id: 171716
accession number: 2014.472
share license status: Copyrighted
url: https://clevelandart.org/art/2014.472
updated: 2024-03-26 02:01:41.513000
In the Prison, Itself the Ultimate Form of Segregation, the Prisoner is Still Directed and Regulated by the Local Rationale Existing Outside its Walls. "White Female" Over the Prison Door indicates for White Prisoners Only, New Orleans, 1965. Leonard Freed (American, 1929–2006). Gelatin silver print; image: 23.9 x 15.9 cm (9 7/16 x 6 1/4 in.); paper: 25.2 x 20.3 cm (9 15/16 x 8 in.). The Cleveland Museum of Art, Gift of Mark Greenberg and Tami Morachnick 2014.472 © Leonard Freed /Magnum Photos
title: In the Prison, Itself the Ultimate Form of Segregation, the Prisoner is Still Directed and Regulated by the Local Rationale Existing Outside its Walls. "White Female" Over the Prison Door indicates for White Prisoners Only, New Orleans
title in original language:
series:
series in original language:
creation date: 1965
creation date earliest: 1965
creation date latest: 1965
current location:
creditline: Gift of Mark Greenberg and Tami Morachnick
copyright: © Leonard Freed /Magnum Photos
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culture: America, 20th century
technique: gelatin silver print
department: Photography
collection: PH - American 1951-Present
type: Photograph
find spot:
catalogue raisonne:
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CREATORS
* Leonard Freed (American, 1929–2006) - artist
Born in Brooklyn to Jewish, working-class parents of Eastern European descent, Leonard Freed (1929–2006) went to Europe to become a painter but instead discovered photography. After studying the medium in New York City, he worked as a documentary photographer and photojournalist in Europe. In 1972 he joined Magnum, the celebrated collaborative photo agency. Freed’s photographs in this exhibition are from Black in White America, a series inspired by an experience he had while covering the construction of the Berlin Wall in 1961. As he photographed an African American soldier guarding the border, it struck Freed that this man was risking his life to defend a country that limited his own rights. Freed returned to New York to undertake a multiyear exploration of African American life. Freed began shooting around New York, and then traveled extensively throughout the South. He spent time in communities getting to know his subjects, and kept a journal recording his impressions and their stories and words. During these years, he also covered Martin Luther King Jr. and numerous civil rights events, but when Freed published Black in White America in 1968, the book focused instead on the fabric of daily life. As a photojournalist, Freed was an observer rather than a participant, but not an impartial one. He believed that “photography is about who you are. It’s the seeking of truth in relation to yourself.”
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measurements: Image: 23.9 x 15.9 cm (9 7/16 x 6 1/4 in.); Paper: 25.2 x 20.3 cm (9 15/16 x 8 in.)
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inscriptions:
inscription: On verso, written in blue pen: " BLACKS/Black in white America"
Written in red marker: "Book Print".
Written in pencil: "BOOK: " "BLACK IN WHITE AMERICA" p35/UNIQUE (written in pencil) (black ink stamp): "VINTAGE PRINT"( written in pencil) 63-25-2-20A"/1965 NEW ORLEANS,LOUISIANA.U.S.A"
Singed by artist in pencil; "Leonard Freed".
Black ink stamps: "© Leonard Freed-Magnum"/ "Photography By/Leonard Freed/© 1970 MAGNUM PHOTOS/72 West 45th Street,N.Y.C.10036".
Written in blue marker: "US.5.2".
Written in pencil: "LFBWA-35/4000".
Adhesive label adhered on verso with black type: " BLACKS/Black in /White America".
A black ink stamp on verso with pencil : " MAGNUM/PHOTO LIBRARY PRINT/NEW YORK./32764/LOG REF:( written in pencil) 10302 9477/(ink stamp) TO BE RETURNED."
Written in pencil: "1965 VINATGE PRINT/USA".
translation:
remark:
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CURRENT EXHIBITIONS
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LEGACY EXHIBITIONS
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PROVENANCE
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