jacob riis
Exhibition Overview
The video shows the construction of the exhibition "Revealing How the Other Half Lives" at the Library of Congress.
The exhibit is located in the Thomas Jefferson Building.
Focuses on the life of Jacob Riis, a Danish-born journalist, social reformer, and photographer.
Key Photographs
Bandit's Roost
Perhaps Riis's most famous photograph.
Depicts Italian tufts wearing bowler hats in the Mulberry Bend area near Baxter Street.
Mulberry Bend became a significant focus for Riis in urban reform efforts.
Riis worked with municipal authorities for its demolition, replacing it with a park, which is also featured in the exhibit.
Artistic Representation
Riis described himself as a "photographer after fashion," indicating he did not see himself as a traditional photographer.
He recorded photographs for less than ten years, capturing about 300 images, a third of which were family snapshots or non-historically significant.
The iconic nature of "Bandit's Roost" was later echoed in Martin Scorsese's film "Gangs of New York."
Use of Flash Photography
Initial Inspiration:
In 1887, Riis learned about a new flash powder technology that could illuminate dark environments.
He collaborated with two amateur photographers interested in flash photography.
Bandit's Roost
The image was taken using a stereoscopic camera, which captures two images to create a three-dimensional effect.
The left side of the photograph features the well-known figures in the scene.
5¢ a Spot
This photograph shows individuals paying for illegal temporary lodging in a tenement. Prices were 5¢ for those on the floor and 7¢ for those on shelves due to New York law requiring independent beds.
Riis himself captured this image, alongside sanitary police raiding the illegal lodging house.
The photograph depicts the stark conditions faced by people seeking shelter, some awoken mid-sleep, capturing their horrified expressions due to the abrupt entry and flash.
Critical Reception
Impact and Criticism
Riis aimed to raise awareness and provoke action from the authorities about the inhumane conditions depicted.
His use of flash photography has been criticized for "victimizing" subjects, as he entered unconsenting spaces, causing panic and distress among individuals in the images.
These modern critiques underscore ongoing ethical discussions about representation and consent in documentary photography.