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Margaret Bourke-White
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Born in New York City on June 14, 1904, Margaret Bourke-White was the daughter of Joseph and Minnie White. (She added "Bourke, " her mother's name, after her first marriage ended). One of the original staff photographers for LIFE magazine, she was a pioneer in the field of photo-journalism. She photographed the leading political figures of her time: Franklin Roosevelt, Winston Churchill, Joseph Stalin, and Mahatma Gandhi. She ... called attention to the suffering of unknown people, from the poor sharecroppers in America to the oppressed Black coalminers in South Africa. An adventuresome lady who loved to fly, Bourke-White was the first accredited woman war correspondent during World War II and the first woman to accompany a bombing mission.
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Margaret Bourke-White (1904-71) was one of the great chroniclers of the Machine Age. In the late 1920s and early 1930s, the first decade of her career, she photographed the implements, processes, and output of industry. These were not merely documentary photographs; they were tour-de-force images, showing her grasp of modern design and aesthetics. Through close-ups, dramatic cross-lighting, and unusual perspectives, she presented the industrial environment as artful compositions. By romanticizing the tremendous power of industry and machinery, she captured beauty in a world not usually considered beautiful. Soon her work caught the eye of corporate executives and magazine publishers, propelling Bourke-White to the forefront of photography and journalism in the twentieth century.
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Margaret Bourke-White had a profound influence on photojournalism and on architectural and industrial photography. Any Life or Fortune photographer during and after her time came under her influence, she was a leading pioneer of the photo essay. Photographers with whom she corresponded are a who's who of photography and included Ansel Adama, Imogen Cunnignham, Alfred Eisenstaedt, Yousef Karsh, Dorthea Lange, Jackie Maritn, Edward Steichen, Ralph Steiner, Alfred Stieglitz and Edward Weston. http://libwww.syr.edu/digital/guides/m/MargaretBourkeWhitePapers-Inv.htm Probably more than any other influence, it was Life and the work of its first photographers that began the transformation of popular journalism from a written to a visual medium. Photographers Alfred Eisenstadt, Margaret Bourke-White, Peter Stackpole, and Carl Mydans are seminal figures in the field of photojournalism. http://photoarts.com/reviews/life.html Photographers who have credited Bourke-White with influencing their work include FRANCES PELLEGRINI http://www.biddingtons.com/content/creativepellegrini.html Contemporary: Amy Seidenbecker http://www.caconline.org/cacartists/SeidenbeckerA/seidenbeckera.html Neil Turner http://www.dg28.com/Opinion10.html Harold Shapiro http://old.newhavenadvocate.com/bestof01/visi.html Other sites of interest: http://www.u.arizona.edu/ic/mcbride/ws200/grp9sing.htm http://www.lkwdpl.org/wihohio/bour-mar.htm http://www.efn.org/~sroehr/home2.html http://www.artcyclopedia.com/artists/bourke-white_margaret.html http://elsa.photo.net/mbwhite.htm http://www.digitaljournalist.org/issue0301/pcox.html Search strategy: Bourke-White influence; Bourke-White; photographer influenced bourke-white
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Margaret Bourke-White and Lewis W. Hine were both imaginative, disciplined, and successful photographers in an era when the medium was finely positioned as an art form. Both these volumes ... give visual evidence of their recording of time and place through personal courage. Bourke-White is famous for her daring vantage points, confirmed by the shot of her perched on one of the aluminum eagles high atop the Chrysler Building in New York as she photographed its streamlined details. Hine likewise positioned himself and his camera above New York as the Empire State Building was bolted together. The collection of Bourke-White's work is well produced, with deep tones and fine clarity, reminding those who admire her great gifts of composition and darkroom skill of her significance in the history of photography. Newcomers to her travels and her work will quickly discover a photojournalist and industrial artist whose professional journey left a stunning record of the century.
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Ethical Culture, the religion that Margaret Bourke-White grew up in, was an officially atheistic religion. The importance of virginity prior to marriage and celibacy even within marriage were key teachings of the religion. Prior to their marriage, Margaret Bourke-White's father introduced Ethical Culture to his fiance. They were both members of the Society of Ethical Culture of New York, and they agreed prior to getting married that they would live by the religion's teaching that they completely abstain from sex, except for purpose of producing a child. They had three children during the early years of their marriage, and they lived by Ethical Culture's intramarital celibacy rule for many years. But eventually they gave in to the temptation to have intimate relations with each other.
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Margaret Bourke-White was born in New York City in nineteen-oh-four. When Margaret was very young, the family moved to New Jersey. Her mother, Minnie Bourke, worked on publications for the blind. Her father, Joseph White, was an engineer and designer in the printing industry. He ... liked to take pictures. Their home was filled with his photographs. Soon young Margaret was helping him take and develop his photographs. When she was eight years old, her father took her inside a factory to watch the manufacture of printing presses. In the foundry, she saw hot liquid iron being poured to make the machines. She remembered this for years to come.
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Margaret Bourke-White