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Exhibition Brochure Detroit Photographs I Detroit Photographs 1 RUSS MARSHALL Detroit Photographs, 1958–2008 Nancy Barr Like a few bars of jazz improvisation, Russ James Pearson Duffy Curator of Photography Marshall’s photographs of city nights, over- time shifts, and solitary moments in a crowd resonate in melodic shades of black and white. In his first museum solo exhibition, we experience six decades of the Motor City through his eyes. Drawn from his archive of 50,000 plus negatives, the photographs in the exhibition celebrate his art and represent just a sample of the 250 works by Marshall acquired by the Detroit Institute of Arts since 2012. Russ Born in 1940 in South Fork, Pennsylvania, Marshall settled in Detroit Detroit Naval aviation still camera photographer. He returned to Detroit Marshall with his family in 1943 and began to pursue photography as a Photographs after military service and continued to photograph throughout the hobby in the late 1950s. Some of his earliest photographs give a city. Ambassador Bridge and Zug Island, 1968, hints at his devel- 2 rare glimpse into public life throughout the city in the post-World 3 oping aesthetic approach. In a long shot looking toward southwest War II years. In Construction Watchers, Detroit, Michigan, 1960, he Detroit, Marshall considers the city’s skyline as an integral part photographed pedestrians as they peer over a barricade to look of the post-industrial urban landscape, a subject he would revisit north on Woodward Avenue, one of Detroit’s main thoroughfares. In throughout his career. The view shows factory smokestacks that other views, Marshall captured silhouetted figures, their shadows, stripe the horizon, and the Ambassador Bridge stretches out over the atmosphere, and resulting patterns of light and dark. These the Detroit River, glinting under an expansive sky rendered in deep early compositions hint at an evolving stylistic approach he would charcoal tones. refine and apply to his work in later years. Marshall’s passion for photography continued into the decades that followed. Taking a break from Detroit from 1960 to 1964, he enlisted in the Navy and eventually gained experience as a U.S. His empathy for the working class is evident in his large body of portraits... Marshall continued to develop his personal photographic work, and eventually, his interests led to a professional career, including freelance work for local and national trade and labor magazines from 1975 to 2008. His photographs from these decades reveal a city of contrasts. During these transformational years, Detroit’s single-industry economy saw a decline in jobs, which led, to some extent, to a decrease in the city’s population. Marshall, whose father had worked on a Chrysler assembly line, always connected with his blue-collar subjects. His empathy for the working class is evident in his large body of portraits that mark these challenging years. But even as factories closed and buildings like Detroit’s Michigan Central Station were abandoned, Marshall, a jazz enthusiast and lover of city life here, provided some reprieve from the downturn. He gives a glimpse into the vibrant culture of the city with photo- graphs depicting moments from legendary performances known to Detroit’s thriving music scene, or at places like the city’s bustling Eastern Market and public parks like Belle Isle. Russ Looking globally to the industrialized West beyond Detroit, the Detroit REFERENCES Marshall exhibition includes a selection of photographs Marshall took in Photographs Europe from 1987 to 1990. He photographed everyday people in Barr, Nancy. Motor City Muse: Detroit Photographs, Then and Now. Detroit: Detroit Institute of Arts, 2013. 4 the streets in England, where Prime Minister Margaret Thatcher’s 5 policies were impacting the working class. And he arrived in Fox, Randy. “Photographer Russell Marshall: Documenting Detroit’s Working Germany shortly after the fall of the Berlin wall and the demise of Class.” Huffington Post, January 27, 2012. https://www.huffpost.com/entry/ photographer-russell-marshall-and-detroit_b_1231566. communism, which opened Eastern Europe to the rest of the world and signaled the end of the Cold War. Marshall, Russ. “Thatcher’s England: Photographs by Russ Marshall.” Solidarity Magazine, January–February 1990, 18–20. Throughout his mid-to-late career, Marshall frequently par- -------- . “After the Empire: Photographs by Russ Marshall.” Outtakes Magazine 8 ticipated in solo and group shows at galleries and museums in (Summer 1994): 10–15. and around Detroit. He made many of the photographic prints in -------- . This Working Life: Photographs of Labor and Industry. Detroit: 2011. this exhibition between 1994 and 2019. They speak to the demand -------- . My Navy Life 1960–1964. Detroit: 2015. for and interest in his work by collectors, galleries, and museums -------- . Detroit Doc. Detroit: 2016. during decades when Detroit began to draw attention worldwide. Patton, Phil. “The Motor City Through the Camera Lens.” New York Thinking through these years, the city’s history, and while reviewing Times, January 10, 2013. https://wheels.blogs.nytimes.com/2013/01/10/ the-motor-city-though-the-camera-lens/. six decades of his work, Marshall remained introspective yet crit- ical about the photograph selections and the organization of this exhibition. He carefully thought through the themes and aesthetic variations in his oeuvre, revisiting and sometimes reassessing certain images for consideration and discussion. In the end, the exhibition may well represent the confluence of Marshall’s photographic practice and the city’s unique culture—one he has experienced and reveled in firsthand for most of his life. His unprecedented body of work is not only a lasting testament to the resiliency of lives in the Motor City, it is like a melancholy poem that speaks to his vision and interpretation of the city as well as to Cover: Parade Crowd, Detroit, Page 13, lower left: Buick Engine Michigan, 1958 Assembly Line, GM Fisher Body many shared experiences known to those who have lived, worked, Inside cover: LaMonte Hamilton at the Plant, Flint, Michigan, 1985 and loved in Detroit. Vanity Ball Room, Detroit, Michigan, 1982 Page 13, lower right: UAW Local 1776; Plant Page 2: Detroit Steel Plant Laborers, 1979 Closing Meeting, Ypsilanti, Michigan, 1992 Pages 6–7, Construction Watchers, Page 14–15, Delray Man, Detroit, Michigan, 1960 Detroit, Michigan, 1986 Pages 8–9, Men’s Lounge, Michigan Central Page 16: Joan Crawford with the Train Depot, Detroit, Michigan, 1959 Jimmy Wilkins Orchestra, 1993 Page 9, Michigan Central Train Depot, Page 16–17, Don Mayberry with Bench, Detroit, Michigan, 1987 Jimmy Wilkins Orchestra, 1993 Page 10–11, Ambassador Bridge Page 18–19, Brixton Tube Station, and Zug Island, 1968 London, England, 1989 Page 12, Night Shift, Pontiac Page 20, Mink, 1987 Assembly, 1987 Back cover: Mistersky Stacks, 1999 Page 13, top: Press Operators, GM Fisher Body Trim Plant, Fort St., Detroit, Michigan, 1982 8 9 10 11 16 17 21 CHECKLIST Assembly Line Workers, Chain Hooks, J. Pitt Steel GM Fisher Body Trim Plant, Bar Mill, Johnstown, All works by Russ Marshall, Detroit, Michigan, 1982 Pennsylvania, 1998 (printed American, born 1940. (printed 1997), gelatin silver 2018), dye-based inkjet print, 7 All works are gifts of the artist print, 14 /16 × 18 3/8 in. (36.7 × 9 × 6 in. (22.9 × 15.2 cm). DIA to the DIA’s collection unless 46.7 cm). DIA No. 2012.147 No. T2019.404 otherwise noted. Becoming Dylan, Love-In at Church Custodian Delray, Belle Isle, Detroit, Michigan, Detroit, Michigan, 1986 1967 (printed 2018), dye- (printed 2013), gelatin silver based inkjet print, 18 × print, 18 × 11 3/4 in. (45.7 × 2 City Men, 2003 (printed 10 1/4 in. (45.7 × 26 cm). DIA 29.8 cm). DIA No. 2015.165 No. T2019.368 2004), gelatin silver print, City Corner, Detroit, Michigan, 15 × 15 in. (38.1 × 38.1 cm). Berlin Wall, Berlin, East and 1959 (printed 2000), gelatin Collection of Russ Marshall West Germany, 1990 (printed silver print, 8 × 8 in. (20.3 × Acorn Iron Works, Detroit, 2018), dye-based inkjet print, 20.3 cm). DIA No. 2015.132 Michigan, 1979 (printed 2018), 12 × 16 1/8 in. (30.5 × 41 cm). DIA No. T2019.416 City Figures, 2000 (printed dye-based inkjet print, 9 1/8 × 2002), gelatin silver print, 8 × 5 1/2 in. (23.2 × 14 cm). DIA Bess Bonnier at the DIA’s 8 in. (20.3 × 20.3 cm). DIA No. T2019.396 Crystal Gallery, 1982 (printed No. 2015.244 1994), gelatin silver print, 15 × Alma Smith Trio at the Detroit Construction Watchers, Press Club, 1993, gelatin 18 7/8 in. (38.1 × 47.9 cm). DIA No. T2020.8 Detroit, Michigan, 1960 silver print, 18 3/8 × 13 in. (46.7 × (printed 2004), gelatin silver 33 cm). DIA No. T2019.385 15 Break Room, Fisher Body print, 11 /16 × 18 1/8 in. (30.3 × Ambassador Bridge and Zug Trim Plant, Fort St., Detroit, 46 cm). DIA No. 2012.148 Michigan, 1982 (printed 2019), Island, 1968 (printed 2004), Delray Man, Detroit, Michigan, 15 dye-based inkjet print, 6 1/8 × gelatin silver print, 8 /16 × 1986 (printed 2001), gelatin 15 9 in. (15.6 × 22.9 cm). DIA 15 /16 in. (22.7 × 40.5 cm). DIA No. T2020.2 silver print, 8 1/4 × 12 in. (21 × No. 2012.144 30.5 cm). DIA No. 2015.136 Brixton Tube Station, London, American Beauty Electric Detroit Newsstand at Irons, Detroit, Michigan, 1993 England, 1989 (printed 2018), dye-based inkjet print, 12 × Campus Martius, 1959 (printed 2018), dye-based (printed 2004), gelatin silver 11 16 1/8 in. (30.5 × 41 cm). DIA inkjet print, 9 × 5 /16 in. (22.9 × 11 No. T2019.410 print, 11 /16 × 18 1/8 in.
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