eigabe! eigabe! eigabe! ANOTHER KIND OF LIFE PHOTOGRAPHY ON THE MARGINS Edited by ALONA PARDO PRESTEL MUNICH • LONDON • NEW YORK eigabe! eigabe! 8 FOREWORD 214 Alec Soth 12 THE LONELY CROWD 226 Pieter Hugo Alona Pardo 232 Katy Grannan 246 Teresa Margolles PLATES 22 Diane Arbus ARCHIVAL MATERIAL 30 Bruce Davidson 260 TRANSVESTIA, 1961–1967 46 Daido Moriyama Edited by Virginia Prince 58 Casa Susanna 266 BROOKLYN MINORITY REPORT: AN INSIDE VIEW OF THE 70 Danny Lyon ASPIRATIONS OF EMBATTLED YOUTH Bruce Davidson and 82 Larry Clark Norman Mailer, 1960 96 Seiji Kurata 274 SCRAPBOOKS, 1969–1985 Walter Pfeiffer 110 Igor Palmin 284 STREETS OF THE LOST: 124 Walter Pfeiffer RUNAWAY KIDS EKE OUT A MEAN LIFE IN SEATTLE 136 Chris Steele-Perkins Mary Ellen Mark and Cheryl McCall, 1983 148 Philippe Chancel 160 Paz Errázuriz 296 SELECTED BIBLIOGRAPHY 174 Mary Ellen Mark 300 CONTRIBUTORS 184 Jim Goldberg 302 ACKNOWLEDGEMENTS 194 Boris Mikhailov 303 CREDITS 202 Dayanita Singh eigabe! FOREWORD Another Kind of Life: Photography on the 1950s that photography in the United States, change across time and space, charting how Margins looks at the continuing fascination Europe and to a certain extent Japan underwent visual representation has helped shape current of artists with the margins of society through a major realignment. The publication of Robert discourse in relation to marginalised or the photographic medium. Indeed many of the Frank’s seminal work The Americans in 1959 alternative communities. most compelling photographic images of the heralded an era of questioning and self-doubt twentieth century have been the result of a – particularly in American photography – in Photography has an unparalleled capacity to determined and often prolonged engagement which subject matter, composition and style reflect and communicate ideas, visually and with communities seemingly at odds with or were turned upside down. By the early 1960s, directly, about the world in which we live. In the on the fringes of the mainstream. While the from Tokyo to New York, a much darker and hands of great artists, that observation moves world has changed dramatically over the last alienating side of society was emerging through far beyond simple description. Our aim has been sixty years, we are still living in an uncertain the era’s race riots and anti-war protests, while to seek out those artists and present their work world where individual rights are being gay rights, civil rights and women’s liberation regardless of the tradition from which it has contested from East to West and those on movements were simultaneously on the rise. arisen. Another Kind of Life not only continues the fringes feel ever more marginalised from A new generation of photographers emerged the Barbican’s commitment to presenting those mainstream political and social narratives. ready to respond to the turbulent society artists and photographers but also demonstrates Another Kind of Life explores photography’s of the 1960s and ’70s. Another Kind of Life our desire to address issues that stretch beyond relationship with this compelling subject through charts this exciting chapter in post-war art and help us to understand the world from the work of twenty exceptional image-makers. photographic history. new perspectives. As part of the Barbican’s 2018 season Art of Driven by motivations both personal and Rich in thought-provoking material, this Change, which reflects on the dialogue between political, many of the photographers in the book, which is compiled chronologically, art, society and politics, Another Kind of Life exhibition have sought to provide an authentic includes illuminating texts that shed new light directly – and at times poetically – addresses representation of disenfranchised communities, on each artist by some of the most insightful difficult questions about what it means to exist often conspiring with them to construct their writers and critics working in the field of in the margins, the role artists have played own identity through the camera lens. Featuring photography today. The list of authors is in portraying subcultures and the complex communities of sexual experimenters, romantic expansive, comprising Oriana Baddeley, David intermingling between artistic and mainstream rebels, outlaws, survivalists, the economically Campany, Tim Clark, Lucy Davies, Duncan depictions of the outsider. dispossessed and those who openly flout social Forbes, Juliane Fürst, Sophie Hackett, Max convention, the works in the exhibition present Houghton, Sean O’Hagan, Alistair O’Neill, Leo A rich tradition of American and European the outsider as an agent of change. The non- Rubinfien, Aaron Schuman, Stanley Wolukau- social documentary work dominated in the conventional subject is here a prism through Wanambwa and Francesco Zanot. Suffice to pre-Second World War period, with image- which to view the world afresh. Employing say they each entered fully into the spirit of the makers from Lewis Hine to Walker Evans a diverse set of aesthetic strategies, from project and contributed texts that deepen our preoccupied with documenting the poor and portraiture to social documentary and from understanding of every body of work included disenfranchised, both urban and rural. More vernacular to street photography, the artists here, for which we are truly grateful. The book often than not these images – commissioned by in the exhibition approach their subject with a is further enriched by facsimiles of original organisations such as the National Child Labor humanity and empathy that is both empowering magazine photo-essays that testify to the Committee or Farm Security Administration, and inclusive. considerable influence of the illustrated press. who harnessed the power of photography as a The circulation and dissemination of the work tool for social reform – were by photographers Reflecting a diverse, complex and authentic of eminent photographers such as Bruce Davidson who, while indicting society for its inequities, view of the world, the exhibition touches and Mary Ellen Mark, to name but two, was belonged resolutely to the establishment. The on themes of gender and sexuality, instrumental in fostering greater understanding idealistic vision of humanity presented in the countercultures, subcultures and minorities and awareness of the complexity of our world. legendary The Family of Man exhibition held at of all kinds, and includes bodies of work from the Museum of Modern Art in New York in 1955 Japan, the US, Chile and Nigeria, among other Another Kind of Life: Photography on the was the apotheosis of a desire to elevate and places. By recording and documenting life Margins is the product of collective effort empower individuals as a new reality dawned on the margins, the images in Another Kind and generosity. Our sincere gratitude goes to in the post-war era. It was not until the late of Life bear witness to how social attitudes the lenders, who parted with works of value 8 eigabe! or personal significance for the sake of the large and small with alacrity and good humour exhibition. They have been instrumental and was calm personified throughout. in supporting our vision for the project. An exhibition of this scale and complexity would A defining feature of exhibitions at the Barbican not have been possible without the support of is the ambition of the spatial interventions. As international museums, collections and galleries ever, we have reinvented the architecture of the as well as individuals; these include: Art Gallery gallery in response to the energy and spirit of of Ontario, Canada; ARTIST ROOMS, National the works in the exhibition. We are indebted to Galleries of Scotland, Edinburgh, and Tate, Olaf Kneer and Marianne Mueller, ably assisted London; Bruce Davidson Studio, New York; by Vicente Hernandez, of Casper Mueller Kneer Daido Moriyama Photo Foundation, Tokyo; Architects for their vision, sensitivity and Fotomuseum, Winterthur, Switzerland; commitment towards the exhibition design. Fraenkel Gallery, San Francisco; Frith Street Gallery, London; Galerie Gregor Staiger, Zurich; At the Barbican Art Gallery, we would like to Galerie Peter Kilchmann, Zurich; Galerie thank Exhibition Assistants Charlotte Flint Sultana, Paris; Gavin Brown’s enterprise, and Tatjana LeBoff for their sustained support New York; Howard Greenberg Gallery, New of this project; their energy and enthusiasm York; Jim Goldberg Studio, California; London has known no bounds. Sincere appreciation School of Economics Library, London; Luhring is also extended to Julie Verheye, Research Augustine, New York; Magnum Photos, London Assistant, whose passion and diligence cannot and Paris; Mary Ellen Mark Studio & Library, be underestimated. Exhibition Organiser New York; Melanie Rio Fluency, Nantes; Ross Head expertly coordinated all of the Michael Hoppen Gallery, London; Simon Lee myriad details for the exhibition with poise Gallery, London; Sprovieri, London; Stevenson, and humour. Production, installation and Cape Town; Taka Ishii, Tokyo; and Zen Photo technical support has been expertly handled by Gallery, Tokyo. Peter Sutton with support from Bruce Stracy, Margaret Liley and Angus Sanders-Dunnachie. Our greatest debt, of course, is to the artists Additional contributions from Ann Berni, and photographers who have generously agreed Lily Booth and Bréifne Ó Conbhuí in Media to participate in this ambitious exhibition, Relations; Phil Newby, Charlotte Kewell and including Philippe Chancel, Larry Clark, Bruce Victoria Norton in