LIFE Magazine and the Power of Photography
Katherine Bussard, Kristen Gresh, and Alissa Schapiro
Museum of Fine Arts, Boston
October 9, 2022–January 16, 2023
From the Great Depression to the Vietnam War, almost all of the photographs printed for consumption by the American public appeared in illustrated magazines. Among them, Life magazine—published weekly from 1936 to 1972—was both wildly popular and visually revolutionary, with photographs arranged in groundbreaking dramatic layouts known as photo-essays. This exhibition takes a closer look at the creation and impact of the carefully selected images found in the pages of Life—and the precisely crafted narratives told through these pictures—in order to reveal how the magazine shaped conversations about war, race, technology, national identity, and more in the 20th-century United States. The photographs on view capture some of the defining moments—celebratory and traumatic alike—of the last century, from the Birmingham civil rights demonstrations to the historic Apollo 11 moon landing. Far from simply nostalgic and laudatory, the exhibition critically reconsiders Life’s complex, and sometimes contradictory, approach to such stories through works by photographers from different backgrounds and perspectives who captured difficult images of ethnic discrimination and racialized violence, from the Holocaust to white supremacist terror of the 1960s.
Drawing on unprecedented access to Life magazine’s picture and paper archives as well as photographers’ archives, the exhibition brings together more than 180 objects, including vintage photographs, contact sheets, assignment outlines, internal memos, and layout experiments. Visitors can trace the construction of a Life photo-essay from assignment through to the creative and editorial process of shaping images into a compelling story. This focus departs from the historic fascination with the singular photographic genius and instead celebrates the collaborative efforts behind many now-iconic images and stories. Particular attention is given to the women staff members of Life, whose roles remained forgotten or overshadowed by the traditional emphasis on men at the magazine. Most photographs on view are original working press prints—made to be used in the magazine’s production—and represent the wide range of photographers who worked for Life, such as Margaret Bourke-White, Larry Burrows, Henri Cartier-Bresson, Frank Dandridge, Gordon Parks, and W. Eugene Smith.