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The family of man : the photographic exhibition

Author: Edward SteichenCarl SandburgDorothy NormanLeo LionniJerry MasonAll authors
Publisher: [New York] : Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation, [1955]. ©1955.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"The greatest photographic exhibition of all time--503 pictures from 68 countries"--Title page of standard edition.
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Genre/Form: Exhibition catalogs
Exhibitions
Additional Physical Format: Online version:
Family of man.
[New York] : Published for the Museum of Modern Art by Simon and Schuster, ©1955.
(OCoLC)572293261
Document Type: Book
All Authors / Contributors: Edward Steichen; Carl Sandburg; Dorothy Norman; Leo Lionni; Jerry Mason; Ezra Stoller
OCLC Number: 814303
Notes: Issued also in a standard edition (192 pages) and a Pocket Book edition (256 pages).
"Prologue by Carl Sandburg": pages 2-3. "Introduction by Edward Steichen": pages 4-5.
"Editor: Jerry Mason. Art director: Leo Lionni ... Captions: Dorothy Norman. Production: Allied Graphic Arts, Inc."--Page opposite title page.
"A special portfolio of photographs by Ezra Stoller of the Family of Man exhibition on the walls of the Museum of Modern Art, New York. Installation designed by Paul Rudolph. Photographic footnotes by Wayne Miller": pages 195-207. Included in this edition only.
LC copy 1 (P&P copy) in library binding.
Description: 207 pages : chiefly illustrations ; 29 cm
Responsibility: created by Edward Steichen for the Museum of Modern Art.

Abstract:

"The greatest photographic exhibition of all time--503 pictures from 68 countries"--Title page of standard edition.

"Conceived as an exhibition for MoMA in New York in 1955, with a catalogue published both by Maco Magazine Corporation and Simon and Schuster, The Family of Man has been heavily criticized, usually for its sentimentality and its disingenuous simplicity. Although indeed sentimental, The Family of Man was not as simple as it looked. ... The de-politicization of the photography was in fact a calculated piece of political image-making, stating that American values were the only universal values, and that the world could be one big happy family under the beneficent guidance of Uncle Sam. ... One of the ironic aspects of the project is the way its whole aesthetic derives from those German and Soviet exhibitions and propaganda books of the 1930s. The sententious tone, the grim determinism, the tendentious ideological stance, even the design, place The Family of Man in the propagandist mode of modernism rather than in the utopian wing to which it nominally aspires. Nevertheless, and this is an important point, it contains many fine photographs."--The Photobook : A History Volume II / Martin Parr and Gerry Badger. London : Phaidon, 2004.

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