de Beaux Arts May 23 July 1 1956 England London Royal Festival Hall Aug 1 30 1956 Italy Rome Palazzo Venezia Milan Villa Communale Yugoslavia Belgrade Kalamegdan Pavilion Jan 25 Feb 22 1957 Austria Vienna Kunstlerhaus March 30 April 28 1957 Denmark Aarhus Aalborg Odense Greece Athens Finland Helsinki Taidehall Central America India Africa Middle East edit Copy 2 a duplicate of Copy 1 was commissioned by the USIA circulated 1955 1963 and dispersed in 1963 It was shown in Guatemala Guatemala City Palacio de Protocolo Aug 24 Sept 18 1955 Mexico Mexico City La Fragua Conference of Central American States Oct 21 Nov 20 1955 India Bombay Jehangir Art Gallery June 18 July 15 1956 ext July 20 Agra University of Agra Library Aug 31 Sept 19 1956 New Delhi Industries Fair Grounds IX Session of General Conference of UNESCO Nov Dec 5 1956 Ahmedabad Cultural Center Jan 11 Feb 1 1957 Calcutta Ranji Stadium March April 1957 Madras Madras University June 10 July 21 1957 Trivandurum Sept 1 22 1957 South Korea Seoul 14 Southern Rhodesia Salisbury Rhodes National Gallery March April 1958 Union of South Africa Johannesburg Gov t Pavillion Rand Spring Show Aug 30 Sept 13 1958 Cape Town Durban Nov 11 25 1958 Pretoria Jan 1959 Windhoek Port Elizabeth Uitenboge Kenya Nairobi Oct 1959 United Arab Republic Cairo Dec 1960 Alexandria Nov 1960 Damascus Afghanistan Kabul Iran Tehran Second European tour edit Copy 3 a duplicate of Copy 1 commissioned by the USIA Circulated 1957 1965 and at Steichen s request this version of the exhibition was presented to the Government of Luxembourg for permanent display at Common Market Headquarters Luxembourg 1965 Previously it was shown in Norway Oslo Museum of Applied Arts Jan 15 Feb 10 1957 Sweden Stockholm Lilijevalchs Konsthall March 22 April 7 1957 Goteborg Svenska Massan Gothenborg Fair June 8 23 1957 Halsingborg Halsinborg Exposition Jul 12 Aug 18 1957 Iceland Reykjavik Sept Oct 1957 Denmark Copenhagen Charlottenborg Gallery Nov 22 Dec 26 1957 Switzerland Zurich Museum of Design Jan 25 March 2 1958 Basel Kunsthalle March 8 April 16 1958 Geneva Musee Rath April 16 May 1958 St Gallen Aug Sep 1958 Bern Jun Aug 1958 Yugoslavia Zagreb Oct Nov 1958 Italy Milan Villa Communale Jan Feb 1959 Turin Florence Poland Warsaw National Theatre Sept 18 Oct 21 1959 Wroclaw Museum of Slask Nov 8 Dec 27 1959 Walbrzych Jan 1 Feb 7 1960 Jelenia Gora Feb 14 28 1960 Krakow March 1 15 1960 Poznan April 9 May 1 1960 Dabrowa Gornicza May 10 31 1960 Belgium Ghent Luxembourg Musee de l Etat July 23 1966 South America Australia and South East Asia edit Copy 4 a duplicate of Copy 1 Commissioned by the U S I A Circulated 1957 62 Dispersed 1962 It was shown in Cuba Havana Museo Nacional Palacio de Belas Artes March 6 April 1957 Venezuela Caracas University of Caracas July 5 30 1957 Colombia Bogota Oct Dec 1957 Chile Santiago University of Chile Jan Feb 1958 Uruguay Montevideo April 12 27 1958 Australia Melbourne Preston Motors Show Room opened February 23 1959 Sydney David Jones Department Store opened April 6 1959 Brisbane John Hicks Showrooms May 18 June 13 1959 Adelaide Myer Emporium June 29 July 31 1959 Laos Bientani That Luang National shrine That Luang Festival Indonesia Jakarta nbsp Poster for the Exhibition The Family of Man in three languages Middle East edit A revised version of the original shown at MoMA 1955 Circulated in the United States 1957 59 then acquired by the USIA for circulation abroad 1957 58 dispersed 1958 and shown in Tel Aviv Israel and Beirut Lebanon Soviet Union edit Copy 5 Following a bilateral agreement between the USA and USSR in 1959 the American National Exhibition was to be held in Moscow and the Russians were to have had the use of New York City s Coliseum This Moscow trade fair at Sokolniki Park was the scene of Soviet Premier Nikita Khrushchev and United States Vice President Richard Nixon s Kitchen Debate over the relative merits of communism and capitalism The Family of Man was a late inclusion that had not been originally envisaged in MoMA s itinerary With a grant to the Museum of 15 000 less than half of what it requested and funding from the plastics industry for the radical pre fabricated translucent pavilion design to house it a fifth copy of the show was salvaged from what was left of the Beirut and Scandinavia showings augmented with new prints 15 In Moscow in the context of a trade show supermarket meant to demonstrate lavish consumerism and a multimedia display assembled by Charles Eames the collection s overtones of peace and human brotherhood symbolized a lifting of the imminent threat of an atomic war for Soviet citizens in the midst of the Cold War 16 17 This meaning seemed to be grasped especially by Russian students and intellectuals 16 Recognising the importance of the Moscow exhibition as the high spot of the project 4 Steichen attended its opening and made copious photographs of the event 15 Clervaux Castle Luxembourg edit The original prints from Copy 3 exhibited in the permanent collection at Clervaux Castle in Luxembourg have been restored twice once in the 1990s and more comprehensively during a closure of the museum in the years 2010 2013 18 An innovative exhibit editThe physical installation and layout of the Family of Man exhibition were designed to enable the visitor to view it as if it were a photo essay 19 about human development and cycles of life that affirmed a common human identity and destiny against the contemporary Cold War threats of nuclear war Architect Paul Rudolph designed a series of temporary walls set amongst the existing structural columns 20 which guided visitors past the images 21 which he described as telling a story 22 encouraging them to pause at those that attracted their attention His layout and display features were adapted as much as possible to the international venues which varied considerably from the original space at MoMA Open spaces within the layout encouraged viewers interaction to choose their own path through the exhibition and to gather to discuss it The layout and placement of prints and their variation in size encouraged the bodily participation of the audience who would have to bend down to examine a small print displayed below eye level and then to step back to view a mural image and to negotiate both narrow and expansive spaces 23 The prints range in size from 24 cm 36 cm 9 4 in 14 2 in to 300 cm 400 cm 120 in 160 in and were made in the case of the contemporary images by assistant Jack Jackson 24 from the negative supplied to Steichen by each photographer Also included were copies of historical images for example a Mathew Brady civil war documentation and a Lewis Carroll portrait 15 Blown up often mural scale images angled floated or curved some inset into other floor to ceiling prints even displayed on the ceiling a canted view of a silhouetted axeman and tree on posts like finger boards in the final room and the floor for a Ring o Roses series were grouped together according to diverse themes Repeated prints of Eugene Harris portrait of a Peruvian flute player formed a coda or acted as Pied Piper to the audience in the opinion of some reviewers 23 25 and according to Steichen himself expressed a little bit of mischief but much sweetness that s the song of life 26 Lighting intensities varied throughout the series of ten rooms in order to set the mood The exhibition opened with an entrance archway papered with a blow up of a crowd in London by Pat English framing Wyn Bullock s Chinese landscape of sunlight on water into which was inset an image of a truncated nude of a pregnant woman in an evocation of creation myths Subjects then ranged in sequence from lovers to childbirth to household and careers then to death and on a topical and portentous note the hydrogen bomb an image from LIFE magazine of the test detonation Mike Operation Ivy Enewetak Atoll October 31 1952 which was the only full colour image a room filling backlit 1 8 m 2 43 m 5 9 ft 8 0 ft Eastman transparency replaced for the travelling version of the show with a different view of the same explosion in black and white Finally full cycle visitors returned once more to children in a room in which the last picture was W Eugene Smith s iconic 1946 A Walk to Paradise Garden As the centrepiece of the exhibition a hanging sculptural installation of photographs including Vito Fiorenza s Sicilian family group and Carl Mydans of a Japanese family both from nations which were recent enemies of the Allies in WW2 another from Bechuanaland by Nat Farbman and a rural family of the United States by Nina Leen encouraged circulation to view double sided prints and invited reflection on the universal nature of the family beyond cultural differences Photos were chosen according to their capacity to communicate a story or a feeling that contributed to the overarching narrative Each grouping of images builds upon the next creating an intricate story of human life The design of the exhibition built on trade displays and Steichen s 1945 Power In The Pacific exhibition which was designed by George Kidder Smith for MoMA Steichen s commissioning of Herbert Bayer for the presentation of his curatorship of other exhibitions and his own long history of initiation of innovative exhibits dating back to his association with Gallery 291 early in the century 23 27 In 1963 Steichen elaborated on the special opportunities offered by the exhibition format In the cinema and television the image is revealed at a pace set by the director In the exhibition gallery the visitor sets his own pace He can go forward and then retreat or hurry along according to his own impulse and mood as these are stimulated by the exhibition In the creation of such an exhibition resources are brought into play that are not available elsewhere The contrast in scale of images the shifting of focal points the intriguing perspective of long and short range visibility with the images to come being glimpsed beyond the images at hand all these permit the spectator an active participation that no other form of visual communication can give 28 Texts used in the exhibition and book editThe enlarged prints by the multiple photographers were displayed without explanatory captions and instead were intermingled with quotations by among others James Joyce Thomas Paine Lillian Smith and William Shakespeare chosen by photographer and social activist Dorothy Norman 29 Carl Sandburg Steichen s brother in law 1951 recipient of the Pulitzer Prize for Poetry and known for his biography of Abraham Lincoln inspired the title of the exhibition with a line from his poem The Long Shadow of Lincoln A Litany 1944 30 There is dust alive With dreams of the Republic With dreams of the family of man Flung wide on a shrinking globe It was Sandburg who added an accompanying poetic commentary also displayed as text panels throughout the exhibition and included in the publication of which the following are samples There is only one man in the world and his name is All Men There is only one woman in the world and her name is All Women There is only one child in the world and the child s name is All Children People flung wide and far born into toil struggle blood and dreams among lovers eaters drinkers workers loafers fighters players gamblers Here are ironworkers bridge men musicians sandhogs miners builders of huts and skyscrapers jungle hunters landlords and the landless the loved and the unloved the lonely and abandoned the brutal and the compassionate one big family hugging close to the ball of Earth for its life and being Everywhere is love and love making weddings and babies from generation to generation keeping the Family of Man alive and continuing If the human face is the masterpiece of God it is here then in a thousand fateful registrations Often the faces speak that words can never say Some tell of eternity and others only the latest tattings Child faces of blossom smiles or mouths of hunger are followed by homely faces of majesty carved and worn by love prayer and hope along with others light and carefree as thistledown in a late summer wing Faces have land and sea on them faces honest as the morning sun flooding a clean kitchen with light faces crooked and lost and wondering where to go this afternoon or tomorrow morning Faces in crowds laughing and windblown leaf faces profiles in an instant of agony mouths in a dumbshow mockery lacking speech faces of music in gay song or a twist of pain a hate ready to kill or calm and ready for death faces Some of them are worth a long look now and deep contemplation later Book editJerry Mason 1913 1991 contemporaneously edited and published a complementary book 31 of the exhibition through Maco Magazine Corporation 32 formed for the purpose in 1955 in partnership with Fred Sammis It was the first time hard cover and soft cover editions were published simultaneously 33 The book which has never been out of print was designed by Leo Lionni May 5 1910 October 11 1999 Many of Lionni s book covers like that of The Family of Man incorporate playful modernist collages of apparently cut or torn coloured paper which he repeats for example in his 1962 design for The American Character and for children s books an aesthetic also used in exhibitions from his parallel career as a fine artist 34 The publication was reproduced in a variety of formats most popularly a soft cover volume 35 in the 1950s and reprinted in large format for its 40th anniversary and in its various editions has sold more than four million copies Most images from the exhibition were reproduced with an introduction by Carl Sandburg whose prologue reads in part The first cry of a baby in Chicago or Zamboango in Amsterdam or Rangoon has the same pitch and key each saying I am I have come through I belong I am a member of the Family Many the babies and grownup here from photographs made in sixty eight nations round our planet Earth You travel and see what the camera saw The wonder of human mind heart wit and instinct is here You might catch yourself saying I m not a stranger here 36 However an omission from the book highly significant and contrary to Steichen s stated pacifist aim was the image of a hydrogen bomb test explosion audiences of the time were highly sensitive to the threat of universal nuclear annihilation 37 In place of the huge colour transparency to which a space was devoted in the MoMA exhibition and the black and white mural print that toured countries other than Japan only this quotation of Bertrand Russell s anti nuclear warning in white type on a black page appears in the book 38 The best authorities are unanimous in saying that a war with hydrogen bombs is quite likely to put an end to the human race There will be universal death sudden for only a minority but for the majority a slow torture of disease and disintegration nbsp Robert McDaniels lynched April 13 1937 in Duck Hill MississippiAbsent also from the book and removed by week eleven of the initial MoMA exhibition was the distressing photograph of the aftermath of a lynching of a dead young African American man tied to a tree with his bound arms tautly tethered with a rope that stretches out of frame 39 For most purchasers this was their first encounter with a book that gave priority to the photographic image over text 15 In 2015 to mark the sixtieth anniversary of the inaugural exhibition MoMA reissued the book as a hardcover edition with the original jacket design from 1955 albeit without the signature of designer Leo Lionni and duotone printing from new copies of all of the photographs 40 Photographers edit nbsp Migrant Mother 1936 Dorothea Lange Steichen s stated objective was to draw attention visually to the universality of human experience and the role of photography in its documentation The exhibition brought together 503 photos from 68 countries the work of 273 photographers 163 or 59 3 of whom were Americans 41 which with 70 European photographers means that the ensemble represents a primarily Western viewpoint 42 That forty were women photographers can in some part be attributed to Joan Miller s contribution to the selection and to Dorothea Lange who assisted her friend Edward Steichen in recruiting photographers 43 She contacted her FSA and Life connections who in turn promoted the project to their colleagues In 1953 she circulated a letter A Summons to Photographers All Over the World calling on them to show Man to Man across the world Here we hope to reveal by visual images Man s dreams and aspirations his strength his despair under evil If photography can bring these things to life this exhibition will be created in a spirit of passionate and devoted faith in Man Nothing short of that will do 44 The letter then listed topics that photographs might cover and these categories are reflected in the show s final arrangement Lange s work features in the exhibition Steichen and his team drew heavily on Life archives for the photographs used in the final exhibition 45 seventy five by Abigail Solomon Godeau s count more than 20 of the total 111 out of 503 while some were obtained from other magazines Vogue was represented by nine Fortune 7 Argosy seven all by Homer Page Ladies Home Journal 4 Popular Photography 3 and others Seventeen Glamour Harper s Bazaar Time the British Picture Post and the French Du by one From picture agencies American Soviet European and international which also supplied the above magazines came about 13 of the content with Magnum represented by 43 of the pictures Rapho with thirteen Black Star with ten Pix with seven Sovfoto which had three and Brackman with four with around half a dozen other agencies represented by one photo 46 Steichen travelled internationally to collect images through 11 European countries including France Switzerland Austria and Germany 47 In total Steichen procured 300 images from European photographers many from the humanist group which were first shown in the Post War European Photography exhibition at the Museum of Modern Art in 1953 47 Due to the incorporation of this body of work into the 1955 The Family of Man exhibition Post War European Photography is thought of as a preview to The Family of Man 47 The international tour of the definitive 1955 exhibition was sponsored by the now defunct United States Information Agency whose aim was to counter Cold War propaganda by creating a better world image of American policies and values 47 Though most photographers were represented by a single picture some had several included Robert Doisneau Homer Page Helen Levitt Manuel Alvarez Bravo Bill Brandt Edouard Boubat Harry Callahan with two Nat Farbman five of Bechuanaland and more from Life Robert Frank four Bert Hardy and Robert Harrington three Steichen himself supplied five photos while his assistant Wayne Miller had thirteen chosen by far the greatest number 46 The following lists notable participating photographers excluding those with no professional or exhibiting history see original 1955 MoMA checklist 48 Ansel Adams USA Erich Andres Germany Emmy Andriesse Netherlands Diane and Allan Arbus U S A Vogue Eve Arnold USA Richard Avedon USA Ruth Marion Baruch USA Hugh Bell U S A Wermund Bendtsen Denmark Paul Berg USA Lou Bernstein USA John Bertolino Italy USA Eva Besnyo Netherlands Werner Bischof Switzerland Maria Bordy Russia UN Edouard Boubat France Margaret Bourke White USA Mathew Brady USA Bill Brandt UK Brassai France Lola Alvarez Bravo Mexico Manuel Alvarez Bravo Mexico Josef Breitenbach Brackman Associates Germany USA David Brooks Canada Reva Brooks Canada Ernst Brunner Switzerland Esther Bubley USA Wynn Bullock USA Shirley Burden USA Rudolf Busler Germany Harry Callahan USA Cornell Capa USA Robert Capa Robert Carrington Lewis Carroll UK Henri Cartier Bresson France Ted Castle USA Marcos Chamudez Chile Ed Clark USA Hermann Claasen Germany Jerry Cooke USA Roy DeCarava USA Loomis Dean USA Jack Delano USA Nick De Morgoli J De Pietro Robert Diament USSR Robert Doisneau France Nell Dorr USA Nora Dumas French David Douglas Duncan USA Alfred Eisenstaedt USA Elliott Erwitt USA J R Eyerman USA Sam Falk USA Nat Farbman USA Eleanor Fast Louis Faurer USA Ed Feingersh USA Andreas Feininger USA Vito Fiorenza Italy Leopold Fischer Austria John Florea USA Robert Frank USA Toni Frissell USA Unosuke Gamou Japan William Garnett USA Herbert Gehr Edmund Bert Gerard USA Guy Gillette USA Burt Glinn USA Fritz Goro USA Allan Grant USA Farrell Grehan USA Rene Groebli Switzerland Mildred Grossman USA Karl W Gullers Sweden Ernst Haas USA Peter W Haberlin Switzerland Hideo Haga Japan Otto Hagel USA Robert Halmi Hungary Hiroshi Hamaya Japan Hans Hammarskiold Sweden Hella Hammid USA Bert Hardy UK Eugene Harris USA Caroline Hebbe Hammarskiold Sweden Paul Himmel USA Frank Horvat Italy Willi Huttig Germany Yasuhiro Ishimoto Japan Izis France Fenno Jacobs USA Raymond Jacobs USA Ronny Jaques Canada Bob Jakobsen USA Nico Jesse Netherlands Constantin Joffe Carter Jones USA Henk Jonker Netherlands Victor Jorgensen USA Clemens Kalischer USA Simpson Kalisher USA Consuelo Kanaga USA Dmitri Kessel USA Keystone Press Agency USA Ihei Kimura Japan Martha Kitchen USA N Kolli USSR Torkel Korling USA Nikolai Kozlovsky USSR Ewing Krainin USA Herman Kreider USA Walter B Lane Dorothea Lange USA Harry Lapow USA Lisa Larsen USA Alma Lavenson USA Arthur Lavine USA Russell Lee USA Nina Leen Russia USA Laurence Le Guay Australia Henri Leighton USA Arthur Leipzig USA Charles Leirens Belgium Gita Lenz USA Leon Levinstein USA Helen Levitt USA Margery Lewis USA Sol Libsohn USA David Linton Herbert List Germany Jacob Lofman Poland USA Hans Malmberg Sweden G H Metcalf Gjon Mili Albania USA Frank Miller USA Joan Miller USA Lee Miller USA Wayne Miller USA May Mirin USA Lisette Model Austria USA Peter Moeschlin Switzerland David Moore Australia Barbara Morgan USA Hedda Morrison Germany Ralph Morse USA Robert Mottar USA Carl Mydans USA David Myers USA Fritz Neugass Germany USA Lennart Nilsson Sweden Pal Nils Nilsson Sweden Emil Obrovsky Austria Yoichi Okamoto USA Cas Oorthuys Netherlands Ruth Orkin USA Don Ornitz USA Eiju Otaki Homer Page USA Marion Palfi USA Gordon Parks USA Rondal Partridge USA Irving Penn USA Carl Perutz USA John Phillips Algeria USA Leonti Planskoy Russia UK Ray Platnick USA Fred Plaut Germany Rudolf Pollak Germany Rapho Guilumette Agency France Gottfried Rainer Austria Daniel J Ransohoff USA Bill Rauhauser USA Satyajit Ray India Anna Riwkin Brick Russia Sweden George Rodger Great Britain Willy Ronis France Annelise Rosenberg Hannes Rosenberg August Sander Germany Walter Sanders USA Sanford H Roth USA Gotthard Schuh Eric Schwab France Bob Schwalberg USA Kurt Severin Germany USA David Seymour Poland Ben Shahn Lithuania USA Musya S Sheeler USA Li Shu China George Silk New Zealand USA Bradley Smith USA Ian Smith UK W Eugene Smith USA Howard Sochurek USA Peter Stackpole USA Alfred Statler USA Gitel Steed USA Edward Steichen Luxembourg USA Richard Steinheimer USA Ezra Stoller USA Lou Stoumen USA George Strock USA Constance Stuart South Africa Etienne Sved Hungary Suzanne Szasz USA Yoshisuke Terao Gustavo Thorlichen Argentina Charles Trieschmann USA Francois Tuefferd France Jakob Tuggener Switzerland Allan Turoff Doris Ulmann USA Alexander Uzylan U S S R Ed van der Elsken Netherlands William Vandivert Pierre Verger France Brazil Ike Vern USA Vero Werner Rosenberg France Roman Vishniac Russia USA Carmel Vitullo USA Edward Wallowitch USA Todd Webb USA Sabine Weiss Switzerland Edward Weston USA Bob Willoughby USA Garry Winogrand USA Arthur Witman USA Jasper Wood USA Yosuke Yamahata Japan Shizuo YamamotoReception and criticism editPhotography said Steichen communicates equally to everybody throughout the world It is the only universal language we have the only one requiring no translation 49 When the exhibition opened most reviewers and Eleanor Roosevelt who wrote in her column My Day I could not have enjoyed anything more loved the show Some embraced the idea of this universal language as with Don Langer s response in the New York Herald Tribune It can truly be said that with this show photography has come of age as a medium of expression and as an art form 50 and even The New York Times art critic Aline B Saarinen in an article titled The Camera versus the Artist asked Has photography replaced painting as the great visual art of our time 50 Others lauded Steichen as a sort of author and the exhibition as a text or essay Photographer Barbara Morgan in Aperture connected this concept with the show s universalising theme In comprehending the show the individual himself is also enlarged for these photographs are not photographs only they are also phantom images of our co citizens this woman into whose photographic eyes I now look is perhaps today weeding her family rice paddy or boiling a fish in coconut milk Can you look at the polygamist family group and imagine the different norms that make them live happily in their society which is so unlike yet like our own Empathy with these hundreds of human beings truly expands our sense of values 51 Expressing the contrary view Cora Alsberg and George Wright partners and freelance writers co wrote a response One Family s Opinion in the same Aperture issue devoted to the show that Any really great photographer like a great painter creates his own visual universe You can distinguish a Gene Smith from a Cartier Bresson without a signature You can instantly recognize an Adams a Weston a Laughlin print or that of any mature worker whose previous work you ve seen But mixed with others in a show he surrenders this individuality just as a writer might if he gave permission for single paragraphs to be quoted by an editor in any sequence and in any context 52 Hilton Kramer then managing editor of the magazine Arts asserted a negative view one taken up by more recent critics that The Family of Man was a self congratulatory means for obscuring the urgency of real problems under a blanket of ideology which takes for granted the essential goodness innocence and moral superiority of the international little man the man in the street the active disembodied hero of a world view which regards itself as superior to mere politics 53 Roland Barthes too was quick to criticise the exhibition as being an example of his concept of myth the dramatization of an ideological message In his book Mythologies published in France a year after the exhibition in Paris in 1956 Barthes declared it to be a product of conventional humanism a collection of photographs in which everyone lives and dies in the same way everywhere Just showing pictures of people being born and dying tells us literally nothing 54 Many other noteworthy reactions both positive and negative have been proffered in social cultural studies and as part of artistic and historical texts The earliest critics of the show were ironically photographers who felt that Steichen had downplayed individual talent and discouraged the public from accepting photography as art The show was the subject of an entire issue of Aperture The Controversial Family of Man 55 Walker Evans disdained its human familyhood and bogus heartfeeling 56 Phoebe Lou Adams complained that If Mr Steichen s well intentioned spell doesn t work it can only be because he has been so intent on Mankind s physical similarities that he has utterly forgotten that a family quarrel can be as fierce as any other kind 57 Some critics complained that Steichen merely transposed the magazine photo essay from page to museum wall in 1955 Rollie McKenna likened the experience to a ride through a funhouse 58 while Russell Lynes in 1973 wrote that Family of Man was a vast photo essay a literary formula basically with much of the emotional and visual quality provided by sheer bigness of the blow ups and its rather sententious message sharpened by juxtaposition of opposites wheat fields and landscapes of boulders peasants and patricians a sort of look at all these nice folks in all these strange places who belong to this family 59 Jacob Deschin photography critic for The New York Times wrote the show is essentially a picture story to support a concept and an editorial achievement rather than an exhibition of photography 60 From an optic of struggle 61 echoing Barthes Susan Sontag in On Photography accused Steichen of sentimentalism and oversimplification they wished in the 1950s to be consoled and distracted by a sentimental humanism Steichen s choice of photographs assumes a human condition or a human nature shared by everybody Directly quoting Barthes without acknowledgement 29 she continues By purporting to show that individuals are born work laugh and die everywhere in the same way The Family of Man denies the determining weight of history of genuine and historically embedded differences injustices and conflicts 62 Allan Sekula in The Traffic in Photographs 1981 63 posits The Family of Man as a capitalist cultural tool levering world domination at the height of the Cold War 64 My main point here is that The Family of Man more than any other single photographic project was a massive and ostentatious bureaucratic attempt to universalize photographic discourse an exercise in hegemony which In the foreign showings of the exhibition arranged by the United States Information Agency and co sponsoring corporations like Coca Cola the discourse was explicitly that of American multinational capital and government the new global management team cloaked in the familiar and musty garb of patriarchy Sekula revises and expands this notion in relation to his ideas about economic globalisation in an article in October entitled Between the Net and the Deep Blue Sea Rethinking the Traffic in Photographs 65 Others attacked the show as an attempt to paper over problems of race and class including Christopher Phillips John Berger and Abigail Solomon Godeau who in her 2004 essay while describing herself as among those who intellectually came of age as postmodernists poststructuralists feminists Marxists antihumanists or for that matter atheists this little essay of Barthes s efficiently demonstrated the problem indeed the bad faith of sentimental humanism concedes that as photography exhibitions go it is perhaps the ultimate bad object for progressives or critical theorists but good to think with 66 Many of these critics including Solomon Godeau who openly admits it 66 had not viewed the exhibition but were working from the published catalogue which notably excludes the initially shown but soon removed picture of the lynched Robert McDaniels and the image of the atomic explosion as the apex at the end of the exhibition 29 15 While The Family of Man was being exhibited there at its last venue in 1959 several pictures were torn down in Moscow by the Nigerian student Theophilus Neokonkwo An Associated Press report of the time 67 suggests that his actions were in a protest at colonialist attitudes to black races 68 Conversely other critics defended the exhibition referring to the political and cultural environment in which it was staged Among these were Fred Turner 19 Eric J Sandeen 15 Blake Stimson 69 and Walter L Hixson 70 Most recently a compilation of essays 71 by contemporary critics supported by newly translated writings contemporary to the exhibition s appearances collected and edited by Gerd Hurm Anke Reitz and Shamoon Zamir presents a revised reading of Steichen s motivations and audience reactions and a reassessment of the validity of Roland Barthes influential criticism in La grande famille des hommes in his Mythologies A number of photographers and artists refer to their experience of The Family of Man exhibition or publication as formative or influential on them and some including Australian Graham McCarter being motivated by it to take up photography 72 These include Ans Westra 73 Marti Friedlander 74 Larry Seigel John Cato 72 Paul Cox 75 Jan Yoors 76 Pentti Sammallahti 77 Robert McFarlane photographer 72 John Blakemore 78 Robert Weingarten 79 80 and painter Francisco Toledo 81 Tributes sequels and critical revisions editIn the years since The Family of Man several exhibitions stemmed from projects directly inspired by Steichen s work and others were presented in opposition to it Still others were alternative projects offering new thoughts on the themes and motifs presented in 1955 These serve to represent artists photographers and curators responses to the exhibition beside those of the cultural critics and to track the evolution of reactions as societies and their self images change World Exhibition of Photography edit nbsp Catalogue of the 1965 Weltausstellung der Fotographie World Exhibition of Photography Following The Family of Man by 10 years the 1965 Weltausstellung der Fotografie World Exhibition of Photography was based on an idea by Karl Pawek and supported by the German magazine he edited Stern toured the world 82 It presented 555 photographs by 264 authors from 30 countries outweighing the numbers in Steichen s exhibition In the preface to the catalogue entitled Die humane Kamera The human Camera Heinrich Boll wrote There are moments in which the meaning of a landscape and its breath become felt in a photograph The portrayed person becomes familiar or a historical moment happens in front of the lens a child in uniform women who search the battlefield for their dead They are moments in which crying is more than private as it becomes the crying of mankind Secrets are not revealed the secret about human existence becomes visible The exhibition wrote Pawek would like to keep alive the spirit of Edward Steichen s wonderful ideas and of his memorable collection The Family of Man 83 His exhibition posed the question Who is Man in 42 topics It focused on issues that were sublimated in The Family of Man by the idea of universal brotherhood between men and women of different races and cultures Racism which in Steichen s show was represented by a lynching scene replaced in the European showings by an enlargement of the famous picture of the Nuremberg trials is confronted in the Weltausstellung der Fotografie section VIII Das Missverstandnis mit der Rasse The Misunderstanding about Race by the black man in the photograph by Gordon Parks who seems to view from his window two scenes of attacks on black people photographed by Charles Moore Another photograph by Henri Leighton shows two children walking together in public holding hands one black one white Though reference to the content of the older exhibition in the new is evident the unifying idealism of The Family of Man is here replaced with a much more fragmented and sociological one 84 Sarah E James points to its use of harsh juxtaposition to create a stereoscopic vision to entrain viewers reactions 85 The exhibition met with rejection by the press and functionaries in the photographic profession in Germany and Switzerland and was described by Fritz Kempe photographer photo historian and board member of a prominent photo company as tasty fodder to stimulate the aggressive instincts of semi intellectual young men 86 Nevertheless it went on to tour 261 art museums in 36 countries and was visited by 3 500 000 people 2nd World Exhibition of Photography edit nbsp Cover of Stern Hamburg 1968 Die Frau 2 Weltausstellung der Photographie In 1968 a second Weltausstellung der Photographie 2nd World Exhibition of Photography was devoted to images of women 87 with 522 photographs from 85 countries by 236 photographers of whom barely 10 were female compared to 21 for The Family of Man though there is evidence of the effect of feminist consciousness in images of men in domestic environments cleaning cooking and tending babies In his introduction Karl Pawek writes I had approached the first exhibition with my entire theological philosophical and sociological equipment What is Man the question had to awaken ideological ideas I also operated from a philosophical point of view when presenting the se photos As far as woman was concerned the theme of the second exhibition I knew nothing There I was without any philosophy about woman Perhaps woman is not a philosophical theme Perhaps there is only mankind and woman is something unique and special Thus I could only hold on to what was concrete in the pictures The exhibition tour included the Institute of Contemporary Art ICA which at the time rarely showed photography and her experience of installing it was in part the inspiration for Sue Davies to start The Photographers Gallery London The Family of Children edit UNESCO named 1977 The Year of Children and in response the book The Family of Children was dedicated to Steichen by editor Jerry Mason and imitated the original catalogue in its layout in the use of quotations and in the colours used on the cover 88 As for Steichen s show there was a call out for imagery but 300 000 entries were received compared to the 4 million at the MoMA show resulting in a selection of 377 photos by 218 participants from 70 countries The Family of Man 1955 1984 edit Independent curator Marvin Heiferman s The Family of Man 1955 1984 was a floor to ceiling collage of over 850 images and texts from magazines newspapers and the art world shown in 1984 at PSI The Institute for Art and Urban Resources Inc now MoMA PS1 Long Island City N Y 89 Abigail Solomon Godeau described it as a reexamination of the themes of the 1955 show and critique of Steichen s arrangement of them into a spectacle a grab bag of imagery and publicity ranging from baby food and sanitary napkin boxes to hard core pornography from detergent boxes to fashion photography a cornucopia of consumer culture much of which in one way or another could be seen to engage the same themes purveyed in The Family of Man In a certain sense Heifferman s sic riposte to Steichen s show made the useful connection between the spectacle of the exhibition and the spectacle of the commodity suggesting that both must be understood within the framing context of late capitalism 46 Oppositions We are the world you are the third world edit In 1990 the second Rotterdam Biennale lead exhibition was Oppositions We are the world you are the third world Commitment and cultural identity in contemporary photography from Japan Canada Brazil the Soviet Union and the Netherlands 90 The cover of the catalogue imitates the layout and colour of the original but replaces the famous image of the little flute player by Eugene Harris with six images four photographs of young women from different cultural backgrounds and two excerpts from paintings In the exhibit scenes of an endangered ecology and the threat to cultural identity in the global village predominate but there are intimations that nature and love may prevail despite everything artificial that surrounds it notably so in family life 84 New Relations The Family of Man Revisited edit In 1992 the American photographer and critic Larry Fink published a collection of photographs under the heading of New Relations The Family of Man Revisited in the Photography Center Quarterly 91 His approach updated Steichen s vision by integrating aspects of human existence which Steichen had omitted both because of his wish for coherence and of his innermost convictions Fink provides only the following commentary Rather than a fawn pretence to anthropological sociologic analysis of the events depicted rather than categorise and choose democratically for social relevance I took the path of least resistance and most reward I simply selected quality images with the belief that the path of strong visual energies would visit equal strong social presences He concludes The show is a compendium of visual hints It is not an answer or even a full question but cognitive clues family nation tribe community SHIFT edit nbsp Cover of the exhibition catalogue family nation tribe community SHIFT 1996 In September October 1996 the NGBK Neue Gesellschaft fur Bildende kunst Berlin New Society for the Visual Arts Berlin in the context of Haus der Kulturen der Welt House of World Cultures Berlin conceived and organised the project family nation tribe community SHIFT with direct reference to the historical MoMA exhibition In the catalogue five authors Ezra Stoller Max Kozloff Torsten Neuendorff Bettina Allamoda and Jean Back analyse and comment on the historical model and twenty two artists offer individual approaches around the following themes Universalism Separatism Family Anti family Individualisation Common Strategies Differences The works are predominantly from artist photographers rather than photojournalists Bettina Allamoda Aziz Cucher Los Carpinteros Alfredo Jaar Mike Kelley Edward and Nancy Reddin Kienholz Lovett Codagnone Loring McAlpin Christian Philipp Muller Anna Petrie Martha Rosler Lisa Schmitz Elaine Sturtevant Mitra Tabizian and Andy Golding Wolfgang Tillmans Danny Tisdale Lincoln Tobler and David Wojnarowicz reflect major contemporary issues identity the information crisis the illusion of leisure and ethics In his introduction to the exhibition Frank Wagner writes that Steichen had offered a vision of an harmonious neat and highly structured world which in reality was complex often unintelligible and even contradictory but by contrast this Berlin exhibition highlights first and third world tensions and is eager to concentrate on a variety of attitudes 92 The 90s A Family of Man edit nbsp The 90s A Family of Man Images of mankind in contemporary art The following year Enrico Lunghi directed the exhibition The 90s A Family of Man images of mankind in contemporary art held 2 October 30 November 1997 in Luxembourg Steichen s birthplace and by then the repository of the archive of a full version of his The Family of Man Aside from their understanding of Steichen s efforts to present commonalities amongst the human race curators Paul di Felice and Pierre Stiwer interpret Steichen s show as an effort to make content of Museum of Modern Art accessible to the public in an era when it was regarded as the elitist supporter of incomprehensible abstract art They point to their predecessor s success in having his show embraced by a record audience and emphasise that dissenting voices of criticism were heard only amongst intellectuals However Steichen s success they caution was to manipulate the message of his selected imagery After all they write wasn t he the artistic director of Vogue and Vanity Fair 93 They proclaim their desire to retain the exhibiting artists autonomy while not posing their work as the antithesis of Steichen s concept but to respect and echo its arrangement while raising questions lt it does not become clear if the above words in simple are actual quotations or just relativise the terms themselves gt as indicated by the question mark in their quotation of the original title The exhibition and catalogue quote from Steichen setting pages of the book of his exhibition with their quotations around groupings of images in monochrome beside the works of contemporary artists predominantly in colour collected in themes used in the original though the correlation fails for some contemporary ideas which digital imaging installation and montage works effectively convey The thirty five artists include Christian Boltanski Nan Goldin Inez van Lamsweerde Orlan and Wolfgang Tillmans The Family of Man 2 edit From 1999 to 2005 Leica Users Group members Alastair Firkin Satoshi Oka Tim Spragens Tom Smart and Stanislaw Stawowy organized The Family of Man 2 project to celebrate new millennium 50 years of the Leica M system and the Edward Steichen project anniversary As with Steichen s project the thousands of photos received were edited to 500 100 annually during the project It was exhibited online 94 and an album 95 with winning photos was privately published Reconsidering The Family of Man edit The Photographic Society of America PSA drew on their archives to stage Reconsidering The Family of Man during April and May 2012 96 Not hung and mounted as an installation Artspace at Untitled executive director lt Artspace at Burris display unintelligible Untitled publication gt Jon Burris linear display was based on the concept of Steichen s original exhibit but concentrated on his sub theme of the passage from birth to death From the close to 5 000 photographs in the PSA collection a selection of 50 original prints was made for their show One work in common with the original exhibition was Ansel Adams Mount Williamson from Manzanar which in The Family of Man was presented at mural scale while the PSA used a vintage 11 x 14 Adams print from their collection displaying it while a first edition copy of The Family of Man publication opened to a double page spread of Adams photograph 97 The Family of the Invisibles edit As part of the 2015 2016 France Korea year curators of the Centre national des arts plastiques Cnap and the Fonds Regional d Art Contemporain of Aquitaine Frac Aquitaine Pascal Beausse Cnap Claire Jacquet Frac Aquitaine and Magali Nachtergael Assistant Professor at the Sorbonne collaborated to produce the exhibition The Family of the Invisibles at the Seoul Museum of Art SeMA and the Ilwoo Space in Seoul from 5 April to 29 May 2016 98 The show was devoted to invisible and minority figures their demands for identity and the possibility of reconfiguring a politics of representation to the ideal of giving a place to each member of the human community as represented in more than 200 emblematic photographs The works from the 1930s to 2016 drawn from the Cnap and Frac Aquitaine collections were selected on the principle of Roland Barthes deconstruction identified by the curators in his Mythologies and in Camera Lucida the latter being treated as a visual manifesto for minorities The exhibition was presented in the Seoul Museum of Art in four sections culminating in provocative contemporary photography including the 2009 series of deceased migrants wrapped in cloth in Les Proscrits The Outcasts by Mathieu Pernot and Sophie Calle s 1986 Les Aveugles in which she photographed those things that her blind subjects described as the most beautiful The Prologue of the exhibition at the Ilwoo Space provided a critical and historical counterpoint Texts by Pascal Beausse Jacqueline Guittard Claire Jacquet and Magali Nachtergael Suejin Shin Ilwoo Foundation and Kyung hwan Yeo SeMA were presented in a catalogue 99 nbsp Installation view of The Family of Man permanent exhibition at Clervaux Castle Luxembourg The Family Of No Man Re visioning the world through non male eyes edit The Family Of No Man Re visioning the world through non male eyes held July 2 8 2018 in Arles brought together responses to an open call by Cosmos Arles Books a satellite space of the Rencontres d Arles by 494 female and inter gender artists from all around the world in a revisitation of Edward Steichen s original Works were displayed in interactive installations outdoors and indoors and uploaded to an online platform as they were received Permanent installation Chateau Clervaux Luxembourg edit The permanent installation of the exhibition today at Chateau Clervaux in Luxembourg follows the layout of the inaugural exhibition at MoMA in order to recreate the original viewing experience though of necessity it is adapted to the unique space of two floors of the restored Castle Since the 2013 restoration it has incorporated a library that includes some of the catalogues of the sequel exhibitions above and contextualises The Family of Man with historical material and interpretation 100 nbsp nbsp nbsp Cultural references to The Family of Man editKarl Dallas song The Family of Man also recorded by The Spinners and others was written in 1955 after Dallas saw the exhibition 101 In 1962 Instytut Mikolowski published Komentarze do fotografii The Family of Man by Polish poet Witold Wirpsza 1918 1985 a commentary on individual photographs and selected displays from the exhibition 102 29 References edit The Family of Man is one of the most ambitious and challenging projects photography has ever attempted It was conceived as a mirror of the universal elements and cmotions in the everydayness of life and demonstrates that the art of photography is a dynamic process of giving form to ideas and of explaining man to man Steichen quoted in United States American Embassy Office of Public Affairs University of Illinois Urbana Champaign 1956 Visitors reactions to the Family of man exhibit American Embassy Office of Public Affairs archived from the original on 9 March 2015 retrieved 19 October 2014 Museum of Modern Art Press Release January 31 1954 Museum of Modern Art Plans International Photography Exhibition PDF Dickie Chris 2009 Photography the 50 most influential photographers in the world Little Book of Big Ideas Herbert Press p 117 ISBN 978 1 4081 0944 1 a b Edward Steichen Steichen A Life in Photography ISBN 9781135462840 OCLC 953971378 The Family of Man Steichen Collections Archived from the original on 2015 02 12 Retrieved 2015 02 12 Clervaux cite de l image Clervaux cite de l image Archived from the original on 2015 02 12 Retrieved 2015 02 12 Family of Man UNESCO Memory of the World Programme 2008 05 16 Archived from the original on 2010 02 25 Retrieved 2009 12 14 Warren Lynne 2005 11 15 Encyclopedia of Twentieth Century Photography 3 Volume Set Routledge doi 10 4324 9780203943380 ISBN 978 1 135 20536 2 Edward Steichen at The Family of Man 1955 MoMA Archived from the original on 25 November 2011 Retrieved 15 March 2013 Internationally Circulating Exhibitions PDF Museum of Modern Art 2005 Founded in 1952 the program aims to develop and tour circulating exhibitions including United States Representations at international exhibitions and festivals one person shows and group exhibitions Since the founding of the International Program MoMA exhibitions have had hundreds of showings around the world MoMa Archives Zamir Shamoon 2018 The Family of Man in Munich Visitors reactions In Hurm Gerd Reitz Anke Zamir Shamoon eds The Family of Man Revisited 1st ed London New York I B Tauris pp 77 94 doi 10 5040 9781350988644 ch 006 ISBN 9781784539672 Retrieved 2022 09 22 Roholl Marja L 2000 De fototentoonstelling Wij Mensen The Family of Man in het Stedelijk Museum in Amsterdam een Amerikaans familiealbum als wapen in de koude oorlog In Haitsma Mulier Eco O G Baas Piet eds Het Beeld in de Spiegel Historiografische Verkenningen in Nepali Hilversum Uitgeverij Verloren pp 133 152 Limb Eungsik 1912 2001 organised a showing of Steichen s exhibition in Seoul in 1957 Matthew D Alessandro Stephanie Ades Dawn Gale 4 October 2021 Surrealism beyond borders Metropolitan Museum of Art p 318 ISBN 978 1 58839 727 0 OCLC 1333707941 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link a b c d e f Eric J Sandeen Picturing an Exhibition The Family of Man and 1950s America Albuquerque University of New Mexico Press 1995 p a b White Ralph K Winter 1959 Reactions to Our Moscow Exhibit Voting Machines and Comment Books The Public Opinion Quarterly 4 23 461 470 doi 10 1086 266900 Belmonte Laura A 2008 Selling the American Way U S Propaganda and the Cold War Philadelphia University of Pennsylvania Press ISBN 978 0 8122 4082 5 OCLC 213384931 The Family of Man on the Steichen Collection website of Clervaux Castle a b Turner Fred 2012 The Family of Man and the Politics of Attention in Cold War America in Public Culture 24 1 Duke University Press doi 10 1215 08992363 1443556 Family of Man Exhibition Installation at Museum of Modern Art by Paul Rudolph Interiors April 1955 114 17 Paul Rudolph 14 August 2018 Family of Man exhibit Museum of Modern Art New York City Plan www loc gov Archived from the original on 15 February 2018 Retrieved 29 December 2017 Paul Rudolph interview by Mary Anne Staniszewski December 27 1993 quoted in Staniszewski Mary Anne amp Museum of Modern Art New York N Y 1998 The power of display a history of exhibition installations at the Museum of Modern Art MIT Press Cambridge Massachusetts p 240 a b c Katherine Hoffman 2005 Sowing the seeds setting the stage Steichen Stieglitz and The Family of Man in History of Photography 29 4 p 320 330 DOI 10 1080 03087298 2005 10442814 Osman C 1991 Letters The British Journal of Photography 139 6831 p 9 Sollors Werner 2018 The Family of Man Looking at the Photographs Now and Remembering a Visit in the 1950s in Hurm Gerd Reitz Anke Zamir Shamoon eds 2018 The Family of Man Revisited Photography in a Global Age London I B Tauris ISBN 978 1 78672 297 3 Eric J Sandeen The International Reception of The Family of Man Portfolio History of Photography 29 no 4 2005 p 357 Ralph L Harley Jr Edward Steichen s Modernist Art Space History ofPhotography 14 1 Spring 1990 p 1 Steichen E 1963 A Life in Photography Garden City N Y Doubleday p a b c d Hurm Gerd Reitz Anke Zamir Shamoon eds 2018 The Family of Man Revisited Photography in a Global Age London I B Tauris p 11 ISBN 978 1 78672 297 3 Carl Sandburg 1991 The Complete Poems of Carl Sandburg Rev and expanded ed New York Harcourt ISBN 978 0 15 100996 1 Steichen Edward Sandburg Carl Norman Dorothy Lionni Leo Mason Jerry Stoller Ezra Museum of Modern Art New York N Y 1955 The Family of Man The Photographic Exhibition Museum of Modern Art and Simon and Schuster in collaboration with the Maco Magazine Corporation Parr Martin amp Badger Gerry 2006 The Photobook A History Vol 2 Phaidon London and New York Mason was previously editor of This Week 1948 1952 then editorial director of Popular Publications and editor of Argosy magazine 1948 1952 1 Archived 2016 03 07 at the Wayback Machine Drew Ned Sternberger Paul 2005 By Its Cover Modern American Book Cover Design Princeton Architectural Press ISBN 978 1 56898 497 1 Stimson Blake 2006 The Pivot of the World Photography and Its Nation MIT Press Cambridge Massachusetts p The Family of Man The greatest photographic exhibition of all time 503 pictures from 68 countries created by Edward Steichen for the Museum of Modern Art New York Museum of Modern Art Maco Magazine Corporation 1955 Withey S B 1954 Survey of Public Knowledge and Attitudes Concerning Civil Defense Ann Arbor Survey Research Center Institute for Social Research University of Michigan P Orvell Miles Et in Arcadia Ego The Family of Man as a Cold War Pastoral in Gerd Hurm Anke Reitz and Shamoon Zamir editors The Family of Man Revisited Photography in a Global Age London I B Tauris 2018 ISBN 978 1 78672 297 3 p 191 209 Zamir Shamoon Structures of Rhyme Forms of Participation The Family of Man as Exhibition in Gerd Hurm Anke Reitz and Shamoon Zamir editors The Family of Man Revisited Photography in a Global Age London I B Tauris 2018 ISBN 978 1 78672 297 3 p 133 156 MoMA bookshop site Archived 2016 02 25 at the Wayback Machine Jay Bill 1989 The Family of Man A Reappraisal of The Greatest Exhibition of All Time Insight Bristol Workshops in Photography Rhode Island Number 1 1989 Gresh Kristen 2005 The European Roots of The Family of Man History of Photography 29 4 p 331 343 doi 10 1080 03087298 2005 10442815 Turner Fred 2012 The Family of Man and the Politics of Attention in Cold War America in Public Culture 24 1 Duke University Press doi 10 1215 08992363 1443556 Dorothea Lange letter January 16 1953 quoted in Szarkowski The Family of Man lt gt p 24 Tlfentale Alise 2015 in Selda Pukite editor and Latvian National Museum of Art and Luxembourg National Museum of History and Art Edvards Steihens Fotografija Izstades katalogs Edward Steichen Photography Exhibition catalogue Neputns Publishing House and Latvian National Museum of Art a b c Solomon Godeau Abigail 2017 Parsons Sarah ed Photography After Photography Gender Genre History Durham Duke University Press p 57 ISBN 978 0 8223 6266 1 a b c d Gresh Kristen 2005 The European Roots of The Family of Man History of Photography 29 4 p 331 343 The Family of Man An exhibition prepared and circulated by The Museum of Modern Art New York PDF Archived PDF from the original on 2016 03 04 Retrieved 2015 09 13 Steichen Edward Photography Witness and Recorder of History Wisconsin Magazine of History 41 no 3 1958 160 a b quoted in Gee Helen 2016 Limelight A Greenwich Village Photography Gallery and Coffeehouse in the 1950s Introduction by Denise B Bethel New York Aperture ISBN 978 1 59711 368 7 Morgan Barbara The Theme Show A Contemporary Exhibition Technique in n a The Controversial Family of Man Aperture 3 no 2 1955 Cora Alsberg and George Wright One Family s Opinion in n a The Controversial Family of Man Aperture 3 no 2 1955 Berlier Monique 1999 The family of man Readings of an exhibition In University of Illinois Press Brennen Hardt Hanno eds Picturing the past Media history and photography Bonnie ed University of Illinois Press pp 206 41 ISBN 025206769X Roland Barthes La grande famille des hommes The Great Family of Man in Mythologies Paris Editions du Seuil 1957 173 76 English translation edition Roland Barthes The Great Family of Man Mythologies translated by Annette Lavers St Albans Hertfordshire Picador 1976 100 102 Aperture vol 3 no 2 1955 p Walker Evans Robert Frank US Camera 1958 New York US Camera Publishing Corporation 1957 p 90 Phoebe Lou Adams Through a Lens Darkly Atlantic Monthly no 195 April 1955 p 72 Good photographs speak for themselves Steichen would be the first to agree but somehow he and Paul Rudolf sic a gifted Florida architect designed a display so elaborate that the photographs become less important than the methods of displaying them Pictures of children throughout the world playing ring around a rosy are contorted into trapezoids and mounted on a circular metal construction In another instance a man is chopping wood high in a tree top This undistinguished photograph has been mounted horizontally over the spectator s head To see it properly he has to get in the same position as the photographer who took the picture on his back Photographs grow from pink and lavender poles dangle from the ceiling lie on the floor protrude from the wall Some happily just hang In case the point has not yet been made toward the end of the exhibit there is a group of nine portraits arranged around yes a mirror Alongside is a quote from Bertrand Russell for the majority it is a slow torture of disease and disintegration wrote Rollie McKenna in his review of The Family of Man The New Republic 14 March 1955 p 30 Russell Lynes Good Old Modern An Intimate Portrait of the Museum of Modern Art New York Atheneum 1973 p 325 Jacob Deschin quoted in Szarkowski John Museum of Modern Art New York N Y 1978 Mirrors and windows American photography since 1960 Museum of Modern Art Boston distributed by New York Graphic Society p 16 ISBN 978 0 87070 475 8 Lopate Phillip 2009 Notes on Sontag Princeton University Press Princeton N J Woodstock p 205 Sontag Susan 1977 On Photography Penguin Harmondsworth UK p Sekula Allan 2004 The Traffic in Photographs Photography Against the Grain Essays and Photoworks 1973 1983 P Kaplan Louis 2005 American Exposures Photography and Community in the Twentieth Century United Kingdom University of Minnesota Press pp 66 76 77 ISBN 9780816645701 Sekula Allan 2002 Between the Net and the Deep Blue Sea Rethinking the Traffic in Photographs October p 3 34 a b Abigail Solomon Godeau The Family of Man Den Humanismus fur ein postmodernes Zeitalter aufpolieren The Family of Man Refurbishing Humanism for a Postmodern Age in The Family of Man 1955 2001 Humanismus und Postmoderne eine Revision von Edward Steichens Fotoausstellung The Family of Man 1955 2001 Humanism and Postmodernism a Reappraisal of the Photo Exhibition by Edward Steichen ed Jean Back and Viktoria Schmidt Linsenhoff Marburg Germany Jonas 2004 p 28 55 Student Arrested for Slashing Photographs in THE FAMILY OF MAN in Moscow The Associated Press report read Moscow August 6 All A medical student from Nigeria has been arrested by Soviet Police for slashing four photographs in the U S Exhibition The Nigerian was arrested Wednesday after he cut up pictures from the photographic series The Family of Man which he clearly disliked One picture showed an African dance Another was a large tattooed face A third was a hunter holding up a deer The fourth showed African lips drinking water from a gourd Exhibition officials withdrew the damaged pictures and said an effort will be made to restore them Ref Kaplan Louis 2005 American Exposures Photography and Community in the Twentieth Century University of Minnesota Press ISBN 978 0 8166 4569 5 Blake Stimson 2006 The Pivot of the World Photography and Its Nation Cambridge Massachusetts MIT Press p Parting the Curtain Propaganda Culture and the Cold War 1945 1961 New York St Martin s Press 1997 p 83 Hurm Gerd Reitz Anke Zamir Shamoon eds 2018 The Family of Man Revisited Photography in a Global Age London I B Tauris ISBN 978 1 78672 297 3 a b c Newton Gael 1988 Online text from the original book Shades of Light Photography and Australia 1839 1988 Chapter 13 Photographic Illustrators The Family of Man and the 1960s an end and a beginning www photo web com au Retrieved 2019 09 06 McDonald Lawrence 2012 Camera Antipode Ans Westra Photography as a Form of Ethnographic amp Historical Writing A dissertation presented in partial fulfilment of the degree of Doctor of Philosophy Social Anthropology Programme School of People Environment amp Planning Massey University Manawatu PDF Massey University Retrieved September 6 2019 Exhibitions Marti Friedlander Retrieved 2019 09 06 Cox Paul 1998 Reflections An Autobiographical Journey Australia Currency Press ISBN 978 0 86819 549 0 D hoe Michel 2018 We the Rom A study of Jan Yoors s photography of Gypsies from ca 1934 to the 1970s Part I Dissertation presented in fulfilment of the requirements for the degree of Master of Arts in Cultural Studies PDF Ku Leuven Faculty of Arts Belgium Retrieved September 6 2019 Fables Angkor Photo Festival amp Workshops Retrieved 2019 09 06 Land David January 2012 The Mind s Eye Royal Photographic Society Journal 151 p 588 593 Palma Donna De Eastman House exhibit gives rare glimpse at Amish Rochester Democrat and Chronicle Retrieved 2019 09 06 Cox Julian New Frontiers The Photographs of Robert Weingarten PDF Online text of Cox J Weingarten R amp High Museum of Art 2010 The portrait unbound Photographs by Robert Weingarten Atlanta High Museum of Art Theroux Paul What Makes Francisco Toledo El Maestro Smithsonian Retrieved 2019 09 06 Becker Hellmut 1965 Zur Weltausstellung der Photographie Ansprache zur Eroffnung der Weltausstellung der Photographie in der Akademie der Kunste am 11 Juli 1965 Akademie der Kunste Berlin Pawek Karl The Language of Photography The Methods of this Exhibition In World Exhibition of Photography 1964 Karl Pawek Peter Jurgen Wilhelm 1964 World Exhibition of Photography 555 photos by 264 photographers from 30 countries on the theme What is man Gruner Jahr Hamburg a b Jean Back 1997 Identities and Differences Four Historical and Contemporary Approaches Towards The Family of Man In Di Felice Paul amp Stiwer Pierre amp Galerie Nei Liicht amp Casino Luxembourg 1997 The 90 s A Family of Man Images de l homme dans l art contemporain Casino Luxembourg Cafe Creme Luxembourg James Sarah E 2013 Common ground German photographic cultures across the iron curtain New Haven ISBN 978 0 300 18444 0 OCLC 802103158 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Karl Pawek in introduction to Stern 1968 Die Frau 2 Weltausstellung der Photographie 522 Photos aus 85 Landern von 236 Photographen Gruner Jahr Hamburg Stern 1968 Die Frau 2 Weltausstellung der Photographie 522 Photos aus 85 Landern von 236 Photographen Gruner Jahr Hamburg Mason Jerry 1977 The Family of Children Grosset amp Dunlap New York Shelley Rice Photographic Installation An Overview In SF Camerawork Quarterly vol 12 no 1 Spring 1985 1990 Oppositions commitment and cultural identity in contemporary photography from Japan Canada Brazil the Soviet Union and the Netherlands Uitgeverij Rotterdam Center Quarterly Woodstock New York Photography Center no 50 1991 It s All Relative re Larry Fink New Relations The Family of Man Revisited p 4 17 Family Nation Tribe Community SHIFT Zeitgenossische kunstlerische Konzepte im Haus der Kulturen der Welt Berlin Neue Gesellschaft fur Bildende Kunst HGBK 1996 Paul di Felice Pierre Stiwer 1997 The 90s A Family of Man catalogue for the exposition at Casino Luxembourg Forum d art contemporain and Galerie Nei Liicht de Dudelange eds Casino Luxembourg Forum d art contemporain Cafe Creme translations by Marie Jo Decker Jean Paul Junck Pierre Stiwer Luxembourg I997 ISBN 2 919893 07 6 The Family of Man II The Family of Man 2 Project by the Leica Users Group edited by Alastair Firkin Blurb Books 2 June 2008 Reconsidering the Family Of Man An Exhibition OKC NET 2012 02 03 Retrieved 2019 10 22 Burris J 2012 04 The PSA Print Collection and Reconsidering The Family of Man at Artspace PSA Journal 78 p 18 21 Exhibition announcement on the Institut Francais Seoul website Archived from the original on 2018 11 26 Retrieved 2018 11 26 Preface Kim Hong Hee Lee Myonghi Texts by Pascal Beausse Jacqueline Guittard Claire Jacquet Magali Nachtergael Sangwoo Park Yeo Kyung hwan The Family of the Invisibles Paris Centre national des arts plastiques Bordeaux Frac Aquitaine Seoul Seoul Museum of Art 2016 400p ill in black and white and colour English Korean ISBN 9788994849768 Anke Reitz 2018 Re exhibiitng The Family of Man Luxembourg 2013 in Gerd Hurm Anke Reitz Shamoon Zamir editors The Family of Man Revisited Photography in a Global Age London I B Tauris ISBN 978 1 78672 297 3 Dallas Karl The Family of Man Bandcamp Archived from the original on 27 September 2016 Retrieved 26 September 2016 Witold Wirpsza 1962 Komentarze do fotografi Krakow Wydawnictwo Literackie Further reading editBerlier Monique The Family of Man Readings of an Exhibition In Hardt Hanno Brennen Bonnie 1999 Picturing the past media history and photography University of Illinois Press ISBN 978 0 252 02465 8 Chapter 3 Subtle Subterfuge The Flawed Nobility of Edward Steichen s Family of Man In Bezner Lili Corbus 1999 Photography and politics in America from the New Deal into the Cold War Johns Hopkins University Press Wantage University Presses Marketing ISBN 978 0 8018 6187 1 Gedney W and Donaghy D From The family of man 1955 to Robert Frank William In Mora Gilles 2007 1945 Photographie Ame ricanie de 1958 a 1981 The last photographic heroes American photographers of the sixties and seventies English ed Abrams ISBN 978 0 8109 9374 7 Giocobbi Giorgio Humanist Photography and The Catholic Family of Man In Caruso Martina 2016 Italian humanist photography from fascism to the Cold War London Bloomsbury ISBN 978 1 4742 4693 4 Goldberg Vicki 1999 American photography a century of images San Francisco Calif Chronicle Books ISBN 978 0 8118 2622 8 Photography as popular culture The Family of Man In Green Jonathan 1984 American photography a critical history 1945 to the present H N Abrams ISBN 978 0 8109 1814 6 Gresh Kristen 2005 The European Roots of The Family of Man History of Photography 29 4 331 343 Lury Celia ProQuest Firm 1998 Prosthetic Culture Photography Memory and Identity 1st ed Taylor and Francis pp 41 74 ISBN 978 0 203 42525 1 Hurm Gerd ed Reitz Anke ed Zamir Shamoon ed 2018 The family of man revisited photography in a global age London I B Tauris ISBN 978 1 78672 297 3 James Sarah E 2013 A Post Fascist Family of Man Karl Pawek s Photo Essay and its Stereoscopic Vision Common ground German photographic cultures across the iron curtain New Haven pp 47 102 ISBN 978 0 300 18444 0 OCLC 802103158 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Mauro Alessandra 2014 Phototelling Contrasto due ISBN 978 88 6965 545 6 Mauro Alessandra 2014 Photoshow landmark exhibitions that defined the history of photography Thames amp Hudson ISBN 978 0 500 54442 6 Orvell Miles 2003 American photography Oxford University Press pp 115 120 ISBN 978 0 19 284271 8 Priem K and Thyssen G Puppets on a string in a theatre of display Interactions of image text material space and motion in The Family of Man In Modes and meaning displays of evidence in education Routledge 2016 ISBN 978 1 138 67010 5 Ribalta Jorge Museu d Art Contemporani Barcelona Spain 2008 Public photographic spaces exhibitions of Propaganda from Pressa to The Family of Man 1928 55 Museu d Art Contemporani de Barcelona ISBN 978 84 92505 06 7 Sandeen Eric J Picturing An Exhibition The Family of Man and 1950s America Albuquerque University of New Mexico Press 1995 Sandeen Eric J The Family of Man on the Road to Moscow In Nye David E Gidley M Mick 1994 American photographs in Europe VU University Press ISBN 978 90 5383 304 9 Steichen Edward 2003 1955 The Family of Man New York The Museum of Modern Art ISBN 0 87070 341 2 Szarkowski J The family of man In Elderfield John Museum of Modern Art New York N Y 1994 The Museum of Modern Art at mid century at home and abroad Museum of Modern Art distributed by H N Abrams ISBN 978 0 87070 154 2 The family of man refurbishing humanism for a postmodern age 2004 In Solomon Godeau Abigail 2017 Parsons Sarah ed Photography after photography gender genre history Duke University Press ISBN 978 0 8223 7362 9 Steichen Edward 2004 Back Jean Schmidt Linsenhoff Viktoria eds The family of man 1955 2001 Humanismus und Postmoderne eine Revision von Edward Steichens Fotoausstellung Humanism and postmodernism a reappraisal of the photo exhibition by Edward Steichen Jonas Verlag ISBN 978 3 89445 328 2 Stimson Blake 2006 The Pivot of the World Photography and Its Nation Cambridge Massachusetts MIT Press Turner Fred 2012 The Family of Man and the Politics of Attention in Cold War America in Public Culture 24 1 Duke University Press doi 10 1215 08992363 1443556 Unesco Collins Bartholomew Ltd 2012 Memory of the world 1st ed United Nations Educational Scientific and Cultural Organization UNESCO Glasgow HarperCollins ISBN 978 0 00 748279 5 Hurm Gerd Reitz Anke Zamir Shamoon 2018 The Family of Man Revisited Photography in a Global Age London New York I B Tauris ISBN 978 1 78453 967 2External links editPhotographs documenting the complete original exhibition at MoMA Official website of the Museum The Family of Man Clervaux Luxembourg Official educational platform of the Museum The Family of Man Official website of the Estate of Edward Steichen Steichen Collection Musee National d Histoire et d Art Luxembourg The Bitter Years Waasertuerm Gallery Museum of Modern Art Grace M Mayer Papers Steichen family papers the Beinecke Library Yale University Smithsonian National Air and Space Museum American Expeditionary Force Photo Section Steichen Collection 1917 1919 Smithsonian National Air and Space Museum Edward J Steichen World War II Navy Photographs Collection 1941 1945 Carl Sandburg Home University of Illinois Library Carl Sandburg Papers CarlSandburg net a Research Website for Sandburg Studies Retrieved from https en wikipedia org w index php title The Family of Man amp oldid 1222176153, wikipedia, wiki, book, books, library,

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