American Street: seventy years of a photographic tradition
Dates + times
21 December 2012 – 23 June 2013
Open 10.00 am – 5.00 pm every day
Recorded information +61 2 6240 6501
General information +61 2 6240 6411
For visitors with mobility difficulties +61 2 6240 6411
Photographs of Britain 1874-1990
Penguins and Ice:
Photographs of Antarctica 1910–2010
photographs of mining and miners 1850 to the present
seventy years of a photographic tradition
Image detail above: Garry Winogrand Worlds Fair–New York City, New York. From "Garry Winogrand" 1964 gelatin silver photograph National Gallery of Australia, Canberra Purchased 1978
From the first decade of the twentieth century, improved plate sensitivity to low light conditions and shorter exposure times made it easier for photographers to take to the streets.
With its complexities and contradictions, offering both possibilities of wondrous progress and decline, redemption and ruin, the modern city has presented photographers with endless possibilities. In particular, America’s distinctive symbols of consumer culture—bill boards, advertising signs and highways—have been a well-explored subject in American photography since the 1930s.
In the post-war period, there was a reaction against such conformist and homogenous consumerism. The Beat Generation’s intense personal search for meaning in an increasingly alienating and complicated society, often represented by the road trip, became a theme in popular culture. The new wave of Abstract Expressionist painters in the 1950s also relied on first hand perception and direct experience, placing importance on process, subjectivity and striving for spontaneity.
Photographers took up these developments, establishing a genre which focused on urban subject matter and portraiture, pursued with a love of the ever-changing, exciting, energetic make-up of the street. It is an impetus best summed up by photographer Garry Winogrand, who observed that ‘when things move, I get interested’.