When it comes to photography, many viewers prefer idyllic, even colorful, scenes of a place or community over images of tragedy. However, one person to defy this trend was immigrant photographer Weegee, whose stark, black-and-white photographs of death and crime scenes began to hold any viewers in their stifling grasp. However, with time, the renowned photographer shifted his focus, which further helped collect his work in museums such as MOMA. And now, the International Center of Photography (ICP) celebrates the icon again in a new exhibition. Here’s why you mustn’t miss it.
The lead image and those within the article are by Weegee, courtesy of the International Center of Photography/Getty Images. Used with permission.
TitledWeegee: Society of the Spectacle, the exhibit is being presented in collaboration with Fondation Henri Cartier-Bresson, Paris. The organization’s director, Clément Chéroux, has curated the show. What makes this work so interesting is that it is the sixth major showcase of Weegee’s photographs at ICP, and it comes at a time when facts and fiction are being blurred today in the media. The boom of AI, civilians taking on the role of journalists with their smartphones, as well as the way the narrative is twisted today by right-wing media are muddying the journalism field. And so, looking at Weegee’s pictures again, we can remind ourselves what we are losing out.
Many photographers live in a dream world of beautiful backgrounds. It wouldn’t hurt them to get a taste of reality to wake them up. Anyone who looks for life can find it… and they don’t need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can’t be a Nice Nelly and take news pictures. So, keep your eyes open. If you see anything, take it. Remember – you’re as good as your last picture. One day you’re hero, the next day you’re a bum…
Weegee
Through this ICP exhibit, one not only sees Weegee’s bold and distinct look at New York but also how he transformed the city and gave us a fresh perspective on things. For instance, Weegee’s early work depicts the harsh realities of the middle and lower economic groups. Unlike other tabloid photographers, Weegee didn’t shy away from depicting the challenges, often portraying the crime or a tragedy with a human element at its center. “In an age where technology and constant image sharing shape our reality, Weegee’s work challenges us to reconsider the camera’s role not only as a witness but as an active participant in the creation of spectacle,” said Elisabeth Sherman, Senior Curator and Director of Exhibitions and Collections at ICP.
The showcase consists of the photographer’s street works, as well as celebrity portraits. The latter work was experimental images, where Weegee used a distorting lens to take away from the idea of glamour and focus on the character or trait of the person. An example is President John F. Kennedy’s distorted portrait, which appears like a caricature with a large set of teeth and a broad forehead. To make a portrait of the President of the country like this was truly unheard of at that time. Weegee: Society of the Spectacle, thus, showcases the photographer’s depiction of spectators and their unfiltered, everyday urban experience and fame. “His later shift to Hollywood did not distance him from this focus on spectacle but rather amplified his satirical approach, as he created playful distortions of celebrities that critiqued the American obsession with fame,” explains Chéroux.
In addition, the exhibition will feature a new photo book by the photographer, published by the Fondation Henri Cartier-Bresson and Thames & Hudson. The book, which includes essays by Chéroux, Isabelle Bonnet, David Campany, and Cynthia Young, helps to delve into the theme.
The exhibition will be on display from January 23 to May 5. For more information, visit the International Center of Photography’s website.