morris berman

27
SHAW GALLERIES

Upload: shaw-galleries

Post on 26-Mar-2016

292 views

Category:

Documents


0 download

DESCRIPTION

This exhibtion catalog accompanied the show "Mo Knows Pittsburgh: The Photojournalism of Morris Berman," which opened June 4, 2010 and closed July 16, 2010.

TRANSCRIPT

Page 1: Morris Berman

SHAWGALLERIES

Page 2: Morris Berman

This exhibition features a selection of emotionally-charged historical images taken by Morris Berman,

(July 15, 1909- June 16, 2002) during his momentous and award-winning career as a photojournalist. Highlights of the exhibition include his nationally acclaimed photograph “Y. A. Tittle Toppled” (1964), which many consider the most important sports photograph of the 20th-century, as well as his award-winning photograph “All Is Lost” (1952), which illustrates Berman’s remarkable ability to capture fact and emotion congruently. Though his photographs accompanied the articles in the paper, his images could communicate their stories on their own. Berman contributed to the advancement of photography, where pictures could effectively be used to replace words as the primary vehicle of fact. It allowed readers for the first time to look at photographs and put themselves in the position of the photographer and experience what that scene must have looked like and, to some degree, what it must have felt like. His was an era that saw the birth and dramatic rise of the visual culture that now rules electronic and print media. A native of Wheeling, W. Va., Berman began working for the Wheeling News Register as a journalist in 1928. Like a lot of small newspapers of the day, the News Register did not have a staff photographer. So, Berman bought a camera and began taking shots for his own stories. Eventually, other journalists were asking, “Hey, can you get a picture for me?” Thus, his long career

Mo Knows Pittsburgh:The Photojournalism of Morris Berman

as a photographer began. He also worked for the Sun Telegraph, which later merged into the Pittsburgh Post-Gazette. He is recognized for his service as a combat photographer for the United States Army during World War II. At the end of his military service, he resumed his career as a photojournalist for the Pittsburgh Post-Gazette. Mo, as friends called him, is remembered for his extreme competitiveness and ambition to get the best picture. He always wore a suit and tie. The smiling charmer seemed to befriend everyone. As Edward Lebow noted in a Phoenix New Times article on January 11, 2001, Berman said, “There were plenty of people who didn’t want me to take their pictures, usually people in some kind of trouble. But I always thought part of the job was to go with my hat in hand. Fact was, I needed these people I was shooting to help me do my job.”

Armed with a two-way radio and a car loaded with camera gear, he roamed wherever news was happening in the city. He photographed news of all kinds in the city of Pittsburgh -- from car wrecks, fires, crime scenes, to cityscapes and sporting events. He disliked sitting around the office waiting for stories. Instead, he was always actively looking for the next thing to do. The faces of John F. Kennedy, Harry Truman, World War II soldiers, The Beatles, Eleanor Roosevelt, Muhammad Ali, Mother Teresa and Jonah Salk are among the images Berman captured on film during his 51-year career as a

Page 3: Morris Berman

Leanne HorganBA candidate, Chatham University

photographer. Right up to retirement, he continued shooting the famous and the infamous, and covered just about all of Pittsburgh’s sports teams.

Berman’s career as a photojournalist in Pittsburgh was briefly interrupted when he volunteered for military service during World War II, where he served as a combat photographer for the Army Signal Corps from 1943 - 1945. He was decorated with the bronze star for shooting the first still pictures at the hanging of Benito Mussolini and his party in Milan, Italy. Many of Berman’s war photographs appeared in National Geographic, Pageant Magazine, Popular Photography, and several others. Upon honorable discharge from the military, he resumed his career in Pittsburgh. Berman is most famous for his photograph of New York Giants quarterback, Y. A. Tittle. He won several awards for this photograph, including first place in the sports category from the National Press Photographers Association in 1965. Also notable, it was judged the Best Sports Picture of 1964 in the 31st annual National Headliners Club competition. Taken September at Pitt Stadium, the award-winning photograph was taken after Tittle was tackled by Pittsburgh Steelers’ defensive end, John Baker. The Tittle photograph is one of three that hang on the walls beside the entrance of the National Press Photographers Association office in Durham, North Carolina. Alongside it are Joe Rosenthal’s shot of Iwo Jima and the dramatic photograph of the burning Hindenburg.

Berman was a founding member of the National Press Photographers Association (NPPA). He served as the organization’s president in the early 1970’s for two years. He is the only member of the organization to attend all of the conventions until the year of his death. Today, the NPPA continues to advance the profession of visual journalists through scholarships, workshops, competitions, and many volunteer opportunities. His photographs not only captured the essence of stories in a single frame, they also sometimes advocated action. When a local orphanage needed diapers Berman effectively used his photographic genius to solicit the generosity of the public. His photo of a toddler standing in a crib without a diaper provoked such a large donation of diapers the paper had to run an article saying that no more were needed. On another occasion, Berman and a reporter were covering a story about a brand new housing development that was slow to provide its new residents with water. The residents reported that they had to walk a half a mile to a pump to get water, reheat it and then bathe in a metal tub. Berman asked a male resident to take of his clothes and pretend to bathe in the tub for a photograph. The man obliged, and the residents got their water. Beyond his retirement in 1979, Berman moved to Northwest Valley of Sun City, Arizona. He continued to work as a freelance photographer and was featured numerous times as a guest speaker at Arizona State University.

Page 4: Morris Berman

“Y. A. Tittle Toppled” (1964, printed mid-1970s) Gelatin silver print. Stamp signed by the photographer, verso; estate stamped, verso. 10 x 8 in. (254 x 203 mm). Fine condition. Prov-enance: Morris Berman Estate. Please note that our example is an original gelatin silver photo-graph, printed by Morris Berman. This is not a later copy.Price $2,500

Morris Berman is most famous for this photograph of New York Giants quarterback, Y. A. Tittle. This image is considered by many to be the most important sports photograph of the twentieth century. He won several awards for this photograph, including first place in the sports category from the National Press Photographers Association in 1965. Also notable, it was judged the Best Sports Picture of 1964 in the 31st annual National Headliners Club competition.

Shot in September at Pitt Stadium, the award-winning photograph was taken after Tittle was tackled by Pittsburgh Steelers’ defensive end, John Baker. Berman photographed the sequence of the tackle with Baker first driving his fist and helmet across Tittle’s jaw, then lifting him from his feet and finally stretching him out on the turf. Berman continued to photograph the

quarterback struggling to his knees with several broken ribs and gasping for air. His injury led to the end of his legendary football career.

Though the photograph is considered one of the century’s finest sports images, Berman’s own paper, the Pittsburgh Post-Gazette, did not run it. The editor of the newspaper felt it was unsuitable because it lacked action. And he made many of his photographs at a time when editors didn’t fully recognize or know how to use the trenchant power of pictures to expand upon the details of the written page. Nevertheless, this image is immortalized in institutions, such as the National Football Hall of Fame. The Tittle photograph is one of three that hang on the walls beside the entrance of the NPPA office in Durham, North Carolina. Alongside it are Joe Rosenthal’s shot of Iwo Jima and the dramatic photograph of the burning Hindenburg.

Page 5: Morris Berman
Page 6: Morris Berman

Terry Paxton Bradshaw, also known as “Mr. Steel Arm,” played 14 seasons in the NFL for the Pittsburgh Steelers. His skills as a quarterback were an integral component of the team, contributing to the winning of four Super Bowl titles in a six-year time span.

Bradshaw had impeccable insight on the field, accurately calling his own plays. He led the Steelers to eight AFC Central championships and was named MVP in Super Bowls XIII and

XIV. He was inducted into the Pro Football Hall of Fame during his first year of eligibility in 1989.

With a competitive drive, powerful throwing arm, and strong leadership skills, Bradshaw played a major role in Pittsburgh Steelers’ history. Berman covered most of the Pittsburgh Steelers games that took place during his career. He would get a sense of each game before taking his photographs from the sidelines.

“Bubble Blowing Hero [Terry Bradshaw with Chuck Noll]” (c. 1975) Gelatin silver print. Signed, titled and estate stamped, verso. 19 5/16 x 15 3/8 in. (491 x 391 mm) Provenance: Morris Berman Estate. Price $2,000

Page 7: Morris Berman
Page 8: Morris Berman

This image of Johnny Unitas heavily reflects the NFL star’s desire for success and hunger to dominate the game of football. Before his illustrious career began, many underestimated his ability to perform at such an exceptional level. He was perceived to be too small physically and not intelligent enough to call the right plays during the game. To their disbelief, his achievements and game winning exploits over the next 18 seasons would be seldom matched by other players throughout NFL history. The quality of directness that is typical of Berman’s images is matched by the intense stare of this fiercely competitive football legend.

Johnny Unitas achieved stardom after throwing the winning pass in the 1958 NFL title game, also known as “the greatest game ever played.”

Playing for the Colts’, he demonstrated his heroic efforts in the last seconds of the game against the New York Giants before a national television audience. He emerged as a superstar quarterback at the same time the NFL was gaining popularity as a televised sport. He would eventually be given the nickname “The Golden Arm.”

In an ESPN Classic’s Sports Century series, reporter Bubba Smith tells a story revealing of the football hero’s brutal tactics. During a play, a guy broke through the line, hit Unitas, and then pushed his head into the ground. Unitas called the same play again, letting the same guy come through the line, giving himself the opportunity to break the man’s nose with the football.

“Johnny Unitas” (c.1965) Vintage gelatin sil-ver print. Estate stamp, verso. 24 1/2 x 19 1/2 in. (622 x 495 mm). Provenance: Morris Ber-man Estate. Price $2,250

Page 9: Morris Berman
Page 10: Morris Berman

Roberto Clemente was drafted by the Pittsburgh Pirates in 1954. During his 18 year Major League Baseball career, he was named the National League Batting Champion four times, selected National League MVP in 1966, World Series MVP in 1971, and awarded 12 Gold Gloves. Here, as often before, Berman freezes the star player in another exciting moment during a Pittsburgh sporting event.

Clemente was known as a great ballplayer and as a humanitarian. Friend and former Pirates teammate, Manny Sanquillan, commented,

“Roberto Clemente played the game of baseball with a great passion that could only be matched by his unrelenting commitment to making a difference in the lives of those in need.”

His passion is what inspired the Roberto Clement Award, which is given annually to a selected Major League Baseball player who best exemplifies sportsmanship, community involvement, and individual contributions to his team.

“Throw to Home [Roberto Clemente]” (c. 1965) Vintage gelatin silver print. Estate stamp, verso. 13 1/4 x 10 1/8 in. (337 x 257 mm). Provenance: Morris Berman Estate. Price $1,950

Page 11: Morris Berman
Page 12: Morris Berman

“Work on Dome” (c. 1960) Vintage gelatin silver print. Signature stamp and estate stamp on verso. 11 x 13 15/16 in. (279 x 354 mm). Provenance: Morris Berman Estate. Price $1,500

Throughout Morris Berman’s career as a photographer for the Pittsburgh Post Gazette, he captured many photographs of the Civic Arena – one of the city’s major historical landmarks. The arena is considered an architectural marvel. Its signature retractable stainless steel dome measures 417 feet in diameter and stands 109 feet tall. Berman’s photograph of the arena’s construction marks the beginning of a historical era, known as Renaissance I.

The Civic Arena became the home of the NHL’s Pittsburgh Penguins in the Fall of 1967. Over the years, the arena has hosted performances by some of the most notable artists and musicians of our time. Such performances included The Beatles, Elvis Presley, Frank Sinatra, The Rolling Stones, Garth Brooks, and The Grateful Dead.

The attributes of the arena are fitting for the City of Pittsburgh – a fascinating and innovative moveable structure made of steel. Construction of the building involved architects, engineers, and even required elements of bridge building design. The dome is supported only by a large exterior cantilever arm, which measures 260 ft. Construction of the Civic Arena began on April 25, 1958. Forty months and $21.7 million dollars later, the arena was complete.

The arena just made recent history, holding the final regular season game for the Pittsburgh Penguins on April 9, 2010 -- the last regular season game to ever be played in the Civic Arena.

Page 13: Morris Berman
Page 14: Morris Berman
Page 15: Morris Berman

“Night Pillars” (1964) Vintage gelatin silver print. Signature and estate stamps, verso. 10 1/2 x 13 3/8 in. (267 x 340 mm). Provenance: Morris Berman Estate. Price $1,100

“Raising a Tower” (c. 1970) Vintage gelatin silver print. Stamped “Post-Gazette Photo by Morris Berman” on verso. Signature stamp and estate stamp on verso. 13 3/8 x 10 3/8 in. (340 x 264 mm). Provenance: Morris Berman Estate.Price $950

Page 16: Morris Berman

“Pursuit” (c.1970) Vintage gelatin silver print. Signature stamp and estate stamp on verso. 10 3/8 x 13 7/16 in. (264 x 341 mm). Provenance: Morris Berman Estate. Price $1,200

Page 17: Morris Berman

“Spills and Thrills” (c.1970) Gelatin silver print. Signed, titled and estate stamped, verso. 10 1/2 x 13 3/8 in. (267 x 340 mm). Prove-nance: Morris Berman Estate. Price $1,200

Page 18: Morris Berman
Page 19: Morris Berman

“Rescue from Fire” (c. 1970) Vintage gelatin silver print. Estate stamp, verso. 26 x 19 1/2 in. (660 x 495 mm). Provenance: Morris Berman Estate. Price $1,950

Berman was, above all, a true photojournalist. Whether it was a devastating apartment fire or the new found joy in the birth of a baby boy, he had a remarkable ability to capture a compelling shot that pulled the reader into the drama of life as it unfolded before him.

“Helping Hands” (1973) Vintage gelatin sil-ver print. Stamp signed, dated, annotated and estate stamped, verso. 8 5/8 x 13 3/8 in. (219 x 340 mm). Provenance: Morris Berman Estate. Price $1,500

Page 20: Morris Berman
Page 21: Morris Berman

“Boron Oil Company” (c. 1970) Gelatin sil-ver print. Stamp signed. Estate stamped, verso. 9 3/4 x 13 5/8 in. (248 x 346 mm). Provenance: Morris Berman Estate. Price $1,000

It is bewildering, the fact that bystanders are not shaken by the man lying on the sidewalk. The two young women almost look as if they stumbled upon him unexpectedly. They are looking upon him with curiosity, but still continue their stride. A crowd looks from the opposite street corner, possibly in a state of confusion. No one appears to be helping him. It may be that an emergency team is slow to respond, or that Berman was once again first to arrive on the scene to capture the images to provide the news of the events to the public.

“Dodging Death” (c.1965) Gelatin silver print. Signed, titled, annotated and estate stamped, verso. 13 1/2 x 10 3/4 in. (343 x 273 mm). Provenance: Morris Berman Estate. Price $1,250

Page 22: Morris Berman
Page 23: Morris Berman

“Police Response” (c. 1967) Vintage gelatin silver print. Stamped “Post-Gazette Photo by Morris Berman” on verso. Estate stamped on verso. 10 11/16 x 13 1/2 in. (271 x 343 mm).Price $1,500

All appears to be under control in this scene – unless you consider the rattled nerves of the approaching officer with a cigarette in hand. Before the advanced technology of bomb-diffusing robots, law enforcement officers used a careful and steady approach, shielding themselves only with the underdeveloped protective equipment available. They were dependent on quick thinking and sheer wits when approaching a potentially explosive device.

This photograph provides an insider’s look at a potentially deadly situation. Berman stood behind the lens once again, capturing the events on film as they unfolded. Because Berman lived on to photograph another day, we can assume that all ended well.

Page 24: Morris Berman

“All is Lost” (1952) Vintage gelatin silver print. Signed and titled in red pencil on verso. 10 1/8 x 13 in. (257 x 330 mm). Provenance: Morris Berman Estate. Price $3,000

This photograph was taken while Morris Berman was working for the Sun-Telegraph newspaper that would eventually be absorbed by the Pittsburgh Post-Gazette. Three family members are shown looking at the ruins of their fire-gutted home. According to the news article, five other members of the family died in the explosion and fire.

As this image typifies, Berman showcased his remarkable ability to capture fact and emotion. Through photography he could produce his

own form of visual language. His images stand apart from the “art” photography that has come to dominate museums and galleries. He always tried to let the faces tell the stories in the moments he captured with his camera.

Berman was awarded First Place for this image in the Western Pennsylvania Safety Council’s Photo Contest in 1952. That same year he also won a $100 prize for this photo in the William Randolph Hearst Annual Photographic Prize Competition.

Page 25: Morris Berman
Page 26: Morris Berman

“Reflected Cityscape” (1964) Vintage gelatin silver print. Signature and estate stamps, verso. 10 5/16 x 13 1/4 in. (262 x 337 mm). Prov-enance: Morris Berman Estate. Price $1,000

Page 27: Morris Berman

All images copyright the Estate of Morris Berman and the Pittsburgh Post-Gazette.

This publication is © 2010 SHAW GALLERIES

SHAW GALLERIES would like to thank the following contributors to this exhibition catalog:

Leanne HorganResearch

Essay & Captions

Elizabeth GaughanGraphic Design

805 Liberty Avenue, Pittsburgh, PA 15222412-281-4884 or www.shawgalleries.com

SHAWGALLERIES