Bruce Davidson, ‘Wales (boy pushing carriage)’, 1965, Phillips
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Bruce Davidson

Wales (boy pushing carriage), 1965

Archival pigment print, printed later
12 3/5 × 18 9/10 in
32 × 48 cm
Edition 2/15
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
About the work
Bibliography
Provenance
P
Phillips
Medium
Photography
Signature
Signed and numbered 2/15 in ink on the verso.
Bruce Davidson
American, b. 1933
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Throughout his career, Bruce Davidson's documentary photographs have been a celebrated and powerful depiction of the social climate of the United States. Davidson first picked up a camera at age 10, developing his craft on the streets of Chicago in an early exploration of city life. After graduating from Yale University, Davidson was drafted to join the army in a life-altering change of course: it was there that he met photographer Henri Cartier-Bresson and was invited to join Magnum Photos. Davidson's quiet demeanor works to his advantage; he once told the New York Times of his seeming invisibility as a photographer, "I was a shadow." In East 100th Street (1966-68), Davidson produced a shocking study of the poverty and discrimination on a block in Harlem, followed by an investigation of the urban underground in Subway (1980-85), another delicately captured essay on a particular American subculture.

Bruce Davidson, ‘Wales (boy pushing carriage)’, 1965, Phillips
Save
Save
View
View in room
Share
Share
About the work
Bibliography
Provenance
P
Phillips
Medium
Photography
Signature
Signed and numbered 2/15 in ink on the verso.
Bruce Davidson
American, b. 1933
Follow

Throughout his career, Bruce Davidson's documentary photographs have been a celebrated and powerful depiction of the social climate of the United States. Davidson first picked up a camera at age 10, developing his craft on the streets of Chicago in an early exploration of city life. After graduating from Yale University, Davidson was drafted to join the army in a life-altering change of course: it was there that he met photographer Henri Cartier-Bresson and was invited to join Magnum Photos. Davidson's quiet demeanor works to his advantage; he once told the New York Times of his seeming invisibility as a photographer, "I was a shadow." In East 100th Street (1966-68), Davidson produced a shocking study of the poverty and discrimination on a block in Harlem, followed by an investigation of the urban underground in Subway (1980-85), another delicately captured essay on a particular American subculture.

Bruce Davidson

Wales (boy pushing carriage), 1965

Archival pigment print, printed later
12 3/5 × 18 9/10 in
32 × 48 cm
Edition 2/15
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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