Danny Lyon | |
---|---|
Born | Brooklyn, New York, U.S. | March 16, 1942
Notable work | The Bikeriders, The Destruction of Lower Manhattan, Conversations With The Dead, I Like To Eat Right On The Dirt, Like A Thief's Dream, The Seventh Dog, Deep Sea Diver, Indian Nations |
Movement | New Journalism |
Website | www |
Danny Lyon (born March 16, 1942) [1] is an American photographer [2] and filmmaker. [3]
All of Lyon's publications work in the style of photographic New Journalism, [4] meaning that the photographer has become immersed in, and is a participant of, the documented subject. He is the founding member of the publishing group Bleak Beauty.
After being accepted as the photographer for Student Nonviolent Coordinating Committee (SNCC), Lyon was present at almost all of the major historical events during the Civil Rights Movement. [5]
He has had solo exhibits at the Whitney Museum of American Art, the Art Institute of Chicago, [6] the Menil Collection, the M. H. de Young Memorial Museum in San Francisco and the Center for Creative Photography at the University of Arizona. Lyon twice received a Guggenheim Fellowship; a Rockefeller Fellowship,[ citation needed ] Missouri Honor Medal for Distinguished Service in Journalism; [7] and a Lucie Award. [8]
Lyon was born in 1942 in Brooklyn, New York and is the son of Russian-Jewish mother Rebecca Henkin and German-Jewish father Dr. Ernst Fredrick Lyon. He was raised in Kew Gardens, Queens, and went on to study history and philosophy at the University of Chicago, where he graduated with a Bachelor of Arts degree in 1963.
Lyon began his involvement in the civil rights movement in 1962 when he hitch-hiked to Cairo, Illinois during a summer break after his junior year at the University of Chicago. He was inspired by a speech John Lewis had given at a church on his first day in Cairo. After his speech Lewis left to go attend a sit-in, Lyon was impressed by this, Lewis was putting action behind his words. Lyon then decided to march to a nearby segregated swimming pool, the demonstrators knelt down to pray as the pool-goers heckled them. Soon a truck came, it went through the crowd in an attempt to break it up, a young black girl was hit by the truck and Lyon knew that he wanted to be a part of the movement. [9] For a time after this, in the 1960s, Lewis and Lyon were roommates. [10]
In September 1962, with a $300 donation by Harry Belafonte, the Student Nonviolent Coordinating Committee (SNCC) flew Lyon to Jackson and the Mississippi Delta to cover voter registration workers. Shortly after, Lyon had a run-in with the police, one of whom threatened to kill him because when told they “didn’t mix the races down here”, Lyon claimed he had a Black grandfather. Lyon left town in order to keep all the pictures he had taken safe from being confiscated. [9]
In 1963 Lyon returned, but the SNCC was reluctant to bring him aboard as their photographer. One job Lyon participated in was getting a picture of some high-school girls who were in prison at the Leesburg Stockade without any charges against them. He hid in the back of a car while someone else drove him to the prison, and the young man who drove distracted the guards while Lyon snuck in the back to get the photo. [9]
After being accepted as the photographer for SNCC, Lyon was present at almost all of the major historical events during the movement capturing the moments with his camera. [5]
His pictures appeared in The Movement: documentary of a struggle for equality, a documentary book about the Civil Rights Movement in the southern region of the United States. [11]
Later, Lyon began creating his own books. His first was a study of outlaw motorcyclists in the collection The Bikeriders (1968), where Lyon photographed, traveled with and shared the lifestyle of bikers in the American Midwest from 1963 to 1967. [12] [13] Living in a rented apartment in Woodlawn, Chicago, Lyon followed the Chicago chapter of the Outlaws Motorcycle Club in an "attempt to record and glorify the life of the American bikerider". Seeking advice from Hunter S. Thompson, who spent a year with the Hells Angels for his own book, Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs , Thompson warned Lyon that he should "get the hell out of that club unless it's absolutely necessary for photo action." [14] [15] Lyon said of Thompson's response: "He advised me not to join the Outlaws and to wear a helmet. I joined the club and seldom wore a helmet". He was a full-fledged member of the Outlaws between 1966 and 1967. [15] On his time as an Outlaws member, Lyon said: "I was kind of horrified by the end. I remember I had a big disagreement with this guy who rolled out a huge Nazi flag as a picnic rug to put our beers on. By then I had realised that some of these guys were not so romantic after all". [14]
The series was immensely popular and influential in the 1960s and 1970s. By 1967, Lyon was invited to join Magnum Photos. After The Bikeriders, he spent time documenting the lives of inmates in Texas prisons. [16] During the 1970s, Lyon also contributed to the Environmental Protection Agency's DOCUMERICA project. [17]
In 1969, when Lyon returned from his work in Texas to New York City, and had no place to live, the photographer Robert Frank, famous by then for his 1958 book The Americans, took him in. Lyon had met Frank two years earlier, at the end of a Happening that Lyon was part of, in New York City. Lyon lived with the Frank family for six months in the city, in an apartment on West 86th St. [18]
The Destruction of Lower Manhattan (1969) was Lyon's next work, published by Macmillan Publishers in 1969. [19] The book documents the large-scale demolition taking place throughout Lower Manhattan in 1967. Included are photographs of soon to be demolished streets and buildings, portraits of the neighborhood's last remaining stragglers and pictures from within the demolition sites themselves. The book was eventually remaindered for one dollar each, but soon attained the status of a collector's item. It was reprinted in 2005.
Conversations with the Dead (1971) was published with full cooperation of the Texas Department of Corrections. Lyon photographed in six prisons over a 14-month period in 1967–68. The series was printed in book form in 1971 by Holt publishing. The introduction points to a statement of purpose that the penal system of Texas is symbolic for incarceration everywhere. He states, "I tried with whatever power I had to make a picture of imprisonment as distressing as I knew it to be in reality."
Lyon befriended many of the prisoners. The book also includes texts taken from prison records, letters from convicts, and inmate artwork. In particular, the book focuses on the case of Billy McCune, a convicted rapist whose death sentence was eventually commuted to life in prison. In the foreword, Lyon describes McCune as a diagnosed psychotic, who one evening, while awaiting execution, "cut his penis off to the root and, placing it in a cup, passed it between the bars to the guard."
All of Lyon's publications work in the style of photographic New Journalism, [4] meaning that the photographer has become immersed, and is a participant, of the documented subject.
He is the founding member of the publishing group Bleak Beauty. He was greatly encouraged in his photography by curator of the Art Institute of Chicago [6] Hugh Edwards, who gave Lyon two solo exhibits as a young man.
Also a filmmaker and writer, Lyon's films and videos include Los Niños Abandonados, Born to Film, Willie, and Murderers. He has published the non-fiction book Like A Thief's Dream.
Jamil Abdullah al-Amin, is an American human rights activist, Muslim cleric, black separatist, and convicted murderer who was the fifth chairman of the Student Nonviolent Coordinating Committee (SNCC) in the 1960s. Best known as H. Rap Brown, he served as the Black Panther Party's minister of justice during a short-lived alliance between SNCC and the Black Panther Party.
The Student Nonviolent Coordinating Committee was the principal channel of student commitment in the United States to the civil rights movement during the 1960s. Emerging in 1960 from the student-led sit-ins at segregated lunch counters in Greensboro, North Carolina, and Nashville, Tennessee, the Committee sought to coordinate and assist direct-action challenges to the civic segregation and political exclusion of African Americans. From 1962, with the support of the Voter Education Project, SNCC committed to the registration and mobilization of black voters in the Deep South. Affiliates such as the Mississippi Freedom Democratic Party and the Lowndes County Freedom Organization in Alabama also worked to increase the pressure on federal and state government to enforce constitutional protections.
Freedom Summer, also known as the Freedom Summer Project or the Mississippi Summer Project, was a volunteer campaign in the United States launched in June 1964 to attempt to register as many African-American voters as possible in Mississippi. Blacks had been restricted from voting since the turn of the century due to barriers to voter registration and other laws. The project also set up dozens of Freedom Schools, Freedom Houses, and community centers such as libraries, in small towns throughout Mississippi to aid the local Black population.
The March Against Fear was a major 1966 demonstration in the Civil Rights Movement in the South. Activist James Meredith launched the event on June 5, 1966, intending to make a solitary walk from Memphis, Tennessee, to Jackson, Mississippi via the Mississippi Delta, starting at Memphis's Peabody Hotel and proceeding to the Mississippi state line, then continuing through, respectively, the Mississippi cities of Hernando, Grenada, Greenwood, Indianola, Belzoni, Yazoo City, and Canton before arriving at Jackson's City Hall. The total distance marched was approximately 270 miles over a period of 21 days. The goal was to counter the continuing racism in the Mississippi Delta after passage of federal civil rights legislation in the previous two years and to encourage African Americans in the state to register to vote. He invited only individual black men to join him and did not want it to be a large media event dominated by major civil rights organizations.
Joel Meyerowitz is an American street, portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught photography at the Cooper Union in New York City.
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation.
Hugh Edwards (1903–1986) was an American curator of photography, based in Chicago, Illinois at the Art Institute of Chicago during the 1960s. Considered highly influential, Edwards was one of a handful of key curators, along with Alfred Stieglitz, Edward Steichen and John Szarkowski, who worked to gain the acceptance in the United States of fine art photography and documentary photography as art forms.
James Forman was a prominent African-American leader in the civil rights movement. He was active in the Student Nonviolent Coordinating Committee (SNCC), the Black Panther Party, and the League of Revolutionary Black Workers. As the executive secretary of SNCC from 1961 to 1966, Forman played a significant role in the Freedom Rides, the Albany movement, the Birmingham campaign, and the Selma to Montgomery marches.
Mary Ellen Mark was an American photographer known for her photojournalism, documentary photography, portraiture, and advertising photography. She photographed people who were "away from mainstream society and toward its more interesting, often troubled fringes".
Roy Rudolph DeCarava was an American artist. DeCarava received early critical acclaim for his photography, initially engaging and imaging the lives of African Americans and jazz musicians in the communities where he lived and worked. Over a career that spanned nearly six decades, DeCarava came to be known as a founder in the field of black and white fine art photography, advocating for an approach to the medium based on the core value of an individual, subjective creative sensibility, which was separate and distinct from the "social documentary" style of many predecessors.
Doris Adelaide Derby was an American activist and documentary photographer. She was the adjunct associate professor of anthropology at Georgia State University and the founding director of their Office of African-American Student Services and Programs. She was active in the Mississippi civil rights movement, and her work discusses the themes of race and African-American identity. She was a working member of the Student Nonviolent Coordinating Committee (SNCC) and co-founder of the Free Southern Theater. Her photography has been exhibited internationally. Two of her photographs were published in Hands on the Freedom Plow: Personal Accounts by Women in SNCC, to which she also contributed an essay about her experiences in the Mississippi civil rights movement.
Bruce Landon Davidson is an American photographer. He has been a member of the Magnum Photos agency since 1958. His photographs, notably those taken in Harlem, New York City, have been widely exhibited and published. He is known for photographing communities that are usually hostile to outsiders.
Jack Abraham Newfield was an American journalist, columnist, author, documentary filmmaker and activist. Newfield wrote for the Village Voice, New York Daily News, New York Post, New York Sun, New York, Parade, Tikkun, Mother Jones, and The Nation and monthly columns for several labor union newspapers. In his autobiography, Somebody's Gotta Tell It: The Upbeat Memoir of a Working-Class Journalist (2002), Newfield said, "The point is not to confuse objectivity with truth."
Eugene Richards is an American documentary photographer living in Brooklyn, New York. He has published many books of photography and has been a member of Magnum Photos and of VII Photo Agency. He was born in Dorchester, Massachusetts.
Benedict Joseph Fernandez III was an American educator and journalistic and documentary street photographer. He is noted for photographing the protest movements of the 1960s, particularly those of the civil rights movement and the anti-Vietnam War movement.
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Clifford A. "Sonny" Vaughs was an American civil rights activist, filmmaker, and motorcycle builder. Vaughs designed the two chopper motorcycles used for the 1969 film Easy Rider, while an associate producer on the film. He also produced and directed the documentary What Will the Harvest Be? (1965) and Not So Easy (1972).
Kenneth Randall Light is an American social documentary photographer based in the San Francisco Bay Area. He is the author of twelve monographs, including Midnight La Frontera, What'sGoing On? 1969-1974,Delta Time, TexasDeath Row and, most recently, Course of the Empire, published by Steidl. He wrote Witness in our Time: Working Lives of Documentary Photographers, a collection of recollections and interviews with 29 of the world's most well-known photographers, editors and curators of the genre. He has had his photographs included as part of photo essays and portfolios in newspapers, magazines and other media, has been exhibited worldwide and is part of museum collections such as SF Museum of Modern Art and International Center of Photography. Light was also a co-founder of Fotovision, the Mother Jones International Fund for Documentary Photography and he is the recipient of a Guggenheim Fellowship and three National Endowment for the Arts photography fellowships. He is also a professor at the Graduate School of Journalism at UC Berkeley where he holds the Reva and David Logan chair in photojournalism and he is the director of the school's Logan documentary photography gallery.
The Bikeriders is a 2023 American crime drama film written and directed by Jeff Nichols. The film stars Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Faist, and Norman Reedus. Its plot, inspired by the photo-book of the same name by Danny Lyon, depicts the lives of the Vandals Motorcycle Club, a fictional version of the Outlaws Motorcycle Club.
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