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You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early. Filmmakers Martha Wheelock and Kay Weaver discuss their memories of living and working with the legendary photographer. Christopher Alessandrini and Stephanie Wuertz. Berenice Abbott had one of the most astonishingly wide-ranging artistic careers of the twentieth century. Remembered today as a pioneer of street photography, she also captured portraits of the artistic elite in Paris and Harlem and pushed the field of scientific photography forward at the Massachusetts Institute of Technology.
This interview with Wheelock and Weaver was conducted over email and has been edited for publication. When did you decide to make a film about Berenice Abbott?
What drew you to her initially, and why did you think she would make a compelling subject? Wide-eyed about the Village, I researched and explored its denizens past and present: e. In a small corner tobacco store I found a postcard of two Village homes on Gay Street, and another card depicting the artistry of a door at the brownstone at West 13th Street. I knew both places and had walked by them almost daily. Who else had thought them beautiful?
The photographer was Berenice Abbott. Her name stayed with me, as did the postcards. I discovered a thin book of her photography and a small exhibit of her work in a Village gallery. Her art remained in my head and heart for decades. Left: Berenice Abbott American, — West Street , Gelatin silver print, Menschel, Abbott was new to me, but after looking at a few of her photographs I knew we were a perfect fit.
