In 1958 he became a member of Magnum Photos, and in 1962 he received a Guggenheim Fellowship to document the civil rights movement. x 12 inches, 125 pages, gray cloth with lettering stamped in black, matching slipcase, slight soiling and wear to slipcase, Expanded version of the book that was originally published in 1986, with the photographs produced during 1980 and 1981. This helped perpetuate a certain stereotype among the community, which stills exists in the hearts and minds of some people to this day.

If you are afraid of photographing on New York’s subway system today, imaging spending five years in the height of the tough ’80s New York with a giant flash. Institutional support for the Museum is provided by the City of San Diego Commission for Arts and Culture. If they hesitated, I would pull out my portfolio and show them my subway work; if they said no, it was no forever.

Davidson ist berühmt für Fotobuch-Klassiker wie "East 100th street" (Andrew Roth, The Book of 101 Books, Seite 196/197; Martin Parr, Gerry Badger, The Photobook, volume 1, Seite 18). Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. While not strictly a New York photographer, Bruce Davidson has created some of the most iconic New York photographs of the 20th century. After a solo exhibition at The Museum of Modern Art in 1963, Davidson spent two years photographing in Harlem, resulting in the book East 100th Street. The images present the full gamut of New Yorkers, from weary straphangers and languorous ladies in summer dresses to stalking predators and homeless persons.

From the moving train above ground, we see glimpses of the city, and as the trains move into the tunnels, sterile fluorescent light reaches into the stony gloom, and we, trapped inside, all hang on together. Existing beneath a city defined by its diversity and promise of opportunity, the subway appears as a microcosm of this sprawling urban metropolis: a democratizing realm where individuals from all walks of life sit side by side in a setting as frantic and unruly as the streets above. In 1980 he captured the vitality of the New York Metro s underworld that was later published in his book Subway and exhibited at the International Center for Photography in 1982. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Bruce Davidson's groundbreaking Subway, first published by Aperture in 1986, has garnered critical acclaim both as a documentation of a unique moment in the cultural fabric of New York City and for its phenomenal use of extremes of color and shadow set against flash-lit skin.

Few contemporary photographers give us their observation so unembellished – so free of apparent craft or artifice – as does Bruce Davidson. The subway was dangerous at any time of the day or night, and everyone who rode it knew this and was on guard at all times; a day didn’t go by without the newspapers reporting yet another hideous subway crime. Davidson got his first assignment in 1961 to photograph high fashion for Vogue and the New York Times Freedom Riders in the south.

With renovations beginning on the subway during the eighties, today the transit system is in some ways unrecognizable. The images include the full panoply of New Yorkers-from weary straphangers and languorous ladies in summer dresses to stalking predators and the homeless. Steadily deteriorating ever since the opening of the first underground line in 1904, by the time Davidson embarked on his project in the spring of 1980, the subway had reached its lowest ebb.

In 1980, after living in New York City for 23 years, Davidson began Subway, his startling color essay of urban life.

I walked along Essex Street to visit an old scribe who repaired faded Hebrew characters on sacred Torah scrolls. Dustjacket wonderful fresh with slightest trace of use, but with no tears, no missing parts and no remarkable flaws or defects. He familiarized himself with a smaller area, and used that to tell a much larger story, due to the intimacy with his subjects. We asked Davidson about his perspective on the work today and whether he thinks he would have been so drawn to the subject had it not been in such a state of disrepair: “[this] gave a tension and a purpose to my photographs,” he replied.In this edition of classic photographic literature, a sequence of 118 images move the viewer through a landscape at times menacing, and at other times lyrical, soulful, and satiric. The photographer’s descent into the city’s famed transit system followed a period of broader exploration in New York. In 1966 he was awarded the first grant for photography from the National Endowment for the Arts, and spent two years bearing witness to the dire social conditions on one block in East Harlem. Davidson's first extensive series in color, his exploratoin into the dark grafitti-filled New York subway perfectly complements his portrayal of the everyday human condition.