|Dates: ||1898 - 1991|
|Born: ||US, OH, Springfield|
Her shots of New York are some of the most important records of the city.
Biography provided by Focal Press
Man Ray’s Paris assistant. She met Atget just before his death in 1927, subsequently rescuing and promoting his photographs. Opened a New York studio in 1929 and used an 8 x 10 inch camera to create a photographic record of the city that fused Atget’s unadorned realism with the playfulness and humor of her Parisian modernist experience. Stylistically, she worked from many viewpoints often cropping her prints to manifest the chaotic and complex relationship of beauty and decay within an urban environment.
(Author: Robert Hirsch - Independent scholar and writer)
Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409]
(Used with permission)
Mitchell, Margaretta K., 1979, Recollections: Ten Women of Photography, (New York: The Viking Press) [Exhibition catalogue, International Center of Photography, September 21 - November 4, 1979] [Δ]
Valens, Evans G., 1969, The Attractive Universe: Gravity and the Shape of Space, (Cleveland: World Publishing Co.) [Illustrations by Berenice Abbott] [Δ]
Readings on, or by, individual photographers
1982, Atelier Man Ray: Berenice Abbott, Jacques, André Boiffard, Bill Brandt, Lee Miller. 1920-1935, (Paris: Centre Georges Pompidou) isbn-10: 2904570408 [Exhibition catalogue. French] [Δ]
Abbott, Berenice, 1953, New Guide to Better Photography, (New York: Crown Publishers, Inc.) [Second updated edition] [Δ]
Abbott, Berenice, 1970, Berenice Abbott Photographs, (New York: Horizon Press) [Δ]
Abbott, Berenice, 1973, New York in the Thirties, (Dover Publications) isbn-10: 048622967X isbn-13: 978-0486229676 [Δ]
Abbott, Berenice, 2010, Berenice Abbott: Photofile, (Thames and Hudson) isbn-13: 978-0500411001 [Δ]
Abbott, Berenice, 2012, Berenice Abbott: Paris Portraits 1925-1930, (Steidl) isbn-10: 386930314X isbn-13: 978-3869303147 [Δ]
Abbott, Berenice, 2012, Documenting Science, (Steidl) isbn-10: 3869304316 isbn-13: 978-3869304311 [Reprint edition] [Δ]
McCausland, Elizabeth & Abbott, Berenice, 1939, Changing New York, (New York: E. P. Dutton) [Δ]
Morel, Gaëlle, 2012, Berenice Abbott, (Yale University Press) isbn-13: 978-0300182002 [Δ]
O'Neal, Hank, 1982, Berenice Abbott: American Photographer, (New York: McGraw-Hill Book Company) [Δ]
O'Neal, Hank & Abbott, Berenice, 2008, Berenice Abbott, (Steidl) isbn-10: 3865215920 isbn-13: 978-3865215925 [Box set 2 volumes] [Δ]
Van Haaften, Julia (ed.), 1989, Berenice Abbott, Photographer: A Modern Vision, (New York: New York Public Library) [Δ]
Weissman, Terri, 2010, The Realisms of Berenice Abbott, (University of California Press) [Δ]
Yochelson, Bonnie, 1997, Berenice Abbott: Changing New York, (New York: The New Press; New York: Museum of the City of New York) [Δ]
If you feel this list is missing a significant book or article please let me know - Alan - firstname.lastname@example.org
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|Family history |
If you are related to this photographer and interested in tracking down your extended family we can place a note here for you to help. It is free and you would be amazed who gets in touch.
Exhibitions on this website
|Berenice Abbott: Changing New York|
|Berenice Abbott: Flatiron Building|
|Berenice Abbott: Science|| |
All photographs by this photographer
In 1918 Abbott went to New York City to study sculpture . By 1921 she had become disenchanted with New York and she left for Europe where she spent time in Paris and Berlin. She worked for Man Ray in Paris as a darkroom assistant and soon established a reputable career as a portrait photographer. In 1929 she returned to New York for a visit and was "seized by a fantastic passion" to photograph the city and she stayed for 10 years.
During the eight years that Abbott had been away New York had undergone major changes. New skyscrapers were replacing older buildings and the city was changing daily. Abbott slowly moved away from taking portraits of people and began photographing New York City itself. She was having difficulty supporting herself and tried to get financial support for the project she called Changing New York. She spent several years trying to get funding and all the while she kept photographing the city she loved. Abbott finally found support in 1935, from the Federal Art Project, a small part of the Works Progress Administration which was a federal government organization which funded a number of arts projects during the 1930s. The Federal Art Project was a relief agency for artist and it's goal was to show that art contributed to the general welfare of the population.
The project, Changing New York, took place between 1935 and 1939. During this time Abbott strove to capture the elements of change and contrast in her photographs of the city. She wished to "show the skyscraper in relation to the less colossal edifices which preceded it..the past jostling the present." She concentrated on Manhattan and then secondly on Brooklyn and the Bronx. She also took a few photographs of Queens and Staten Island. Abbott received an unexpected amount of publicity over the project and in 1937 the Museum of the City of New York, who also sponsored the project, exhibited 110 of Changing New York's best photographs. In 1939 E.P. Dutton & Co. published a book entitled Changing New York which reproduces 97 of Abbott's photographs. The book has remained a classic photography book through out the 20th century. Berenice Abbott's images capture the essence of Depression-era New York and make her one of America's leading photographers of our time.
[Contributed by Lee Gallery]
The following books are useful starting points to obtain brief biographies but they are not substitutes for the monographs on individual photographers.
|• Auer, Michele & Michel 1985 Encyclopedie Internationale Des Photographes de 1839 a Nos Jours / Photographers Encylopaedia International 1839 to the present (Hermance, Editions Camera Obscura) 2 volumes [A classic reference work for biographical information on photographers.] |
• Beaton, Cecil & Buckland, Gail 1975 The Magic Eye: The Genius of Photography from 1839 to the Present Day (Boston and Toronto: Little, Brown & Company) p.149 [Useful short biographies with personal asides and one or more example images.]
• Capa, Cornell (ed.) 1984 The International Center of Photography: Encyclopedia of Photography (New York, Crown Publishers, Inc. - A Pound Press Book) p.12-13
• Evans, Martin Marix (Executive ed.) 1995 Contemporary Photographers [Third Edition] (St. James Press - An International Thomson Publishing Company) [Expensive reference work but highly informative.]
• Fernandez, Horacio (ed.) 2000 Fotografía Pública: Photography in Print 1919-1939 (Aldeasa) p.48 [This Spanish exhibition catalogue is one of the best sources for illustrations of photomontage and book design for the period between the two World Wars.]
• International Center of Photography 1999 Reflections in a Glass Eye: Works from the International Center of Photography Collection (New York: A Bulfinch Press Book) p.206 [Includes a well written short biography on Berenice Abbott with example plate(s) earlier in book.]
• Lenman, Robin (ed.) 2005 The Oxford Companion to the Photograph (Oxford: Oxford University Press) [Includes a short biography on Berenice Abbott.]
• Witkin, Lee D. and Barbara London 1979 The Photograph Collector’s Guide (London: Secker and Warburg) p.65 [Long out of print but an essential reference work - the good news is that a new edition is in preparation.]
If there is an analysis of a single photograph or a useful self portrait I will highlight it here.
Photographic collections are a useful means of examining large numbers of photographs by a single photographer on-line.
|Library of Congress, Washington, USA |
Approximate number of records: 10
Note: A single record may contain more than one photograph.
|"I didn‘t decide to be a photographer; I just happened to fall into it."|
|"Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant art document, a penetrating statement, which can be described in a very simple term — selectivity."|
|"Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself."|
|"Suppose we took a thousand negatives and made a gigantic montage: a myriad—faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture."|