- Joel Meyerowitz: Where I Find Myself: A Lifetime RetrospectiveOur PickBy By Joel Meyerowitz, 2018
- Joel Meyerowitz: Cezanne's ObjectsBy Joel Meyerowitz, 2017
- Cape LightOur PickBy Joel Meyerowitz and Bruce K MacDonald, 1978
- Bystander: A history of Street PhotographyBy Colin Westerbeck and Joel Meyerowitz, 1994
- Joel Meyerowitz: Legacy: The Preservation of Wilderness in New York City ParksBy Mayor Michael R. Bloomberg and Joel Meyerowitz, 2009
- AftermathBy Joel Meyerowitz, 2011
Important Art by Joel Meyerowitz
This iconic photograph is a classic of Meyerowitz's early New York street photography. At this point in his career he had only been photographing for three years, and was eager to find comedy and melodrama around every corner of New York's streets. The photograph was shot with in 35mm black and white film and shows a prominent cinema banner, advertising the romantic comedy movie "Kiss Me, Stupid", starring Dean Martin and Kim Novak. Directly underneath the banner, in the centre of the composition, a couple share an intimate New Year's Eve kiss, framed by passing crowds on either side. The cheerful crowds are blurred, as they move past, set on their own paths for the evening celebrations. By comparison, the central couple seem frozen in time, oblivious of the world around them.
The sweet comedy of the Kiss Me Stupid sign is almost suggestive of some kind of benevolent cinema employee, encouraging romance on this New York evening. The quotation marks call into memory perhaps the captions of a silent movie, as if subtitling the couple's dialogue. Meyerowitz captures a spontaneous moment of magic and synchronicity that as passing strangers we may not have looked twice at had the photographer not assumed an invisible presence behind the lens.
This photograph was one of Meyerowitz very earliest, and an example of his natural predilection for color film before he made a self-conscious decision to use it. He remembers "I hadn't even been [shooting] a year and was learning how to become invisible on the street and get closer to people. This was the Puerto Rican Day Parade, and this young man was a perfect model, with a big flashy pompadour and probably a leather jacket in his car . . . But there was a sweetness to him, too. He was in the machine that he'd polished to a T. It was his vehicle, and his work of art."
This style of photograph calls into mind Meyerowitz deep admiration for Robert Frank. In the mode of Frank, Meyerowitz captures the melting pot of mid-century American life, creating a brand of Americana as observed from the position of an onlooker. The smooth, shining blue automobile cuts a diagonal line across the frame, a symbol of the American dream. Meanwhile, an American flag flutters in the breeze which is perhaps a specific nod to Frank for whom the American flag was something of a motif in The Americans. Yet, other elements of the photograph challenge ask us to consider what it meant to "be" American. The combative stare of the young man in the middle, in 1950s style greaser clothes, is counter to 1960s mainstream American culture while his "otherness" - the car owner is of Puerto Rican appearance - hints at a conflicted heritage; much like American-Jews like Meyerowitz and Swiss-Americans like Frank.
This photograph marks a crucial point in Meyerowitz career. In this period during the mid-1970s, Meyerowitz switched from a small handheld camera to a large format 8 x 10 Deardorff. The loss of mobility is however compensated for by the much larger, high quality color prints. Though the switch to the Deardorff took away some spontaneity, it adheres to the same "snapshot" principle of Meyerowitz's street photography: that of capturing a moving city in a split moment in time and place. Speaking of the location on the intersection of 59th street and Madison Avenue, Meyerowitz suggested that he had "picked a hard, sunny corner, with something in the frame that appealed to [him];" in this case specifically, a "gaudy and horrible" office building that was "exactly of its era."
In terms of its composition, we see that the picture frame is divided into geometric shapes of light and shadow. Against this architectural order, passing individuals are purposeful, concentrated and introspective, striding across the composition in a mix of drab greys and tans and gaudy pink or blue. Yet collisions seem somehow inevitable given that each figure is in a world of their own. The color film meanwhile is integral to creating a mood and impression of a particular time and place. As Meyerowitz himself put it in this discerning quote: "When I first showed these sorts of image to my friends Garry Winogrand and Tod Papageorge they thought that I had lost my mind, or lost my eye. And yet, when I look back on this picture - at the newsagent, or the man striding around the corner, or the gigantic woman - I feel a kind of giddy delight that I was there. This was a crucial turning point, which moved me further along my own path. Anyone who looked at this in 2050 would be able to say: 'So that's what it was like to be in New York 75 years ago."