Berenice Abbott - Blossom Restaurant, 103 Bowery, New York, 1935 / Silver Gelatin Print - 27.5 x 36

Berenice Abbott - Blossom Restaurant, 103 Bowery, New York, 1935

Silver Gelatin Print - 27.5 x 36

Berenice Abbott - Nightview, New York, 1932 / Silver Gelatin Print - 35.5 x 28.5 ( on 50 x 40 board)

Berenice Abbott - Nightview, New York, 1932

Silver Gelatin Print - 35.5 x 28.5 ( on 50 x 40 board)

Berenice Abbott - Country Store Interior, New York, 1935 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Country Store Interior, New York, 1935

Silver Gelatin Print - 16 x 20

Berenice Abbott - Christopher Street Repair Shop, c. 1948 / Silver Gelatin Print - 14 x 18

Berenice Abbott - Christopher Street Repair Shop, c. 1948

Silver Gelatin Print - 14 x 18

Berenice Abbott - Hoboken Railroad Yards, New Jersey, 1935 / Silver Gelatin Print - 15 x 19.25

Berenice Abbott - Hoboken Railroad Yards, New Jersey, 1935

Silver Gelatin Print - 15 x 19.25

Berenice Abbott - Treasury Building, New York, 1957 / Silver Gelatin Print - 15 x 19

Berenice Abbott - Treasury Building, New York, 1957

Silver Gelatin Print - 15 x 19

Berenice Abbott - Fifth Avenue Houses, New York, 1936 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Fifth Avenue Houses, New York, 1936

Silver Gelatin Print - 16 x 20

Berenice Abbott - Texaco Station, NY, 1936 / Silver Gelatin Print - 15 x 19

Berenice Abbott - Texaco Station, NY, 1936

Silver Gelatin Print - 15 x 19

Berenice Abbott - Manhattan Bridge Looking Up, New York, 1936 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Manhattan Bridge Looking Up, New York, 1936

Silver Gelatin Print - 16 x 20

Berenice Abbott - Cheese Store, New York, 1937 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Cheese Store, New York, 1937

Silver Gelatin Print - 16 x 20

Berenice Abbott - Silky's Hot Dog Stand, Daytona Beach FL, 1954 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Silky's Hot Dog Stand, Daytona Beach FL, 1954

Silver Gelatin Print - 16 x 20

Berenice Abbott - Pike and Henry Street, NY,1936 / Silver Gelatin Print - 11 x 14`

Berenice Abbott - Pike and Henry Street, NY,1936

Silver Gelatin Print - 11 x 14`

Berenice Abbott - Columbus Circle, NY 1936 / Silver Gelatin Print - 11 x 14

Berenice Abbott - Columbus Circle, NY 1936

Silver Gelatin Print - 11 x 14

Berenice Abbott - Chicken Market, NY, 1937 / Silver Gelatin Print - 11 x 14

Berenice Abbott - Chicken Market, NY, 1937

Silver Gelatin Print - 11 x 14

Berenice Abbott - Gunsmith and Police Station, NY, 1937 / Silver Gelatin Print - 10 x 13

Berenice Abbott - Gunsmith and Police Station, NY, 1937

Silver Gelatin Print - 10 x 13

Berenice Abbott - El Staion Interior, NY / Silver Gelatin Print - 11 x 14

Berenice Abbott - El Staion Interior, NY

Silver Gelatin Print - 11 x 14

Berenice Abbott - Buddy Gilmore, Paris, 1927 / Silver Gelatin Print - 11 x 14`

Berenice Abbott - Buddy Gilmore, Paris, 1927

Silver Gelatin Print - 11 x 14`

Berenice Abbott - Edna St. Vincent Millay, New York, 1930 / Silver Gelatin Print - 11 x 14`

Berenice Abbott - Edna St. Vincent Millay, New York, 1930

Silver Gelatin Print - 11 x 14`

Berenice Abbott - Eugene Atget (Front), Paris, 1927 / Silver Gelatin Print - 11 x 14`

Berenice Abbott - Eugene Atget (Front), Paris, 1927

Silver Gelatin Print - 11 x 14`

Berenice Abbott - Spining Wrench, Cambridge, MA, C. 1958

Silver Gelatin Print - 4.5 x 19

Berenice Abbott - Transformation of Energy, Cambridge, MA, 1958 / Silver Gelatin Print - 9.5 x 12.5

Berenice Abbott - Transformation of Energy, Cambridge, MA, 1958

Silver Gelatin Print - 9.5 x 12.5

Berenice Abbott - Parabolic Mirror, Cambridge, MA, c, 1958 / Silver Gelatin Print - 12.5 x 13

Berenice Abbott - Parabolic Mirror, Cambridge, MA, c, 1958

Silver Gelatin Print - 12.5 x 13

Berenice Abbott - Falling Balls, Cambridge, MA, c. 1958 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Falling Balls, Cambridge, MA, c. 1958

Silver Gelatin Print - 16 x 20

Berenice Abbott - Multiple Exposure of Swinging Balls, Cambridge, MA, 1958 / Silver Gelatin Print - 12.5 x 19

Berenice Abbott - Multiple Exposure of Swinging Balls, Cambridge, MA, 1958

Silver Gelatin Print - 12.5 x 19

Berenice Abbott - Water Waves Change Direction, Cambridge, MA, 1958 / Silver Gelatin Print - 14.75 x 17

Berenice Abbott - Water Waves Change Direction, Cambridge, MA, 1958

Silver Gelatin Print - 14.75 x 17

Berenice Abbott - Light Rays Through Prism, Cambridge, MA, c. 1958 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Light Rays Through Prism, Cambridge, MA, c. 1958

Silver Gelatin Print - 16 x 20

Berenice Abbott - Facade: Alwyn Court, NY, 1936 / Silver Gelatin Print - 20 x 24

Berenice Abbott - Facade: Alwyn Court, NY, 1936

Silver Gelatin Print - 20 x 24

Berenice Abbott - Fifth Avenue Coach, NY, 1932 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Fifth Avenue Coach, NY, 1932

Silver Gelatin Print - 16 x 20

Berenice Abbott - A Zitto's Bakery, NY, 1937 / Silver Gelatin Print - 14.75 x 18.5

Berenice Abbott - A Zitto's Bakery, NY, 1937

Silver Gelatin Print - 14.75 x 18.5

Berenice Abbott - Broadway to the Battery, NY, 1938 / Silver Gelatin Print - 13.75 x 18

Berenice Abbott - Broadway to the Battery, NY, 1938

Silver Gelatin Print - 13.75 x 18

Berenice Abbott - Lebanon Restaurant, NY, 1936 / Silver Gelatin Print - 14.75 x 18

Berenice Abbott - Lebanon Restaurant, NY, 1936

Silver Gelatin Print - 14.75 x 18

Berenice Abbott - Murray Hill Hotel, NY, 1935 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Murray Hill Hotel, NY, 1935

Silver Gelatin Print - 16 x 20

Berenice Abbott - Theoline, NY, 1936 / Silver Gelatin Print - 15 x 19

Berenice Abbott - Theoline, NY, 1936

Silver Gelatin Print - 15 x 19

Berenice Abbott - Triboro Barber School, NY, 1936 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Triboro Barber School, NY, 1936

Silver Gelatin Print - 16 x 20

Berenice Abbott - Yuban Warehouse, New York, 1936 / Silver Gelatin Print - 16 x 20

Berenice Abbott - Yuban Warehouse, New York, 1936

Silver Gelatin Print - 16 x 20

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Berenice Abbott

Berenice Abbott (1898-1991)
American photographer Berenice Abbott was born in Springfield Ohio in 1898 and died in retirement in Monson, Maine in 1991. Except for a formative and influential decade in Paris in the 1920s, she spent most of her productive life in photography in New York City. Her five decades of accomplishments behind the camera range from portraiture and modernist experimentation to documentation and scientific interpretation. Her contributions as photographic educator, inventor, author and historian are equally diverse: she originated the photography program at the New School for Social Research and taught there from 1934-58; wrote several books and numerous articles including the once influential Guide to Better Photography (1941); received four U.S. patents for photographic and other devices; and rescued the work of French master photographer Eugene Atget.

Abbott’s photographs consistently reflect her innate appreciation for the profound documentary capacity of rigorously conceived images to impart information in an aesthetically engaging way. Within four major thematic categories — Portraits (1920s-1930s), New York City (1930s-1940s), Science (1940-1950s), and American Scenes (1930s-1960s) — Abbott’s photographs effectively unite the personal and the impersonal in one penetrating body of work. Her systematic documentary photography of New York City for the Federal Arts Project during 1935-1939, Changing New York is the subject pictured here.
copyright Julia Van Haaften

Born: July 17, 1898 Springfield, Ohio
Died: December 9, 1991 Monson, Maine

Berenice Abbott - Inventor

House of Photography

In addition to her artistic accomplishments, Berenice Abbott invented photographic equipment and held four patents on her inventions. In 1947, she and several business associates established The House of Photography, which was a commercial venture designed to bring her inventions to market.

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Diagram from patent for candid camera, 1958

Diagram from patent for candid camera, 1958

Abbott’s biographer Hank O’Neal discusses some of her major inventions in his book, Bernice Abbott American Photographer. These devises include a distortion easel, an autopole, a cloth vest with many pockets, a candid camera and a precursor to the monopod. The House of Photography was a financial failure, and Abbott eventually lost her backers, though the company existed on paper for many years after it ceased to function.

O’Neal remembers looking through Abbott’s attic in Monson, Maine, where she lived at the end of her life, and finding models for inventions, stock certificates and other corporate documents, as well as the corporate seal. Though the business was a bust, O’Neal says her journals and notebooks from that time frame reveal a river of ideas and questions. Interestingly, Abbott wrote registered letters to herself as a way of documenting and dating her most evolved ideas.

Berenice Abbott - 1411 9th Street, Augusta GA, 1954

Story Behind the Picture

Berenice Abbott’s 1411 9th Street, Augusta, Georgia, 1954
One of the major topics Berenice Abbott addressed in her Route 1 series was racial tension in the south, primarily in Georgia and Florida.

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1411 9th Street, Augusta Georgia, 1954

1411 9th Street, Augusta Georgia, 1954

Abbott was uncomfortable documenting poverty, according to colleagues who knew her, but she felt strongly enough about the disparity between the races to push past her reticence. Abbott also brought a different sensibility to the face of poverty than other photographers, such as Margaret Bourke-White, Walker Evans, and other Farm Security photographers, who tackled the same subject. There are subtle shadings of hope in her images, and Abbott was careful to respect peoples’ dignity when she made artistic and technical decisions about the construction of an image.

Abbott always maintained that the physical placement of the view camera was critical for the meaning of the resulting picture, as well as its compositional structure. Because Abbott placed her camera to the left of the home, one of the first objects a viewer sees is the thriving stalks of Sun Flowers abutting the family’s porch. Martha Wheelock points out that this indicates to the viewer that the family is not defeated by their situation, though Abbott still clearly documents their deprivations.

Before It Disappears - Berenice Abbott

There is a tradition in photography of photographers and photo enthusiasts devoting significant portions of their own careers preserving the work of their artistic heroes whose work was on the verge of extinction.

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Contemporary master Lee Friedlander discovered, printed and published the evocative French Quarter portraits of E.J. Bellocq. In a stroke of good fortune, photographer Peter Miller moved to tiny Heber Springs, Arkansas, in the 1970s, where he unearthed the neglected portraits of Mike Disfarmer, the town’s studio photographer, who turned out to have been a powerful and unsentimental documentarian of small town life.

Eugene Atget, Paris, 1927

Eugene Atget, Paris, 1927

In recent years, John Maloof discovered and brought to light the incredible archive of Vivian Maier. Though their work is very different, both Disfarmer and Maier were working in a kind of vacuum, never imagining or seeking fame.

Bernice Abbott saved Atget’s Paris archive from oblivion, and in a karmic circle, her own forgotten pictures of Route 1 were brought to light by writers Hank O’Neil and Ron Kurtz decades after they were created.

Abbott documented life along Route 1 from Maine to Florida, but in 1958 she abandoned the project for lack of a publisher. The work, as well as some of her unknown New York photographs, was largely unseen until recently.

Complete information about Abbott's work, can be found on her Artist Page.

Route 1: Berenice Abbott's Unusual Bargain

Imagine this: Berenice Abbott, her trusty view camera, a portable darkroom, a giant schnauzer named Schoen, and a pair of newlyweds, cram into a station wagon and head down Route 1 in the summer of 1954 to photograph small towns along the coast for months on end.

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Baptist Church, Augusta, Georgia, 1954

Baptist Church, Augusta, Georgia, 1954

How did this unlikely party form? A cash-strapped (and carless) Abbott happened to meet Damon Gadd, son of a New York developer, who was eager to learn the craft of photography. Ever inventive, Abbott traded Gadd photography lessons for transportation and off they went. The group, including Gadd's newly wed wife Sara, left New York on Route 1, traveled south to Key West, Florida, and back north again, concluding the journey in Maine.

By the trip’s end, Abbott had made 2,400 negatives, which translates roughly into one photograph per mile of the trip. Route 1 is the longest north-south road in the US, and connects major cities including New York, Boston, Philadelphia, Baltimore, Washington D.C. and Miami.

This bargain has to be one of the most creative ones struck in the history of photography. As Abbott was nearing her 60s, she found herself struggling with a lack of funding as she had most of her career, despite her great achievements.

A selection of these stunning Route 1 photograph can now be seen in the Lumière exhibition Circle of Light. The magnitude of this achievement was not fully recognized during her lifetime, though the pictures were occasionally exhibited. "I think almost more than any other work she did, this (Route 1) really got to the heart of what she was interested in illustrating, which was the sense of a changing landscape through photographs that were truly objective in their presentation," said David Prince, curator of the University Art Collection at Syracuse.

Route 1 echoes many of the same themes in Changing New York, only on a national scale. Abbott saw that the federal highway program, begun in the Eisenhower era, would forever change the country. Interstate 95 would eventually divert traffic from Route 1, and life along the road would also shift from villages to exit ramp clusters. Though Abbott had an idea for a similar trip in the 1930s, her teaching schedule at The New School in New York prevented her from taking the long absences needed to pursue her personal projects. But by the 1950s, time was running out to capture this fading way of life. "Before bulldozers and derricks moved in," Abbott said.

"It's so different…Now, if you just drive the freeways down to Florida, you won't see that much of an interesting, different world. I think it will help remind people of a world that isn't all strip malls from Maine to Florida,” Abbott told an Associated Press reporter in 2003.

As for Damon Gadd, not much is known about the specifics of his lessons with Abbott. The Gadds settled in Vermont after the trip, and 4 years later, went on to found the Sugarbush ski resort in 1958. Sugarbush became popular with the jet set, by introducing innovations such as an enclosed Italian-built gondola lift, during the Gadd’s tenure.The resort attracted the Kennedys, actress Kim Novak, fashion designer Oleg Cassini, and many others. The Gadds eventually sold the resort to Roy Cohen in 1977 and retired to Florida.

Additional information about Abbott's work, can be found on her Artist Page.

Abbott/Cunningham - Out Man Raying Man Ray

The Art of Photographing Photographers

While in Europe, Imogen tracked down the great American expatriate artist Man Ray and made a stunning portrait of this multi-disciplinary artist. Often in her long career, Imogen used darkroom magic to transform an ordinary photograph, into something much more.

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Original Portrait of Man Ray

Original Portrait of Man Ray

Meg Partridge recounts her grandmother’s method: “Imogen did whatever it took to make a photograph go from good to great. She took a straightforward picture of Man Ray sitting at his desk and in the darkroom she made it into something fabulous by moving the image in the enlarger as many as eight times to create a layered, cinematic effect.”

“Imogen had gumption. She was never shy about photographing other photographers. You just have to bring your best game to photo sessions with great artists.”

A Man Ray Version of Man Ray

A Man Ray Version of Man Ray

Berenice Abbott, another Circle of Light photographer, had a very different relationship with Man Ray. Cunningham met Man Ray, later in life, when she was an established artist, but Abbott was not even working in the medium when she met Man Ray in 1923, through the expatriate community in Paris. Abbott was trying her hand at sculpture, when she heard through Marcel Duchamp, that Man Ray was looking for an untrained assistant. A previous assistant had been too aggressive in his questioning of Man Ray's methods, and Man Ray was looking for a more malleable employee. Abbott fit the bill since she had never printed a photograph or seriously used a camera. Abbott was quickly smitten with photography and abandoned sculpture permanently.

Berenice Abbott, 1921, by Man Ray

Berenice Abbott, 1921, by Man Ray

Man Ray taught Abbott to print negatives and use a camera. Abbott was an avid learner and within three years or so, she had established her own studio. Jean Cocteau was her first official sitter. James Joyce, Eugene Atget, Edna St. Vincent Millay and Djuna Barnes are among her most notable subjects. Her portrait of Joyce is one of the most widely reproduced images of the great Irish novelist.

The practice of photographers switching roles and becoming the subject of an image is deeply rooted. Cunningham's portrait of the mature Man Ray reminds us of his portrait of the young Berenice Abbott taken nearly 4 decades earlier.

The Intertwined Careers of Lewis Hine, Paul Strand & Bernice Abbott

Social documentary photographer Lewis Hine’s career intersected with two of the Circle of Light artists, Paul Strand and Berenice Abbott. At the dawn of the Twentieth Century, Hine, who was making iconic Ellis Island photographs, taught an extracurricular course at New York’s Ethical Culture School, and one of his students was a young Paul Strand.

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Lewis taught this small class of six students the mechanics of the camera, how to use magnesium powder in flashes, and most importantly, he introduced Strand to Alfred Stieglitz at the Photo-Secession Gallery on Fifth Avenue. This was a fortuitous meeting, as Stieglitz eventually became a major advocate for Strand, publishing his early photographs and heralding Strand’s accomplishments through the gallery.

Child Labor - Lewis Hine

Child Labor - Lewis Hine

Though he was only 17, after visiting the gallery Strand declared that his only goal to be “an artist in photography.” After this pivotal encounter, Strand never veered from a life in art. After finishing high school, Strand decided not to attend college, and after brief stints working for his father, and serving in the army, he embarked on a life of photography and filmmaking.

Portrait of Lewis Hine, by Berenice Abbott

Portrait of Lewis Hine, by Berenice Abbott

Berenice Abbott played a role in Hine’s career at the end of his life. She visited Hine when he was ill and had been rendered impoverished by the Great Depression. The artist who exposed the evils of child labor, unsafe working conditions, the plight of immigrants and the slums of the Lower East Side of Manhattan had been largely forgotten. Abbott organized an exhibition of his work that re-established Hine’s contribution to the medium of photography and the progressive movement.

Much has been written about Berneice Abbott’s heroic efforts to preserve the Parisian negatives of Eugene Atget. She played a similar role in cementing Hine’s place in art history. Martha Wheelock, who made a documentary of Berenice Abbott’s life, recounts the Hine-Abbott connection. “Lewis Hine was penniless and had all these interesting pictures of people working in the mills. Bernice Abbott alone got his work in the press and also staged an exhibition of his work, but she never did that sort of thing for herself. I think that says a great deal about her as a human being and as an artist.”

The Persistence of Vision

Creativity and Longevity in the Careers of:
Imogen Cunningham, Bernice Abbott and Paul Strand

“Which of my photographs is my favorite? The one I’m going to take tomorrow.” – Imogen Cunningham

In a CBS This Morning video segment called Note to Self, the painter Chuck Close declares, “Inspiration is for amateurs.” Close believes art is created from a steady diet of work, rather than the gift of a muse descending from the heavens bearing a brilliant painting or novel or photograph. Imogen Cunningham, Berenice Abbott and Paul Strand would likely agree with Close’s view.

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All three photographers had impressive work ethics that drove them to create photographs until the end of their long lives. Cunningham died at 93; Abbott at 93 and Strand at 85.

Perhaps an abiding interest in the world beyond one’s self is a key to longevity. These photographers drew their inspiration from the external world, whether the impetus was to document changes in the way people live and work or a desire to explore different values and political systems. Curiosity is a trait linking these three very different photographers. The camera represented a kind of fountain of youth for Abbott, Cunningham and Strand, who were determined to use this still young medium as a powerful tool of understanding. These three Americans traveled the globe in search of photographic success in their own unique ways.

Berenice Abbott, NYC, 1986 - by Arnold Newman

Berenice Abbott, NYC, 1986 - by Arnold Newman

Bernice Abbott was part of the American expatriate community in Paris in the 1920s. After studying sculpture in Europe for a few years, she found her calling when she convinced Dadaist Man Ray to hire her as a darkroom assistant, despite her lack of experience.

“America was no place for the artist, and it was no place for me. Nothing would have happened to me here. A poor girl from the middle west with nothing open for me except marriage,” Abbott says in Martha Wheelock’s excellent film, Bernice Abbott, A View of the 20th Century. “There was a general feeling of hope. The war had lifted off of people’s shoulders. There is a café life there that’s very wonderful. People come there late in the afternoon after a days work. You exchange ideas and you’re alive.“

Paul Strand, NYC, 1966 - by Arnold Newman

Paul Strand, NYC, 1966 - by Arnold Newman

Paul Strand moved to Mexico in the 1930s to photograph labor and farming communities, after being invited by Carlos Chavez, director of the fine arts department of the Secretariat of Public Education, to document the changing landscape and people of Mexico. During the two years Strand spent there, he traveled the countryside photographing small towns, churches, religious icons and the people who inhabited the land. Eventually, Strand moved to France permanently in the 1950s. His adopted country became a base to explore Europe and Africa.

Imogen Cunningham, NYC, 1969 - by Arnold Newman

Imogen Cunningham, NYC, 1969 - by Arnold Newman

For part of her career, Imogen Cunningham was restricted geographically by familial duties, but she also traveled to Europe at the end of her life and photographed extensively there. Though her photographic endeavors were primarily centered on the West Coast, her projects where as diverse and expansive, as those of her peers in the Circle of Light exhibition.

Science backs up the anecdotal evidence that imaginative pursuits can fuel longevity, as Jeffrey Kluger writes in a 2013 Time Magazine article, “Increasingly, brain research is showing that in the case of creative people, this mortal cause-and-effect pays powerful dividends–that it’s not just the luck of living a long life that allows some people to leave behind such robust bodies of work but that the act of doing creative work is what helps add those extra years.”

Though what scientists call “fluid intelligence,” which includes memory and computational speed, almost invariably decline with age, the brain can actually repair itself and strengthen right and left-brain connections as it ages. Kruger continues. “Studies with functional magnetic resonance imaging (fMRI), however, show that in the older brain, one hemisphere is not shy about calling on the other for help if it’s having trouble with a task. ‘There may be a decline in function, but it’s partly compensated for by a reorganization in function,’ says cognitive neuroscientist Roberto Cabeza of Duke University. ‘The brain shows these changes into the 80s.’ That can pay particular dividends for the artist, Cabeza says. Language conveys meaning, but if you want to give it particular resonance, it helps to attach a picture to the words. So the left-brain has to reach into the right for help–the poet borrowing one of the painter’s brushes. That’s not easy to do–which is why not everyone can be a poet–but when the walls between the hemispheres get lower, the job gets easier.”

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