The New York Times, September 14, 1941


…The exhibition, “Murder Is My Business,” by Weegee (Arthur Fellig) is being extended at the Photo League, 31 East Twenty-first Srtreet, until Sept. 23. There will be additional examples of the photographer’s work.

“A Good Man Is Hard To Find”; Les Brown and his Orchestra; Butch Stone; Eddie Green; Publication date: September 14, 1941

“Says Who? Says You, Says I!”; Cab Calloway and his Orchestra.; Cab Calloway; Mercer; Arlen; Harding; Publication date: September 10, 1941

Daily Worker, September 10, 1941, p.7

…Weegee’s (Arthur Fellig) exhibition is proving so popular at the Photo League that it is being extended one week to Sept. 23. A new and second edition of the exhibition is now on view at the Photo League Gallery, at 31 E. 21st St. Hours 1 to 10 week days, 2 to 6, Saturdays.
Daily Worker, September 10, 1941, p.7

“Laughing Boy Blues”; Woody Herman And His Orchestra; Woody Herman and The Laughing Boy; Sammy Cahn; Saul Chaplin; Publication date: September 10, 1941

“Woman Laughing (Continuous)”

PM, June 2, 1944 pp. 12-13 (photos by Weegee and Arthur Leipzig)

A Weegee Gets Attention At Museum of Modern Art

The big picture at lower right is the center of attraction in Weegee’s section of the Art in Progress photo exhibition now on view at the Museum of Modern Art. It shows Mrs. George Washington Kavanaugh and Lady Decies outside the Metropolitan Opera House – and the eloquent facial reaction of another woman. The other pictures on this page were snapped by Weegee as visitors to the photo exhibition looked at his pictures. Four out of his five exhibits have appeared in PM. The opera shot got the most laughs. Weegee reports.

Staten Island Girl Scouts Turn Farmerettes

Everybody’s Laughing, Teddy Wilson and his Orchestra; Billie Holiday; Lerner; Oakland, 1938

Art in Progress, May 24 – September 17, 1944.
(Three out of five photos appeared as news items; “I Cried…” was used in a photography column; “The Critic” made its debut in this article…)

Laughing At Life, Billie Holiday, 1940

Weegee, “Installation view of Weegee’s exhibition in Art in Progress, Museum of Modern Art, New York, 1944″ (Weegee’s World, p. 28)

Screenshot of checklist,

Laughing Boogie, Eddie Chamblee and The Band; Chamblee, 1951

Everyone’s Laughing, Clyde McPhatter, Winfield Scott, 1954

Whitney Museum, 2019

[Arshile Gorky (1902-1948), The Artist and His Mother, 1926-c. 1936.] – from

Weegee in the wild…


(Small image file – 300 pixels wide, can’t see the back of the print, good to know that it’s a posthumous print, this may not be accurate: “for PM, a tabloid-style newspaper for which he did occasional freelance work.” – “occasional”?)


“WEEGEE – THE FAMOUS, 1935–1960
October 18, 2018 – January 20, 2019.
Tuesday – Sunday 12:00 – 19:00.
Curator: Peter Baki”

“Weegee, The Famous, 1935 – 1960 is organised in the framework of the Hungarian Photomonth 2018. The exhibition has been realised in collaboration with the Institute for Cultural Exchange, Tübingen…”

104 great photos. Beautiful exhibition space. Looks like a great exhibition…

(“Weegee,” Howard Greenberg Gallery, March 21, 2017)

Excellent exhibition: “Weegee” at the Howard Greenberg Gallery, February 16 – April 1, 2017.

Bunch of classic images, some lesser-known images, and a few images we were not familiar with… One photo was made in Jersey City. A pair of photos of a woman and her periscope were made in Hollywood, ca. 1950… Almost entirely the prints were on the larger side, 11×14″-ish paper. (Prices were approx. $3,500-$12,000. Perhaps, the smaller the photo, the smaller the price. If an 11×14″ photo sold for $10,000, then that would be about $65/square inch. Or, a little less than $10,000/square foot.) Some prints were annotated, there was at least one Culver stamp, and several Acme Newspictures stamps…

MoMA, “From the Picture Press,” 1973 (with arrows pointing to the Weegee photos)

Installation views from

“From the Picture Press” January 30-April 29, 1973, at MoMA.

“‘From the Picture Press’ an exhibition of over 225 photographs selected from newspaper files of the past five decades.” (Press release, January, 1973)

Divided into seven sections: “ceremonies, winners, losers, good news, alarums [alarms] and conundrums, confrontations and disasters.”

The previous (November 7, 1972 – January 21, 1973) photo exhibition was of course: “Diane Arbus.”
For more info (installation views, checklist, three press releases, or two and one wall label) on Arbus exhibition:

For more info on “From the Picture Press”:

(To be continued…)

Whitney Museum, August 7, 2016

A pair of Weegee distortions hanging out with the cool kids in the “Price of Fame” area in the “Human Interest: Portraits from the Whitney’s Collection” exhibition…
(Perhaps coincidentally, four out of four of the not-living-anymore, and four out of six of all the photographers on that wall, died in New York, NY…)

“Human Interest: Portraits from the Whitney’s Collection
April 2, 2016 – April 2, 2017”
“Human Interest: Portraits from the Whitney’s Collection offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums…”
from Whitney website:

“Weegee by Weegee” at Fundación Foto Colectania
Barcelona, Spain
July 5, 2017 – November 5, 2017

110 Weegee photos…

“Weegee by Weegee”
Presentation of Weegee, the celebrated chronicler of New York’s darkest 1930s and 40s

The Weegee exhibition, produced by Foto Colectania and Banc Sabadell Foundation, brings together over one hundred photographs from one of the best photography collections in the world, M. + M. Auer from Switzerland, in a careful selection structured around Weegee’s books and press publications.

In the New York convulsion of the 30s and 40s, Weegee was a freelance graphic reporter who published in all the major newspapers and who turned crime into spectacle. Always alert, he carried in his car a radio tuned to the frequency of the police that allowed him to arrive the first to the scene of the crime. His technique, with hard backlights, gave the photos an aura of verismo and drama that continues to impact the viewer.

In his biography, Weegee explains: “My car became my home. It was a two-seater, with an extra large trunk. I saved everything there, an extra camera, flashlight bulbs, a typewriter, firefighter boots, cigar boxes, salami, infrared film to shoot in the dark, a change of underwear, uniforms, costumes and extra shoes and socks. (…) Since then I was no longer attached to the teletype of the police headquarters. I had wings. I no longer had to wait for the crime to come to me; I could go after him. Police radio was my way of life. My camera… my life and my love… it was my Aladdin lamp.”

The exhibition presents a careful selection of his work, showing images that range from crimes, fires or accidents to scenes of social and popular events, such as the conglomerations at Coney Island beaches or other leisure places of the New Yorkers of the time. Weegee could photograph a corpse, but also a masked ball or a solitary child; there is darkness in his photographs, but also tenderness. Nevertheless, one of the unique features of the exhibition is the display of original materials. Along with photographs by Weegee, the show will exhibit original materials such as newspapers and magazines in which Weegee’s photographs were published, like the original edition of “Naked City”, which was published in 1945 and immediately become a best seller…

Almost a century after his first photographs, Weegee’s work continues to excite both the public and the critic, thanks to his harsh and dramatic style, that he managed to reflect the society and nightlife of a city he knew better than anyone else.

For more info:

Inauguración de la exposición Weegee by Weegee. Colección M. + M. Auer

(Weegee talk from 18:39 – 26:00… A summary: L. Stettner trades 500 Weegee photos (and the work of other photographers, like Brassaï and Faurer) for one of Auer’s houses in Paris – “to exchange stones for paper” – at the end of the 1980s…)