Following WWII, photographers started to take a more broad humanist approach to their work. It was the

beginning of what would eventually be termed “identity politics” because photographers chose topics that dealt specifically with distinctive aspects of particular cultures.

Family of Man exhibition, 1955. Organized by Edward Steichen, director of the Photography Dept.

at the Museum of Modern Art, NY.

Wynn Bullock, Child in the Forest, 1951

August Sander, Bricklayer

W. Eugene Smith, A Walk to Paradise Garden

Family of Man, exhibition view“A mirror of the essential oneness of mankind throughout the world.” - Steichen

Family of Man, exhibition view

• The exhibition is “essentially a picture story to support a concept; an editorial achievement for Steichen, rather than an exhibition of photography.” (NY Times)

• Steichen didn’t treat the photographs as individual works but as pieces of a larger statement.

• The show was enthusiastically received by the public, who were ready to affirm the goodness of mankind.

• The show travelled to over 30 countries and was seen by 9 million people.

Unknown, Atomic Cloud at Bikini, 1946

Tension between the United States and Russia after WW II: the Cold War

• Western leaders began to worry that the spread of communism threatened democracy and capitalism everywhere.

• Communism needed to be “contained” - by diplomacy, by threats or by force. This idea shaped American foreign and domestic policy for decades.

• Many people in the United States worried that communists (“subversives”) could destroy American society from the outside.

• Between 1945-52, Congress held hearings designed to put an end to “un-American activities” in the federal government, public schools and even in Hollywood.

• Anti Communist “Red Scare” of the 1950s.

Central & South America

• In the postwar period, many people living in Central and South America resented the influence of the United States - culturally, politically, economically.

• They wanted to forge a distinctive Latin American identity in the arts and photography.

• Their ideology changed - from before WWII, when they looked at the European experiments in photography (Surrealism/New Vision) - to a wide range of photographic practices, notably photojournalism.

Alberto Korda, Che Guevara, 1960

Alberto Korda, Che Guevara, 1960

“As a supporter of the ideals for which Che Guevara died, I am not averse

to its reproduction by those who wish to propagate his memory and the

cause of social justice throughout the world, but am categorically against

the exploitation of Che’s image for the promotion of products such as

alcohol, or for any purpose that denigrates the reputation of Che.”

The First Colloquium of Latin American Photography, Mexico City, 1978

• Photographers wanted to affirm the multicultural character of Latin America.

• The event (s) brought attention & prominence to Latin America photography.

• Photographers in Bolivia, Brazil, Chile, Cuba, Guatemala & Venezuela became more active.

• Hecho en Latinoamerica (Made in Latin America) - exhibition with the Colloquium.

Pedro Meyer, The Temptation of the Angel, 1991

Pedro Meyer, Wealthy Woman With Two Maids and Male Servant Behind Her. 1978

The First Colloquium of Latin American Photography

• Helped to internationalize Latin American photography.

• Led to a series of international exhibitions that helped to bring Latin American photography to a global audience for the first time.

• Many of the exhibitions were based on extensive curatorial surveys. Generally, Latin American curators lacked funds to conduct such extensive exhibitions.

Ann Parker, Two Brothers, 1973

Claudia Andujar, Yanomani Youth During Traditional Festival, 1978

Claudia Andujar, Yanomani Youth On a Swing, 1978

Photography in Mexico

• Subject matter was local: ordinary urban scenes, as well as traditional religious practices among rural people.

• Some photographers such as Nacho Lopez felt that photojournalism was the most expressive form of photography. It allowed him to work within the social context - the drama of every day life.

Nacho Lopez, Campesino, 1949

Nacho Lopez, Man Carrying Mannequin

Hector Garcia, Campesino Covered With a Leaf, 1965

Hermanos Mayo

Hermanos Mayo

Manuel Alvarez Bravo, Cemetary

Manuel Alvarez Bravo, Day of the Dead, 1933

Manuel Alvarez Bravo, Good Reputation Sleeping, 1938-39

Graciela Iturbide, Our Lady of the Iguanas, 1979

Graciela Iturbide, Angel Woman, Sonora Desert, Mexico 1979

Seydou Keita, Two Women, 1959

Seydou Keita, Two Women on Bike, 1979

Peter Magubane, Johannesburg, South Africa (DRUM magazine),1967

Peter Magubane, Soweto,Student Riots South Africa 1976

Peter Magubane, Soweto,Student Riots South Africa 1976

Ernest Cole, Porridge

Ernest Cole, House of Bondage, pub. 1967

Ernest Cole, from House of Bondage, pub. 1967

Ernest Cole, from House of Bondage, pub. 1967

David Goldblatt, from The Transported, 1989

David Goldblatt, from The Transported, 1989

David Goldblatt, from The Transported, 1989

David Goldblatt, from The Transported, 1989

Raghubir Singh

Raghubir Singh

Raghubir Singh

Raghubir Singh

Shinzo Fukuhara, 1910

Yosike Yamahata, Boy With Rice Ball, 1952

Shomei Tomatsu, A Bottle Melted And Deformed By Atomic Bomb Heat, Radiation and Fire, 1961

Shomei Tomatsu, Man With Scar Tissue

Ken Domon, Hiroshima: The Marriage of A-Bomb Victims, 1957

Shisei Kuwabara, Untitled, from Minimata Disease, 1972

W. Eugene Smith, Minimata, 1972

W. Eugene Smith, Tomoko in Her Bath, Minimata, 1972

Eikoh Hosoe, Kamaitachi 31, 1968

Eikoh Hosoe, Kamaitachi, 1968

Eikoh Hosoe, portrait of Yukio Mishima,1961

Eikoh Hosoe, Yukio Mishima, from Barakei (Punishment by Roses), 1961

Eikoh Hosoe,Yukio Mishima, from Barakei (Punishment by Roses), 1961

Daido Mariyama, Back of Head, Tokyo, 1981

Daido Mariyama, Woman,Tokyo, Midnight, 1981

Daido Mariyama,Tokyo, 1981

Daido Mariyama, Tokyo, 1981

Daido Mariyama, Stray Dog, 1971