Cover art for Levitt's book Crosstown (2002)Cover art for Levitt's book Slide Show (2005)
Helen Levitt (August 31, 1913 – March 29, 2009)[1][2] was an American photographer and cinematographer. She was particularly noted for her street photography around New York City. David Levi Strauss described her as "the most celebrated and least known photographer of her time."[3]
Early life and education
Levitt was born in Bensonhurst, Brooklyn, New York, the daughter of May (Kane), and Sam Levitt.[1] Her father and maternal grandparents were Russian Jewish immigrants.[4] She went to New Utrecht High School but dropped out in 1931.[5]
Work in photography
She began photography when she was eighteen[6] and began working for J. Florian Mitchell, a commercial portrait photographer in the Bronx, where she learned how to develop photos in the darkroom.[7][8] She also attended many classes and events hosted by the Manhattan Film and Photography League,[6] and got acquainted with the work of Henri Cartier-Bresson at the Julien Levy Gallery,[9][10] who she was able to meet through the league.[6] His work became a major influence for her photography as it inspired her to change from her more journalistic and commercial approach to photography to a more personal one.[11]
In 1936, she purchased a Leica 35 mm rangefinder camera.[12] While teaching art classes to children in 1937 for New York City's Federal Art Project,[13] Levitt became intrigued with the transitory chalk drawings that were part of the New York children's street culture of the time.[14][11] She began to photograph these chalk drawings, as well as the children who made them for her own creative assignment with the Federal Art Project. They were ultimately published in 1987 as In the Street: Chalk Drawings and Messages, New York City 1938–1948.[6][15]
She continued taking street photographs in Manhattan, mainly in Spanish Harlem but also in the Garment District and on the Lower East Side.[16] During the 1930s to 1940s, the lack of air conditioning meant people were outside more, which invested her in street photography.[9] Her work was first published in Fortune magazine's July 1939 issue.[17] The new photography section of the Museum of Modern Art, New York included Levitt's work in its inaugural exhibition in July 1939.[18] In 1941, she visited Mexico City with Alma Mailman, then wife of author James Agee, and took photos in the streets of Tacubaya, a working-class suburb.[11] In 1943, Nancy Newhall curated her first solo exhibition Helen Levitt: Photographs of Children with photographs from Harlem and Mexico City.[19][20]
In 1959 and 1960, she received two grants from the Guggenheim Foundation for her pioneering work in color photography.[1] In 1965 she published her first major collection, A Way of Seeing.[21] Much of her work in color from 1959 to 1960 was stolen in a 1970 burglary of her East 12th Street apartment. The remaining photos, and others taken in the following years, can be seen in the 2005 book Slide Show: The Color Photographs of Helen Levitt.[22] A second solo exhibit, Projects: Helen Levitt in Color, was held at the Museum of Modern Art, New York in 1974.[23] Her next major shows were in the 1960s; Amanda Hopkinson suggests that this second wave of recognition was related to the feminist rediscovery of women's creative achievements.[18] In 1976, she was a Photography Fellow of the National Endowment for the Arts.[24]
Levitt lived in New York City and remained active as a photographer for nearly 70 years. However, she expressed lament at the change of New York City scenery: "I go where there's a lot of activity. Children used to be outside. Now the streets are empty. People are indoors looking at television or something."[1]
During WWII, Levitt served as assistant film editor at the Office of Inter-American Affairs, producer-editor of stock footage film Here Is China (1940), and as assistant film editor at the Office of War Information Overseas Branch in New York City 1944–45.[25]
Another Light (1952) is dramatized documentary about a small town and its new hospital, focusing on the reactions of an elderly farmer, a housewife, and a businessman. The film explains how town citizens in Ridgewood, NJ, raised construction funds, and how the hospital supports and serves the community. Presented by the Federal Security Agency's Public Health Service, the film was produced by William Levitt, written by William B. Mahoney, camera by Richard Leacock, co-edited by Levitt and Loeb, and directed by Levitt.
Made by Film Documents Productions.Levitt was active in film making for nearly 25 years; her final film credit is as an editor for John Cohen's documentary The End of an Old Song (1972).[27] Levitt's other film credits include the cinematography on The Savage Eye (1960),[28] which was produced by Ben Maddow, Meyers, and Joseph Strick, and also as an assistant director for Strick and Maddow's film version of Genet's play The Balcony (1963). In her 1991 biographical essay, Maria Hambourg wrote that Levitt "has all but disinherited this part of her work."[15] In 2012 Deane Williams published a comprehensive overview of Levitt's films in Senses of Cinema.[29]
Style and themes
Helen Levitt was most well known and celebrated for her work taking pictures of children playing in the streets. She also focused her work in areas of Harlem and the Lower East side with minority populations.[30] There is a constant motif of children playing games in her work.[17] She stepped away from the normal practice set by other established photographers at the time of giving a journalistic depiction of suffering. She instead chose to show the world from the perspective of children from taking pictures of their chalk art. She usually positions the camera and styles the photo in a way that gives the focus of her photography power.[31]
Her choice to display children playing in the street and explore street photography, fights against what was going on at the time. Legislation being passed in New York at the time was limiting many of the working classes access to these public spaces. Laws were passed that directly targeted these communities in an attempt to control them. New bans on noise targeted working class and minority communities.[31] There was a movement to also try to keep children from playing on the street, believing it is unsafe for them out there. Instead, it encouraged safe new areas that were usually built more in upper and middle class areas. Helen Levitt instead explored the narrative of those who lived in these areas and played in these streets as a way to empower the subjects of her photos.[31]
Personal life and death
She had to give up making her own prints in the 1990s due to sciatica, which also made standing and carrying her Leica difficult, causing her to switch to a small, automatic Contax.[32] She was born with Ménière's syndrome, an inner-ear disorder that caused her to "[feel] wobbly all [her] life." She also had a near-fatal case of pneumonia in the 1950s.[1] Levitt lived a personal and quiet life. She seldom gave interviews and was generally very introverted. She never married, living alone with her yellow tabby Blinky.[9] Levitt died in her sleep on March 29, 2009, at the age of 95.[1]
1943: Helen Levitt: Photographs of Children, Museum of Modern Art, New York, curated by Nancy Newhall (alongside a solo show by Eliot Porter: Birds in Color)
1949: Photo League, New York, with John Candilario
Campany, David (2017). Manhattan Transit: The Subway Photographs of Helen Levitt. Cologne: Galerie Thomas Zander and Verlag der Buchhandlung Walther König. ISBN978-3-96098-122-0.
Kozloff, Max (1987) [1984]. "A Way of Seeing and a Way of Touching". The Privileged Eye: Essays on Photography. Albuquerque: University of New Mexico Press. ISBN0826308929.
Hambourg, Maria Morris; Phillips, Christopher (1989). The New Vision: Photography Between the World Wars (exhibition catalogue, Ford Motor Company Collection at the MET, New York). New York. ISBN0870995502.{{cite book}}: CS1 maint: location missing publisher (link)
Kotzloff, Max (2002). New York: Capital of Photography (exhibition catalogue, Jewish Museum, New York). New Haven/London: Yale University Press. ISBN0-300-09332-2.
Dikant, Thomas (2003). "Helen Levitt: 10 Photographs". Philologie Im Netz. 25: 1–30. Critical study on ten of Levitt's photographs. Dikant also discusses the influences on Levitt, including Henri Cartier-Bresson, Ben Shahn, and Walker Evans.
^Peres, Michael R. (May 29, 2013). "Levitt, Helen". The Focal Encyclopedia of Photography. Taylor & Francis. ISBN9781136106132. Archived from the original on December 5, 2021. Retrieved July 24, 2021 – via Google Books.
^Graves, Lauren (2021). "Inheritors of the Street: Helen Levitt Photographs Children's Chalk Drawings". Buildings & Landscapes: Journal of the Vernacular Architecture Forum. 28 (1): 58. doi:10.5749/buildland.28.1.0058. ISSN1936-0886. S2CID238008765.
^ abHambourg, Maria Morris (1991). "Helen Levitt: A Life in Part". In Phillips, Sandra S. (ed.). Helen Levitt. San Francisco Museum of Modern Art. pp. 45–63.
^Jackson, Benjamin T. (Summer 1960). "The Savage Eye". Film Quarterly. 13 (4): 53–57. doi:10.1525/fq.1960.13.4.04a00160 (inactive November 1, 2024).{{cite journal}}: CS1 maint: DOI inactive as of November 2024 (link)
^Williams, Deane (March 2012). "Helen Levitt". Senses of Cinema (62). Archived from the original on May 25, 2016. Retrieved June 18, 2016. A critical review of Levitt's filmmaking career.
