(“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…)

All images are screenshots from MoMA’s website.

Weegee in “70 Photographers Look at New York” at MoMA, in November 1957- April 58.

Even though there are only a dozen photos by Weegee, this looks like an amazing exhibition, from the brick walls to the park benches, from the supersized Coney Island crowd to the salon-style hanging, from the double (yellow?) lines on the floor to what appears to be a men-only viewing room… (Unclear what one of those images is… photos on the floor and/or nailed to the wall?)

One of the most important photography/Weegee exhibitions opens today April 7, 2017 at Fotografiska in Stockholm.
Many of the photos and many of the captions on the backs of the photos have never been exhibited before…
Brilliant work by Ryan Adams!

More info and photos:

Weegee EXTRA! Weegee

7 April — 28 May, 2017
An exhibition of some 350 photographs taken by the legendary press photographer Arthur Fellig, known as “Weegee”. Here, violent death rubs shoulders with budding love on the intense streets of New York, in a time when the city was almost under siege from the mafia and corruption. Weegee lived in the middle of this chaos, always first on the scene to document the horror and happiness and convey for a press that was constantly craving new scandals and revelations. We present many previous unseen photographs by Weegee accompanied by his laconic description of the often dramatic scenes. The photos were discovered in a forgotten archive, which is a detective story in itself…
The exhibition EXTRA! Weegee at Fotografiska is a historic document, which, given the current situation of organized gang violence and recent revelations of corruption in Sweden, retains its unfortunate topicality. We present a press photographer whose many crime scene photos documented the seamy side of New York in the 1920s, 1930s and 1940s. Born in Ukraine, Arthur (Usher) Fellig (1899-1968), known as “Weegee”, captured, in evocative documentary photographs, the intense street life of a city marked by corruption and organized crime.
Weegee created a strong cult around his charismatic personality and through his images, depicting love, misfortune, entertainment and sudden death, we gain a vivid insight into the turbulent life of the city. With a police radio installed in his car, he constantly followed emergency vehicles on their missions and was first on the scene to take pictures for the newspapers. Remember the newspaper vendors’ cry of “EXTRA, EXTRA”, promising the latest scandals and revelations!
“We are passionate about the history of photography. Weegee’s press images from the 1930s and ’40s New York introduce our visitors to a dramatic time when press photography made an impact as an important source of information. Weegee is a legendary name in crime reporting which he revolutionized with his special ability to create engaging images. If a fire broke out, he photographed the goggle-eyed and terrified onlookers rather than documenting the blaze. The same thing with murder victims or other tragedies – his photographs always make an impression,” Lisa Hydén, exhibition coordinator at Fotografiska, explains.
Weegee’s photographs are accompanied by so-called “slugs”, laconic descriptions of the often dramatic scenes. One such caption reads: “Wife kills policeman in argument over parking car”.
Weegee’s images were collected in a national archive of press material, under the auspices of the Newspaper Enterprise Association (N.E.A.), founded in 1902, that syndicated illustrations, cartoons and features. In 1920, the news agency Acme Newspictures, which focused on press photography, was founded. Over the decades, it amassed a gigantic photo archive, which, after various mergers, sank into oblivion for over 20 years. After some rather peculiar transactions, involving the son of a former employee acquiring the archive, and selling parts of it in 1994, the archive was again forgotten about. However, in 2012 it was discovered in a storage space in the Midwest by the photojournalism expert Ryan Adams, who has written the exhibition texts. Thus, most of the pictures featured in the exhibition have never been exhibited before, and the origin of this unique collection is a detective story in its own right, with Ryan Adams as the protagonist.
In 2012 Adams began the enormous, and ongoing, task of examining all the many boxes containing millions of photographs. The photos only contained brief captions, so-called “slugs”, but no photo credits, which was the custom at the time. Ryan Adams’ detective work, which involved comparing the images in the archive with images of identified photographers and other information, in an attempt to identify the origin of the photos, has led to the discovery of completely unknown photographs by Robert Capa, Margaret Bourke-White – and Weegee.
Ryan Adams describes the process as an important contribution to bring to light a previously unknown story through these snapshots.
“It’s an incredibly exciting feeling to be able to identify a photograph. It is an extremely time-consuming putting together of various pieces of information in order to demonstrate that a picture was taken a particular moment, at a particular place, by a particular photographer. At first, I succeeded in identifying ten unknown Weegee photographs. This number has now grown to more than 350. An important piece of the jigsaw, which we are now able to show in an exhibition for the first time ever, are his so-called “slugs”, the captions Weegee wrote in his distinct style to the newspaper desks with descriptions of the photograph. Weegee was also keen to place himself at the center of the action, often making himself part of the story. Of course, his presence makes the detective work a bit easier,” says Ryan Adams, who continues to explore the archive, searching for new discoveries.
The archive was bought by Daniel Blau (and the rights are owned by the International Center of Photography I.C.P.).

Words from from

Screenshot from

Screenshots from
More info and images:

One of the most important photography/Weegee books will be published in August 2017.

Extra! Weegee
Edited by Daniel Blau
Distributed for Hirmer Publishers
320 pages | 620 color plates | 11 3/4 x 9 1/4
No photographer came close to capturing the sensations, scandals, and catastrophes of 1930s and ’40s New York like Weegee (1899–1968). His striking images—captured through his uncanny ability to be on the spot and ready to shoot when things happened—have become part of the visual vocabulary through which we understand the period. This book, however, offers something new: drawing on an NEA archive that was only discovered in 2012, it presents countless never-before-seen Weegee photos. We see new angles on many of his familiar subjects—from the hardened police officer to the loud-mouthed crook; the midnight boozer
to the dancing jazz musician; a dramatic conflagration to the celebrations at the end of World War II—but we also get a glimpse of an unknown side of Weegee through surprising photographs of happy people enjoying themselves. The works are complemented by a fascinating account of the rediscovery of the archive, which had been missing for decades.

Words and image from

Looking forward to the book!


Weegee, Dora Maar, Brassaï


Berenice Abbott


“The Shape of Things: Photographs from Robert B. Menschel,” October 29, 2016–May 7, 2017, MoMA

Screenshot from Unidentified Photographer – great installation views at


“To satisfy, at least in part, the craving for accurate and understandable information both visual and verbal about various phases of art, the Museum of Modern Art, 11 West 53 Street, is preparing in multiple form a series of small, compact but very complete exhibitions to be sold or circulated throughout the country
and even abroad. Two of these exhibitions, What is Modern Painting? and Creative Photography, will be shown in the Museum’s Auditorium galleries Wednesday, March 7, for a period of three weeks, closing Sunday, March 25.”

In terms understandable to the amateur, this 12-panel exhibition demonstrates the tremendous possibilities of the camera as a medium of Creative expression. Mounted on colored panels, more than two dozen major photographs by Ansel Adams, Edward Weston, Helen Levitt, Berenice Abbott,
Henri Cartier-Bresson and other outstanding American and European photographers, are reproduced by an extraordinarily accurate process. A group of smaller photographs made particularly for the exhibition by Andreas Feininger, noted photographer who acted as adviser, illustrates certain technical points. The panels also include text and explanatory diagrams under the following headings:

The photographer is an artist
He [and she] works with a mechanical tool
His [and her] medium is a scale of values
He [and she] selects the subject
He [and she] composes with his camera
He [and she] selects the moment
The camera records infinite detail
The camera creates its own perspective
The camera extends or compresses space
The camera stops or prolongs motion
The camera translates color into black-and-white.

This exhibition sells for $25.00. No rental copies are available.”

Creative Photography
March 6–25, 1945
At MoMA, in NYC.

Information from

Three in a row: 1943, 1944 and 1945, at MoMA…