It has long been debated whether or not photography is an objective discipline. Some say that a photograph captures a moment in time, a seemingly direct representation of the physical world with no distortion. But many have come to the conclusion that photography is ultimately subjective and celebrated for the photographer's power to appropriate that which he or she photographs. What appears as a mirror of a reality is, in fact, a carefully executed and deliberately chosen image.
The exhibition "Man in the Street: Jules Aarons Photographs Boston, 1947?1976" at the Boston Public Library is a testament to the power and allure of photography. Aarons, a largely self?taught photographer, began to seriously take snapshots in 1947, choosing the streets and neighborhoods of Boston as his subject. Born and raised in the Bronx, N.Y., Aarons witnessed firsthand urban energy and sought to reflect this in his work, illustrating how people lived their lives on the streets of the city.
Beginning his work in the late '40s, Aarons had before him a city about to enter an era of post?war renewal, a city whose stability and community were quickly dissolving. His photographs, therefore, double as historical documents, freezing moments in time from this era of change and rebirth.
Inspired by the discipline of street photography, Aarons' type of documentary photography captures its subjects candidly within public places. He juxtaposes his subjects against the urban background of Boston. Interestingly, whereas most street photographers at the time primarily used 35mm single lens reflex cameras, requiring the photographer to bring the camera to his eye and shoot directly at his subject, Aarons used a Rolleiflex twin lens reflex, a camera that is held at the waist. Aarons was able to take photographs without looking at his subjects, holding only the camera in their direction ?? resulting in truly candid shots.
But Aarons' images are more than simple candid shots; rather, they achieve a level of spontaneity mixed with a deliberateness and decisive intention. The photographs are almost staged, as if the subjects are set against a choreographed background, but a closer look reveals deeper complexity. The photographs radiate a sense of drama and excitement, and Aarons' sympathy for his subject is clear.
The energy abounding in the city streets and neighborhoods, the lives being lived out in the public sphere, truly captivated Aarons. This genuine curiosity makes the photographs so much more than snapshots in time. Instead, the images capture emotions along with action and construct a lens through which this era can begin to be viewed and contemplated.
There is a wealth of images in this exhibition and all are from the Boston Public Library's collection of photographs by Jules Aarons, the largest collection of his photographs held by any institution. With a brief introduction to Aarons' life and work, the viewer can wander around the room, taking in the photographs and leafing through several of the books published about him and his photography. As an interesting touch, the curator has added quotations by Aarons on several of the labels that identify each image. Rather than serve as text to explain the work, these statements strengthen the images by allowing the viewer to understand the images not just through his artistry, but through Aarons' own voice.
All of the photographs in the collection were produced during the '50s and '60s, and they are at once charming and thought?provoking. Rather than attempt to encapsulate all the emotions, actions and realities of his time, Aarons tried to simply capture single instances as a reflection of his own understanding of the world around him. And he succeeded in this endeavor. The images selected are quintessentially Boston; they are no doubt of a past era, but at the same time seem as if they could have been taken yesterday.
