Berenice Abbott
Berenice Alice Abbott was an American photographer best known for her portraits of cultural figures of the interwar period, New York City photographs of architecture and urban design of the 1930s, and science interpretation of the 1940s to the 1960s.
Super Sight, also known as the Abbott Process, is a form of macro photography developed in the early 1940s by Berenice Abbott.
Early life and education
Abbott was born in Springfield, Ohio, on July 17, 1898, and was raised in Ohio by her divorced mother, née Lillian Alice Bunn.She attended The Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists.
Trip to Europe, photography, and poetry
Her university studies included theater and sculpture. She spent two years studying sculpture in Paris and Berlin. She studied at the Académie de la Grande Chaumière in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes. In addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition.Abbott first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. Later, she wrote: "I took to photography like a duck to water. I never wanted to do anything else." Ray was impressed by her darkroom work and allowed her to use his studio to take her own photographs. In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni. Berenice Abbott's trip to Europe, particularly Paris, was a pivotal moment in her artistic development, leading to her career as a renowned photographer. She spent two years studying sculpture in Paris and Berlin, and during her time in Paris, she began assisting Man Ray, which sparked her interest in photography. While in Paris, she also published poetry in the experimental literary journal, transition.
Abbott's subjects were people in the artistic and literary worlds, including French nationals, expatriates, and others just passing through the city. According to Sylvia Beach, "To be 'done' by Man Ray or Berenice Abbott meant you rated as somebody". Abbott's work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the "Salon de l'Escalier", and on the staircase of the Théâtre des Champs-Élysées. Her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany.
In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work, and managed to persuade him to sit for a portrait in 1927. He died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget's studio at his death in 1927. While the government acquired much of Atget's archive – Atget had sold 2,621 negatives in 1920, and his friend and executor André Calmettes sold 2,000 more immediately after his death — Abbott was able to buy the remainder in June 1928, and quickly started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris'','' in which she is described as photo editor. Due to a lack of funding, Abbott sold a one-half interest in the collection to Julien Levy for $1,000. Abbott's work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget, she provided the photographs for A Vision of Paris, published a portfolio, Twenty Photographs, and wrote essays. Her sustained efforts helped Atget gain international recognition.
Before his work was discovered by a group of young foreign artists connected to Surrealism, specifically American photographers Man Ray and Berenice Abbott, Atget was not well known outside of Paris. Abbott met the photographer shortly before Atget died in 1927 and bought the remainder of his estate, which contained thousands of prints and over a thousand negatives. Abbott supported Atget's ideas of Paris as "realism unadorned" and chronicled the architectural environment of New York City. She preserved the creative heritage of the humble "author-producer," who never called himself a photographer, by promoting Atget's images to audiences around the world for decades through books and exhibitions. Her significant contribution to upholding Eugène Atget's legacy is sometimes overlooked. She helped ensure his posthumous position as a pioneer in documentary photography by actively promoting his archive through books and exhibitions in addition to buying it.
''Changing New York''
In early 1929, Abbott visited New York City, ostensibly with the goal of finding an American publisher for Atget's photographs. Upon seeing the city again, Abbott recognized its photographic potential. She went back to Paris, closed up her studio, and returned to New York in September. There, over the next decade, she focused on documentary photography and on portraying the city as it underwent a transformation into a modern metropolis.During this period, Abbott became a central figure and important bridge between the photographic hubs and circles of Paris and New York City.
Her first photographs of New York were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera, which produced 8 × 10-inch negatives. Using this large format camera, Abbott photographed the city with the diligence and attention to detail she had so admired in Eugène Atget. After Atget's death in 1927, she and Julien Levy had acquired a large portion of his negatives and glass slides, which she then brought over to New York in 1929. Her subsequent work provides a historical chronicle of many now-destroyed buildings and neighborhoods in Manhattan. Abbott had her first exhibition in New York in 1937 entitled "Changing New York" at the Museum of the City of New York. A book under the same title was also published, depicting the city's physical transformation, including changes to its neighborhoods and the replacing of low rise buildings with skyscrapers.
Abbott worked on her New York project independently for six years, unable to get financial support from organizations, foundations, or individuals. She supported herself with commercial work and with teaching gigs at the New School of Social Research beginning in 1933.
In 1935, Abbott was hired by the Federal Art Project as a project supervisor for her "Changing New York" project. While she continued to take photographs of the city, she hired assistants to help her in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.
Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior. Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject, or destabilized it.
Abbott's ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America's "paleotechnic era", which, as he described it, emerged at the end of the American Civil War, a development other historians have dubbed the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts, Americans would be able to wrest control of their cities away from paleotechnic forces and bring about what Mumford described as a more humane and human-scaled, "neotechnic era". Abbott's agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era – before the advent of urban planning. Most often, buildings from this era appeared in Abbott's photographs in compositions that made them look downright menacing.
In 1935, Abbott moved into a Greenwich Village loft with art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of Abbott, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses. In addition, McCausland contributed the captions for Changing New York which was published in 1939. Although well-received, the final book showed important differences from the one initially envisioned by Abbott and McCausland, especially with respect to captions and sequencing. In 1949, her photography book Greenwich Village Today and Yesterday was published by Harper & Brothers.
Ralph Steiner wrote in PM that Abbott's work was "the greatest collection of photographs of New York City ever made."
As the city and architecture are two main themes in Abbott's photographs, her work has been commented on and reviewed together with the work of Eugène Atget and Amanda Bouchenoire, in the book Architecture and Cities. Three Photographic Gazes, where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: " the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references."