Avi Grun
Judaic 379
New York City: High Spirits… No Matter the Occasion
Thesis and Background Page
The photobook I will be exploring is “Growing Up in New York” by Arthur Leipzig. Leipzig, who just passed away six years ago after a fruitful 96 years of life, is a New York native born in Brooklyn. In 1941, Leipzig enrolled in the Photo League beginning his career as a photographer. This was all an accident as Leipzig explains, he made a living through an assortment of jobs- truck driver, salesman, office manager, etc.- however it was when he broke his hand and was unable to use it for a little more than a year that he turned to photography.
The Photo League played a large role in shaping Leipzig’s work as said by Colin Osman, “Arthur Leipzig […] although he does not like to use the word documentary he acknowledges that the influence of the League and the classes of Sid Grossman were vital to arousing his interest in photography.” (Osman, Liberating Lens). Leipzig’s goal, as it appears, was to capture the modern world, or in the case, the modern world that was New York City.
Here, you can find Arthur talking about his involvement in the American Society of Media Photographers, and the way he viewed himself and many of the other photographer involved (https://www.asmp.org/resources/about/history/interview-founders/arthur-leipzig/). Similarly, here you can find Leipzig explaining the similarities of photographing from earlier in his days to how photography has changed at the time of his interview:
In his photobook Leipzig does a good job in sorting his pictures in different categories as you can see he does not discriminate on any part of New York City. From “Children’s Games” to “Coney Island” Leipzig covers all ground of what it seemed New York City once was, and still is. His goal was to search for the “human face of New York” (Leipzig). Leipzig’s clear theme throughout this book is the high-spirited expressions of his subjects. This is shown in every chapter and almost every photograph showing New York City residents. Some of the photographs I will be studying in depth can be seen below:
(King of the Hill, 1943): In this photograph Leipzig does a great job of catching such a happy, personal interaction between two kids about to go at it with each other. Although they are “battling” to be King of the Hill, the excitement and joy in the kid’s face is exactly the type of expressions Leipzig is trying to capture.
(Steeplechase, Coney Island, 1949): In what it seems to be a one of Coney Island’s rides, Leipzig he finds two people, who seem to be a couple, and finds a perfect point in this seemingly spinning ride where their smiles are caught right in front of the camera. Arthur, again, is finding this personal interaction between his subjects which helps bring the happiness they’re expressing to anyone who will view the photograph.
(Watching Santa, 1944): In this less joyful and happy photograph, Leipzig finds a rather excited or hopeful pair of kids watching something as though their eyes are caught onto something and cannot escape (Santa?). Although not so much an interaction between the two subjects themselves, it is still a personal moment caught of these two kids sharing the exact same experience.
Avi,
This is a nice beginning for your project. You need to say a bit more about the three photographs that you have chosen since they are very different. Please use links when you quote or cite a source (e.g. Osman). Obviously, you don’t need to do that when you’re quoting Leipzig. You also need a title for your project.
DDM
Methodology Page
As seen through much of his photography, when it comes to subjects in his photography, Arthur Leipzig has a great method to get very involved in personal interactions of his subjects. This not only allows him to take more close up photography of people, but also capture the more true and vivid emotions his subjects display. He is not asking people to perform in front of him, rather, he finds these interactions while walking the streets of New York. I will do something similar, photographing people on the streets of New York City, searching for more personal interactions between people trying to find humans of New York being themselves and being interactive with each other. I will take these pictures during the day when there are especially more people outside being active and interactive right by the East River both in the park and the promenade by the river. This will especially go well with Leipzig’s chapter “Children’s Games.”
My plan relates to my central claim in that I will be trying to capture a similar theme as Leipzig where my subjects will have high-spirited expressions. I expect to find very similar results given that it is the same location, just different time and context. However, no matter the year or location, children will always be children and the games and interactions they and other people have with each other remains relatively similar throughout time.
Similarly I will use a black and white setting to get a similar feel to the way Leipzig had to photograph. I will also use the sun to my advantage to get the right shadowing similar to many of his photographs with his subjects under the sun.
Avi,
You may have difficulty getting close to children given the pandemic. If you have a telephoto lens, you could use that to help bring the subjects closer to you. Be patient when you go out and give yourself plenty of time. The pandemic has made public spaces in NYC very challenging to visit.
DDM
Photo and Analysis Page
Gallery
Selected Photos
I selected the two following pictures because I felt these two best incapsulated what Leipzig’s photography was about: invasive photographs of intimate moments between other people. This elderly couple whom I grew up right next to my entire life were having one of the most sweetest and genuine moments I have seen between a married. This picture of the two holding hands both with gloves on due to the current pandemic, I felt, really was able to capture their love for each other.
On a less love-like note, the second picture of the group of kids I also felt was similar to Leipzig’s style in capturing up close and genuine moments of peoples and kids together. This picture to me is very similar to Leipzig’s “Watching Santa” with all the kids in a state of awe looking at something in the distance.
Slideshow 1
Slideshow 2
(Turning barrel, Coney Island, 1952) (Steeplechase, Coney Island, 1949) (Brooklyn Bridge, 1946)
(V.J. Day, Brooklyn, 1945) (Garbage and the Statue of Liberty, 1967)
When taking my own photos a big thing I realized about Arthur Leipzig and his process is that it is very invasive. Leipzig manages to be very close to his subjects when taking photographs almost as though he is inserting himself in those interactions. I was unable to do this given this times epidemic, however I was able to understand how uncomfortable that may be to involve yourself in others interactions to take a photograph of it. When looking at Leipzig’s photographs after taking my own I noticed some similar photographs like the different bridges that were captured in our images. However, Leipzig seems to be more tactical when taking photos such as the time in the day, or the height of the camera.
What is challenging taking photographs like Leipzig is finding the right moments or places or people to take photographs of. It seems Leipzig is always able to find the right interactions or setting to photograph. However it seems when I am not trying to find the right setting, the picture seems more genuine and similar to Leipzig’s. I understand now that Leipzig must have come through the same experience and his photo book is filled with all of the ones that specifically caught his eye. I should keep this in mind when viewing my photographs as I know I won’t have the variety or amount of photos or time that Leipzig had to construct his book.
My approach to taking pictures did evolve from my original idea as I really wanted to be able to be within the interactions like Leipzig and take it while interactions around me are going on. I realized as I began photographing this would be close to impossible now with a pandemic going on; less people are outside, and everyone who is does not want a stranger close to them. This evolved to me getting interesting photographs of people from farther away. This led me to taking pictures of animals interacting as they do not mind being photographed as much as people do. I was able to get different pictures of bridges that Arthur was also keen on taking pictures of. Bridges were my photographs that were most similar to photographs of Leipzig’s as they are all New York City bridges in the end. Photographing bridges then encouraged me to explore a little more of the city taking pictures of streets and construction around my neighborhood.
The most liberating feeling of the process was looking back through my pictures and actually enjoying the results of some. One in particular was the photograph of the old couple faced away from me holding hands with their quarantine gloves on. This one was especially special as these have been my next door neighbors my entire life and this one image captures their pure relationship as I have known growing up. I plan on presenting all my photographs in categories similar to the way Leipzig has his book structured of different places and of different things. For instance I can categorize my pictures of bridges and also my different pictures of animals or people interacting. I will similarly present Leipzig’s work in the same way, in the different categories he has them separated as, so I can discuss examples from both mine and his pictures more easily.
Avi,
You’re right that your photograph of the couple walking under the bridge is one that effectively evokes Leipzig’s photographs of New York. You’re also right to discover that getting close to people is intrusive, that Leipzig undoubtedly was intrusive, and that this is really difficult to do during the pandemic. I think that your backup plan is a good one. The bridge photographs that you’ve included in your thumbnails are good and varied and do speak to NYC in specific ways. I will look forward to your finishing this section with the slideshow of your work and Leipzig’s work.
DDM
Conclusion
Having gone through the process of taking photos in almost the same place as my photographer, Arthur Leipzig, I have understand his work more thoroughly. First, I could only imagine all the fun Leipzig had, going through New York and being able to photograph the amazing experiences his subjects were having because his invasiveness in his photography allowed him to almost feel the same experience himself. I can acknowledge how difficult a task it must have been to have taken so many of his photographs so close and personal. I stand by the theme I attributed to Leipzig of capturing high-spirited subjects. He found, what it seemed, to capture the perfect interactions between people- I can acknowledge how difficult that was for me. A lot has changed from his 20th century photography to my own 21st century photography; for instance you do not see children play throughout the streets of New York City anymore the same way Arthur once had. 
(Association Football, 1943)
Instead, you now see more organized play in parks or playgrounds. Finishing this project, my thesis did change in the fact that while I still agree with Leipzig’s capturing of high-spirited interactions, I would add on that he does so in an invasive way that still does not seem to bother the peace. He manages to become part of the football games he takes pictures of, without anybody seeming to notice his presence.
Arthur Leipzig pictured New York City the only way anybody could: showing our vibrant energy and beautiful community. He captured the fun, the dull, and all in between that truly makes up NYC. And I can say as a New Yorker myself, how accurate many of these images still are today.
Avi,
Nice conclusion, including your sense of identifying with the New York City of Leipzig despite the obvious changes that have occurred (and that were emphasized by the pandemic). Please rewrite the first sentence of your conclusion (too many “more”). When you revise the final project, be sure to identify Leipzig’s photographs. You might also consider including one of the videos available on Leipzig to amplify your sources.
DDM
Sources
http://liberatinglens.org/course/same-school-different-eyes/
http://www.howardgreenberg.com/artists/arthur-leipzig
https://www.asmp.org/resources/about/history/interview-founders/arthur-leipzig/