About the Author:
Bruce Davidson is a major figure in modern photography who has created compelling documentary work for over 40 years. Born in 1933, he began taking photographs at the age of 10. After military service in 1957 he worked as a freelance photographer for Life Magazine, and in 1958 he became a member of Magnum Photos. Davison continued to photograph extensively from 1958 to 1965, creating such bodies of work as The Dwarf, Brooklyn Gang, Subway, East 100th Street, and The Civil Rights Movement. He received a Guggenheim Fellowship in 1962 to document youth in the south during the civil rights movement, and in 1966 was awarded the first grant for photography from the National Endowment for the Arts. Davidson's work has been shown at many of the world's leading museums, including The Museum of Modern Art, New York; the International Center of Photography; The Walker Art Center; the Smithsonian Institute, Washington, D.C.; and the Parco Gallery, Tokyo. He continues to work as an editorial and documentary photographer and his work appears regularly in publications all over the globe. He lives in New York with his wife and has two daughters.
From Booklist:
Those who grew up conscious of the news in the early 1960s will experience shock after shock of recognition in this mounting of ace photojournalist Davidson's black civil rights work. Here are the freedom rides, marches, voter registration campaigns, and police violence, and here are scenes of the realities that provoked those actions--everyday black life, North and South, from dire poverty to tenuous middle-class status. As with watching the great TV documentary Eyes on the Prize, for those who grew up conscious of what these pictures mean and who recognize faces and settings in them, despite never having met the people or visited the places, it is hard not to become emotional and even teary while scanning them. This is what courage and nobility look like, and this other is what bigotry and xenophobia look like. Presented without captions or reference notes, Davidson's pictures can be appreciated here for their aesthetic quality as never before. Still, their historical importance is never upstaged by their artfulness, which is as it should be. Ray Olson
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