ON-Lion Letter
During and immediately after World War II, a distinctly subjective edge sliced through the work of a number of artists.  A constellation of events -- the war, the exposure of the Holocaust, the deployment of the atomic bomb, and the onset of the Cold War -- made psychological experience a salient subject in America.  Abstract Expressionism, film noir, Beat poetry, and the New Journalism emerged in response to the war's shocking realities, which were increasingly depicted in the mass media through photographs. 

The 35mm camera, introduced in the 1920s, inaugurated a revolution in photojournalism that thrust viewers onto the front lines of the war and its aftermath.  The graphic intensity and urgent drama of these pictures had a lasting impact that resonated throughout postwar culture.

From late January through April, the Milwaukee Art Museum (MAM) exhibition Street Seen:  The Psychological Gesture in American Photography, 1940—1959 breaks new ground in the study of American art and culture during the World War II era, refuting the common claim that photojournalism was the only significant photographic activity at the time.

Street Seen features more than 100 photographs, as well as a select group of short, non-narrative films, paintings, and drawings.  The exhibit highlights six photographers -- Lisette Model, Louis Faurer, Ted Croner, Saul Leiter, William Klein, and Robert Frank -- whose imagery encapsulates the period's most-notable aesthetic achievements.  It celebrates each photographer's unconventional artistic vision, while acknowledging the challenges they faced in pursuing careers as independent creative photographers between 1940 and 1959.

The Richard and Ethel Herzfeld Foundation in Milwaukee is the lead sponsor for Street Seen, for which tickets are purchasable online.  Milwaukee's Lynde and Harry Bradley Foundation substantially supports MAM.
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