Paul Strand Photographs Collection in Philadelphia: The Philadelphia Museum of Arts will be the most important repository for the study of Paul Strand work

Philadelphia Museum of Art, 08/1973
Photograph by DICK SWANSON
From the US National Archives
412-DA-7495
Created by The Environmental
Protection Agency

The Philadelphia Museum of Art acquired 3,000 Works by the photographer Paul Strand

THE PHILADELPHIA MUSEUM OF ARTS: THE WORLD's MOST IMPORTANT REPOSITORY for THE STUDY of PAUL STRAND WORK

The Philadelphia Museum of Art announced (last month) that it has acquired, through several gifts and a purchase agreement with the APERTURE FOUDATION, the core collection of photographs by PAUL STRAND, one of the pre-eminent photographers of the 20th century. Through the generosity of philanthropists Lynne and Harold Honickman, Marjorie and Jeffrey Honickman, and H.F. “Gerry” and Marguerite Lenfest, the Museum has received as partial and promised gifts 1422 images from The Paul Strand Archive at the Aperture Foundation, as well as 566 master prints from Strand’s negatives by the artist Richard Benson.  The Museum has also entered into an agreement with the Aperture Foundation to purchase an additional 1276 photographs.  As a whole, this acquisition comprises more than 3000 prints and lantern slides, including the finest examples of every image in the Archive. Together with other photographs by Strand already owned by the Museum, this acquisition makes the Philadelphia Museum of Art the world’s most important repository for the study of his work.

PAUL STRAND RETROSPECTIVE EXHBITION SCHEDULED FOR 2014

All of the photographs and lantern slides are now housed at the Philadelphia Museum of Art where they are being studied in preparation for a major retrospective devoted to the artist that is scheduled for 2014. 

Timothy Rub, the George D. Widener Director and Chief Executive Officer, stated: “The Paul Strand Collection at the Philadelphia Museum of Art will rank among the finest and most significant groups of works by key figures in the history of photography held by any museum in this country. As the definitive collection of one of the 20th century’s greatest photographers, it will also be a critical component of the Museum’s internationally distinguished holdings of modern art, which include the renowned Louise and Walter Arensberg and A. E. Gallatin collections. Given the significance of Strand’s achievement as an artist it will, I believe, become a cornerstone of the Museum’s collections, much like our extensive holdings of works by Marcel Duchamp and Thomas Eakins.

“This is a major achievement,” Mr. Rub went on to say. “We are exceptionally grateful to the dedicated support of our enlightened donors, the Honickmans and the Lenfests, who recognized the value of their gifts to the Museum’s mission and to the study of the history of photography and worked together to help us strengthen the Museum’s collection. Our longstanding relationship with the Aperture Foundation, in particular through the work of the late Michael E. Hoffman, who formed the Strand archive at Aperture and served for many years as the Museum’s Adjunct Curator of Photographs, has enabled us to create a repository of the work of this artist that will chronicle his seminal contributions to the development of modern art and will advance the study of his remarkable body of work and prominent place in the history of photography.”

Celso Gonzalez-Falla, the Chairman of the Board of Trustees of the Aperture Foundation, commented on the placement of this extraordinary collection.  “Given Aperture’s long association with Strand and the commitment that the Philadelphia Museum of Art has made to the development of its world-renowned holdings of photography, it is an ideal place for these works.  This is true not simply because  of the Museum’s long association with Aperture, but also because this gift and purchase, when added to the Museum’s existing collection of more than 600 exceptional works by Strand, provides a full picture of his remarkable achievement, adding strength to strength and creating a true and enduring public benefit. We salute the vision and perspicacity of Peter MacGill of Pace/MacGill Gallery, who has worked closely with Aperture to ensure that this important collection would find a permanent home in a great museum.”

The portion of The Paul Strand Archive that the Museum has made a commitment to purchase from the Aperture Foundation includes many remarkable photographs. Among them are two of Strand’s rare gum bichromate prints, which date to the earliest years of his career. Also included are masterpiece platinum and silver portraits of his first wife, Rebecca Salsbury, and several other key portraits of his circle in the 1910s and 1920s, including his father Jacob, painter John Marin, and fellow photographer Kurt Baasch; unique prints such as a 1922 image of Constantin Brancusi’s sculpture Mlle. Pogany and a solarized portrait of the architect Henry Churchill (1922); major examples of his nature and machine abstractions, including the unique Rock, Georgetown, Maine (1927) and a rare pair of vintage platinum and silver prints of Fern, New England (1928); and superb prints from his early sojourns to the Gaspé Peninsula, the Southwest, and Mexico.

“Combined with the Museum’s existing holdings, this acquisition will give the Museum an unrivaled collection of Strand’s critical early work and his photographs of the Southwest and Mexico, all recognized as high points of his career,” commented Peter Barberie, the Museum’s Brodsky Curator of Photographs. “Added to the recent gifts to the Museum from the Honickmans and Lenfests, the acquisition will also enable us to assemble nearly complete sets of vintage prints from all of Strand’s later projects, beginning with his prized New England photographs of the 1940s and running through the final series he made in the garden of his home in Orgeval, France.”

PAUL STRAND CATALOGUE RAISONNE

The Paul Strand Collection will permit the study of Strand’s career with prints from the majority of his negatives, including most known variants and croppings of individual images. It will, moreover, enable the Museum to keep together several prints made from a single negative using different processes, at different times, and with different papers. As such, The Paul Strand Collection will be an essential resource for any scholar of 20th-century photography. In addition to 2,768 prints and lantern slides by Strand himself, the acquisition includes the gift of 566 gelatin silver and platinum prints from Strand’s negatives by the eminent American photographer Richard Benson, made for Aperture in the 1980s. Benson has printed Strand’s negatives since the early 1970s, when he worked closely with the artist. As part of its ongoing publishing initiatives, the Aperture Foundation will prepare a Paul Strand catalogue raisonne in cooperation with the Philadelphia Museum of Art. 

PAUL STRAND - BIOGRAPHY

Paul Strand (American, 1890 - 1976) is widely recognized as one of the most significant artists in the history of photography. He first studied with the social documentary photographer Lewis Hine at New York’s Ethical Culture School from 1907-1909, and subsequently became close to the pioneering photographer Alfred Stieglitz, America’s greatest champion of modern art at the beginning of the 20th century. Strand fused these powerful influences and explored the modernist possibilities of the camera more fully than any other photographer before 1920, producing a celebrated series of abstractions that reduced still life and architectural elements to simple arrangements of shapes, while at the same time creating some of the earliest “street photographs” of people he caught unawares in urban New York settings. These diverse experiments produced iconic masterpieces such as Wall Street (1915) and Blind Woman (1916) and are now acknowledged as major contributions to modernist art, having introduced subjects that influenced leading photographers of the twentieth century such as Walker Evans, Dorothea Lange, Henri Cartier-Bresson, and Robert Frank.

In the 1920s, Strand explored the camera’s potential to exceed human vision, making intimate, detailed portraits, and recording the nuances of machine and natural forms. He also created portraits, landscapes, and architectural studies on various travels to the Southwest, Canada’s Gaspé Peninsula, and Mexico. The groups of pictures of these regions, in tandem with his documentary work as a filmmaker in the 1930s, convinced Strand that the medium’s great purpose lay in broad and richly detailed photographs of specific places and communities. For the rest of his career he pursued such projects in New England, France, Italy, the Hebrides, Morocco, Romania, Ghana, and other locales, producing celebrated books including Time in New England (1950), and Un Paese (1955), about the village of Luzzara, Italy. Together, these later series form one of the great photographic statements about modern experience.

The Philadelphia Museum of Art has had a special relationship with Paul Strand’s work since 1971, when Adjunct Curator of Photographs Michael E. Hoffman organized for the Museum Strand’s first major retrospective since 1945. Paul Strand: A Retrospective, 1971, debuted in Philadelphia and traveled to St. Louis, Boston, New York, Los Angeles, and San Francisco. In 1972, Strand gave the Museum one of his most important early platinum prints, City Hall Park, New York (1915), along with six other works, and the Museum purchased 10 prints including The Family, Luzzara, Italy (1953). These acquisitions were followed by further purchases in 1974 and gifts from Strand’s widow, Hazel, in 1977 and 1978. In 1980, the artist’s estate gave the Museum the entire contents of his retrospective exhibition, which numbered 497 prints and included an unparalleled group of seven of his early exhibition platinum prints, among them the masterpieces Wall Street (1915), Man in a Derby (1916), and Telegraph Poles, Texas (1915).

HIGHLIGHTS OF THE ACQUISITION OF PAUL STRAND PHOTOGRAPHS

Railroad Sidings, New York, Platinum print, 1915. Promised gift of Lynne and Harold Honickman

The Museum already owns an unparalleled group of masterpiece platinum prints of Strand’s breakthrough photographs of 1915-16. Railroad Sidings is one of the last such prints still in private hands. Alfred Stieglitz included it in Strand’s first exhibition at 291, in March of 1916. It shows Strand moving from the Pictorialist example set by Stieglitz (as in his iconic 1902 picture The Hand of Man, possibly made in the same rail yards), towards the abstraction that he would explore most fully in his still life photographs of the same moment. When Strand, together with Charles Sheeler, made the 1922 film Manhatta, about New York City, he returned to the sites of two of his photographs—Railroad Sidings and Wall Street—to include them in the film.

Blind Woman, New York, Gelatin silver print, c. 1920s (negative 1916). Partial and promised gift of Marguerite and H.F. “Gerry” Lenfest

This early gelatin silver print of one of Strand’s iconic images will join seven other versions—including his 1916 lantern slide, a 1916 photogravure from the journal Camera Work, and five variant gelatin silver prints Strand made at various times after the 1940s, permitting comprehensive study of how he presented and thought about the picture throughout his career. The Museum will have similar groupings for a number of other important works, including Wall Street, Man in a Derby, and The White Fence, Port Kent, New York.

Georgia O’Keeffe, Texas, Platinum print, c. 1917. Promised gift of Marjorie and Jeffrey Honickman

This sensitive portrait of the painter is a very personal document of Strand’s visit to Texas in 1917 and the blossoming of what became a lifelong friendship. It is the only portrait Strand made of O’Keeffe, and perhaps the only print he made of the image. The Paul Strand Collection will include masterful portraits of other figures in Strand’s circle, including painters John Marin and Marsden Hartley, sculptor Gaston Lachaise, photographer Kurt Baasch, and critic Waldo Frank.

Rebecca, New York, Platinum print, c. 1921. Purchase from the Aperture Foundation

Strand photographed his first wife, Rebecca Salsbury, in many sittings between 1919 and 1933, exploring the camera’s ability to record details of the human visage and emotions. This introspective platinum print is among the most riveting portraits he made of her. The Paul Strand Collection will include 24 vintage portraits of Rebecca Salsbury, including seven platinum prints.

Mlle. Pogany, New York (Brancusi), Platinum print, 1922. Purchase from the Aperture Foundation

The acquisition includes many unique works by Strand, which together greatly enrich the depth and complexity of The Paul Strand Collection. Aside from individual works such as this photograph of sculptures by Constantin Brancusi, a remarkable document of Strand’s commitment to modernist art, the collection will include all 70 of Strand’s extant lantern slides, which are critical for studying his practice between 1909 and 1917; 34 small platinum prints made on his first, formative trip to Europe in 1911; three of his gum bichromate prints, of which he made very few; two experiments with a Rectoflex camera, made in Italy in 1952; and the maquette for his 1950 book La France de profil, which includes 44 gelatin silver prints.

Fern, New England, Platinum print, 1928. Purchase from the Aperture Foundation

Fern, New England, Gelatin silver print, 1940s. Purchase from the Aperture Foundation

Strand’s exploration of the camera’s objectivity in his nature and machine studies of the 1920s included his thoughtful analysis of the differences between platinum and gelatin silver prints, each of which he preferred for certain subjects. This pair of prints from the same negative shows the nuances Strand sought in his photographic prints. Altogether, the Paul Strand Collection will include more than 50 vintage or early prints of Strand’s key photographs of plants, driftwood, rocks, and machine forms in the 1920s.

Hacienda, Saltillo, Mexico, Platinum print, 1932. Purchase from the Aperture Foundation

This subtle platinum print shows Strand’s sensitivity to architectural motifs. In its emphasis on geometries and worn surfaces, it relates both to his contemporaneous work in the Southwest, and to the masterful architectural views he would make in New England in the 1940s. Strand’s 1932-33 Mexico photographs, which comprise portraits, landscapes, and views of art and architecture, are widely considered to be one of his greatest bodies of work. The Paul Strand Collection will include 28 vintage platinum prints and twelve vintage or early gelatin silver prints of his Mexican subjects.

Man Carving Chair II, Mr. Bolster, Vermont Gelatin silver print, 1943. Purchase from the Aperture Foundation

Strand’s 1943-46 New England photographs mark a turning point in his career: his decision to methodically document specific regions through a mix of landscapes, artifacts, and portraits, and his endeavor to produce books of his pictures, the first of which would be the 1950 publication Time in New England. Strand’s choice to focus on the hardy culture of New England during the difficult years of World War II contributes to the great power of these photographs, as seen in this riveting portrait of Mr. Bolster, an 83-year-old man crafting a chair outside his barn. Strand would go on to produce groups of photographs comparable to his New England series in France, Italy, the Hebrides Islands, Egypt, Morocco, Roumania, and Ghana. The Paul Strand Collection will include nearly-complete sets of vintage prints of all these projects, beginning with the New England pictures.

Place to Meet, Luzzara, Italy, Gelatin silver print, 1953. Purchase from the Aperture Foundation

In 1953 Strand travelled to the village of Luzzara, where he made an incredible group of photographs including portraits of many individuals who are identified simply by their role in the community—the mayor, the cheese maker, the baker’s wife. He also made group portraits such as this one of elders gathered in a small piazza. Strand was drawn to candid portraiture throughout his career, and he was also attuned to the ways public social gatherings—however informal—can reveal volumes about a time and place. This is one of many superb pictures he made of similar subjects throughout his career.

PHILADELPHIA MUSEUM OF ART

Philadelphia, PA, USA

www.philamuseum.org

Stieglitz, Steichen, Strand Exhibition at the Metropolitan Museum of Art, NYC

Stieglitz, Steichen, Strand 
The Metropolitan Museum of Art, NYC
November 10, 2010 - April 10, 2011

Alfred Stieglitz, Edward Steichen, and Paul Strand, three masters of photography, will be featured at The Metropolitan Museum of Art, New York, from November 10, 2010, through April 10, 2011, in the exhibition Stieglitz, Steichen, Strand.

The diverse and groundbreaking work of these artists will be revealed through a presentation of more than 100 photographs, drawn entirely from the Museum's collection. On view will be several of the Metropolitan's greatest photographic treasures from the 1900s to 1920s, including Stieglitz's famous portraits of Georgia O'Keeffe, Steichen's large colored photographs of the Flatiron building, and Strand's pioneering abstractions.

ALFRED STIEGLITZ (1864–1946) was a photographer of supreme accomplishment as well as a passionate advocate for photography and modern art through his gallery "291" and his sumptuous journal Camera Work. Stieglitz also laid the foundation for the Museum's collection of photographs. In 1928, he donated 22 of his own works to the Metropolitan; these were the first photographs to enter the Museum's collection as works of art. In later decades he gave the Museum more than 600 photographs by his contemporaries, including Edward Steichen and Paul Strand.

Among Stieglitz's works to be featured in this exhibition are portraits, views of New York City from the beginning and end of his career, and the 1920s cloud studies he titled Equivalents, through which he meant to demonstrate how "to hold a moment, how to record something so completely, that all who see [the picture of it] will relive an equivalent of what has been expressed."

The exhibition will also include numerous photographs from Stieglitz's extraordinary composite portrait of Georgia O'Keeffe (1887–1986), part of a group of works selected for the Museum's collection by O'Keeffe herself. Stieglitz made more than 300 images of O'Keeffe between 1917 and 1937—some of them candid shots, some focusing on her face, hands, or feet alone, and many of them showing her nude. Through these photographs Stieglitz revealed O'Keeffe's strengths and vulnerabilities, and almost single-handedly defined her public persona for generations to come.

Stieglitz's protégé and gallery collaborator, EDWARD STEICHEN (1879–1973), was the most talented exemplar of the Photo-Secession, the group founded by Stieglitz in 1902, seceding, in his words, "from the accepted idea of what constitutes a photograph," but also from the camera clubs and other institutions dominated by a more retrograde establishment. In works such as The Pond—Moonrise (1904), made using a painstaking technique of multiple printing, Steichen rivaled the scale, color, and individuality of painting.

Steichen's three large variant prints of The Flatiron (1904) are prime examples of the conscious effort of Photo-Secession photographers to assert the artistic potential of their medium. Steichen achieved coloristic effects reminiscent of Whistler's Nocturne paintings by brushing layers of pigment suspended in light-sensitive gum solution onto a platinum photograph. Although he used only one negative to create all three photographs, the variable coloring enabled him to create three significantly different images that convey the chromatic progression of twilight. The Metropolitan's three prints, all donated by Stieglitz in 1933, are the only known exhibition prints of Steichen's iconic image.

In 1908 Steichen photographed the plaster of Rodin's sculpture of Honoré de Balzac in the open air, by the light of the moon, making several exposures as long as an hour each. In Balzac, The Silhouette—4 A.M., the moonlight has transformed the plaster into a monumental phantom rising above the brooding nocturnal landscape. Steichen recalled that when he presented his finished prints to Rodin, the elated sculptor exclaimed, "You will make the world understand my Balzac through your pictures."

Stieglitz's and Steichen's younger contemporary, PAUL STRAND (1890-1976), pioneered a shift from the soft-focus aesthetic and painterly prints of the Photo-Secession to the straight approach and graphic power of an emerging modernism. Strand was introduced to Stieglitz by his teacher, Lewis Hine, the social reformer and photographer, and quickly became part of the coterie of artists that gathered at "291," where he was exposed to the latest trends in European art through groundbreaking exhibitions of works by Cézanne, Picasso, Matisse, and Brancusi.

Strand incorporated the new language of geometric abstraction into his interest in photographing street life and machine culture. His photographs from 1915-1917 treated three principal themes: movement in the city, abstractions, and street portraits. The final double issue of Stieglitz's Camera Work (1917) was devoted to this young photographer's work, marking a pivotal moment in the course of photography.

In From the El (1915), Strand juxtaposed the ironwork and shadows of the elevated train with the tiny form of a lone pedestrian. In 1916, he experimented with radical camera angles and photographing at close range. Strand's Abstraction, Twin Lakes, Connecticut is among the first photographic abstractions to be made intentionally. When Stieglitz published a variant of this image in Camera Work, he praised Strand's results as "the direct expression of today."

In the same year, Strand made a series of candid street portraits with a hand-held camera fitted with a special lens that allowed him to point the camera in one direction while taking the photograph at a 90-degree angle. Blind, his seminal image of a street beggar, was published in Camera Work and immediately became an icon of the new American photography, which integrated the objectivity of social documentation with the boldly simplified forms of Modernism. As is true for most of the large platinum prints by Strand in the exhibition, the Metropolitan's Blind, a gift of Stieglitz, is the only exhibition print of this image from the period.

Stieglitz, Steichen, Strand is organized by Malcolm Daniel, Curator in Charge of the Metropolitan Museum's Department of Photographs.

The exhibition will be accompanied by a publication, Stieglitz, Steichen, Strand: Masterworks from The Metropolitan Museum of Art. The 160-page volume, by Malcolm Daniel, will feature 125 illustrations, including reproductions of many of the crown jewels from the Museum's collection of photographs. It is published by The Metropolitan Museum of Art in association with Yale University Press ($35).

The Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028

www.metmuseum.org

Related Posts in this blog

The Metropolitan Museum's Department of Photographs [Wanafoto, October 2010]

"Our Future Is In The Air": Photographs from the 1910s, also on view at the Met from November 9, 2010 through April 10, 2011 [Wanafoto, October 2010]

Georgia O’Keeffe: Abstraction at the Whitney Museum of American Art – This exhibition featured famous photographs of Georgia O’Keeffe by Alfred Stieglitz.[Wanafoto, December 2009]

This post has been updated in October 2010.

The Photographs of Paul Strand, Getty Center, Los Angeles

Three Roads Taken: The Photographs of Paul Strand
Getty Center, Los Angeles
May 10 – September 4, 2005

“Three important roads opened for me… My work grew out of a response, first, to trying to understand the new developments in painting; second, a desire to express certain feelings I had about New York where I lived; third… I wanted to see if I could photograph people without their being aware of the camera.” — Paul Strand

One of the country’s most profound photographers, Paul Strand (1890–1976) developed a modernist aesthetic that revealed itself in over half a century’s work with the camera, shaping the development of American photography. The power and impact of his creations are explored in the new exhibition Three Roads Taken: The Photographs of Paul Strand, on view at the Getty Center.

The exhibition features approximately 75 of the 186 Strand prints in the Getty Museum’s collection. The works on view trace the development of Paul Strand’s aesthetic as he sought to express the principles of modern art through photography, convey a sense of place, and create truthful portraits of people. The exhibition presents these three approaches in a chronological survey of the photographer’s work, and includes a continuous screening of Paul Strand’s experimental and influential short film Manhatta, made in 1920 and considered the first avant-garde film in America. 

Three Roads Taken: The Photographs of Paul Strand is part of American Visions, a sequence of four exhibitions featuring works by some of the country’s preeminent practitioners drawn from the Getty Museum’s renowned photographs collection. Together, the exhibitions offer insight into 75 years of photographic innovation, exploring the medium’s versatility as a new creative language used to document reality and as a means for artistic expression. Three Roads Taken will be on view concurrently with The Photographs of Frederick Sommer: A Centennial Tribute, offering a rare opportunity to explore and contrast the almost parallel growth of two very different creative sensibilities. In September, American Visions will focus on photojournalism with Scene of the Crime: Photo by Weegee and Pictures for the Press, featuring sometimes sensational tabloid pictures by the great crime photographer Weegee and memorable news images recording key events in American history from the 1940s to the 1970s.

Paul Strand’s work reflects a particular moment in the history of photography, when a modernist vision was explored, defined, and celebrated. He saw the medium as an expressive fine art, taking inspiration, in particular, from Cézanne’s landscape paintings, which he admired for their ability to unite depth and space. Strand paid careful attention to the structure of his own compositions and the interaction of key elements in his images by exploiting line, shape, and mass. In his still lifes, Strand uses light and shadow to define near-abstract arrangements of shapes and forms. And although more documentary in nature, his portraits and cityscapes, particularly those of New York City, are as equally composed. With its nontraditional perspective and elongated format, one image titled City Hall Park, New York captures the vitality of the modern metropolis while evoking Japanese scrolls.

Paul Strand’s interest in expressing the truth was guided by his search for a sense of humanism in his subjects—something he referred to as the “essential character” of a person. Early in his career, he strove to achieve this by using a camera fitted with a false lens that would allow him to create portraits of people without them being aware of it.

The exhibition includes a continuous screening of Strand’s influential short film Manhatta, made in 1920 with fellow American photographer Charles Sheeler (1883–1965). The film attempts to capture the spirit of New York in seven minutes, tracing a day in the life of the city, beginning with the arrival of the Staten Island Ferry and ending with a sunset on the Hudson River. The sequences in Manhatta display a similar approach to the still photographic work of both Strand and Sheeler, with extreme camera angles used to capture the dynamic character of the city.

PAUL STRAND: BIOGRAPHY

Born in New York in 1890, Paul Strand received his first camera, a Kodak Brownie, when he was 12. He attended the Ethical Culture School in New York from 1907–1909, which shaped Strand’s outlook with its humanist emphasis on creative, critical, and pragmatic approaches to learning. It was here that Strand met and studied with Lewis Hine, whose powerful images of child labor helped guide Strand’s social ideals.

As a young man, Paul Strand was exposed to modern European art at the 1913 Armory Show and at Alfred Stieglitz’s “291” Gallery, where works of art by Cézanne, Matisse, Picasso, and Duchamp were on display for the first time in America. Paul Strand took inspiration from the modernist movement and, in turn, explored its ideas and themes in his photography.

After serving in the army during World War II, Paul Strand experimented with filmmaking, which he practiced in the 1920s through the 1930s. A founding member of Frontier Films, a New York documentary film cooperative, and a director of the Photo League, which was dedicated to social photography in the United States, Strand’s affiliation with both organizations reflected his growing involvement with leftist politics. Finding the political climate inhospitable with the rise of McCarthyism, Paul Strand left the U.S. in 1950 to permanently settle in France, where he worked until his death on March 31, 1976. Throughout his career, Strand applied elements of modernism, realism, and portraiture to all of his works, making for an interesting and diverse body of work that reflects the three roads taken.

RELATED PUBLICATION: In Focus: Paul Strand. Photographs from the J. Paul Getty Museum

Anne M. Lyden

Featuring significant examples of Paul Strand’s far-reaching and powerful work from a 40-year period, this newest addition to the In Focus series is a perfect accompaniment to the current exhibition Three Roads Taken: The Photographs of Paul Strand.

Three Roads Taken is sponsored by Merrill Lynch.

GETTY CENTER, LOS ANGELES
www.getty.edu