Editing Paul Strand (section)

==Career==
[[File:Wall Street by Paul Strand, 1915.jpg|thumb|right|''Wall Street'' (1915)]]
In his late teens, he was a student of renowned documentary photographer [[Lewis Hine]] at the [[Ethical Culture Fieldston School]]. It was while on a field trip in this class that Strand first visited [[Little Galleries of the Photo-Secession|the 291 art gallery]] – operated by Stieglitz and [[Edward Steichen]] – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz later promoted Strand's work in the 291 gallery itself, in his photography publication ''[[Camera Work]]'', and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known ''[[Wall Street (photograph)|Wall Street]]'', experimented with formal [[abstract art|abstractions]] (influencing, among others, [[Edward Hopper]] and his idiosyncratic urban vision).<ref>Wells, Walter, ''Silent Theater: The Art of Edward Hopper'', London/New York: Phaidon, 2007 {{ISBN|978-0-7148-4541-8}}</ref> Other of Strand's works reflect his interest in using the [[camera]] as a tool for social reform.{{citation needed|date=June 2020}}  When taking portraits, he would often mount a false brass lens to the side of his camera while photographing using a second working lens hidden under his arm. This meant that Strand's subjects likely had no idea he was taking their picture.<ref>{{Cite news|last=Conway|first=Richard|date=30 October 2014|title=Paul Strand, Master of Modernism, in Retrospect|work=Time magazine|url=https://time.com/104072/paul-strand-retrospective/|access-date=24 December 2021}}</ref> It was a move some criticized.

===Photo League===
Strand was one of the founders of the [[Photo League]], an association of photographers who advocated using their art to promote social and political causes. Strand and [[Elizabeth McCausland]] were "particularly active" in the League, with Strand serving as "something of an elder statesman."  Both Strand and McCausland were "clearly left-leaning," with Strand "more than just sympathetic to Marxist ideas."  Strand, McCausland, [[Ansel Adams]], and [[Nancy Newhall]] all contributed to the League's publication, ''Photo News''.<ref name=Robinson>{{cite book| first = Gerald H. | last = Robinson| title = Photography, History & Science| publisher = Carl Mautz Publishing| url = https://books.google.com/books?id=-NeC2Rmb1jYC| pages = 38 (Photo League), 43 (documentarian), 91 (Realism), 111 (influence on Ansel Adams)| date = 2006| isbn = 9781887694278| access-date = 23 June 2020}}</ref>

===Still photography and filmmaking===
Over the next few decades, Strand worked in motion pictures as well as still photography. His first film, ''[[Manhatta]]'' ([[1921 in film|1921]]), was made with painter/photographer [[Charles Sheeler]].<ref>{{cite web|access-date=2022-01-11|title=Symphonies of steel and stone: silent cinema and the city|url=http://www.theguardian.com/film/filmblog/2016/mar/21/city-symphonies-silent-cinema-paul-strand-victoria-albert|date=21 March 2016|website=The Guardian}}</ref> Also known as ''New York the Magnificent'', the [[silent film]] depicted the day-to-day life of New York City. ''Manhatta'' includes a shot similar to Strand's famous ''Wall Street'' (1915) photograph. In 1932–35, he lived in Mexico and worked on ''[[Redes (film)|Redes]]'' ([[1936 in film|1936]]), a film commissioned by the Mexican government, released in the US as ''The Wave''.  Other films he was involved with were the documentary ''[[The Plow That Broke the Plains]]'' ([[1936 in film|1936]])  and the pro-union, anti-fascist ''[[Native Land]]'' ([[1942 in film|1942]]).

From 1933 to 1952, Strand had no darkroom of his own and used those of others.<ref name=Stockeregg>{{cite book| title = Paul Strand| url = https://books.google.com/books?id=nnFOAAAAYAAJ| pages = 62 (dark room), 72 (AGLOSO)| date = 1987| access-date = 23 June 2020| last1=Strand | first1=Paul }}</ref>

===Communism===
In December 1947, the Photo League appeared on the [[Attorney General's List of Subversive Organizations]] (AGLOSO).<ref name=Stockeregg/>

In 1948, [[CBS]] commissioned Strand to contribute a photo for an advertisement captured "It is Now Tomorrow": Strand's photo showed television antennas atop New York City.<ref name=Spigel>{{cite book| first = Lynn 
| last = Spigel| title = TV by Design: Modern Art and the Rise of Network Television| publisher = University of Chicago Press| url = https://books.google.com/books?id=q_dekIDkPtMC| pages = 68–69| date = 2008| isbn = 9780226769684| access-date = 23 June 2020}}</ref>

On January 17, 1949, Strand signed in support of Communist Party leaders ([[Benjamin J. Davis Jr.]], [[Eugene Dennis]], [[William Z. Foster]], [[John Gates]], [[Gil Green (politician)]], [[Gus Hall]], [[Irving Potash]], [[Jack Stachel]], [[Robert G. Thompson]], [[John Williamson (communist)|John Williamson]], [[Henry Winston]], Carl Winter) in the [[Smith Act trials of Communist Party leaders|Smith Act trials]], along with [[Lester Cole]], [[Martha Dodd]], [[W. E. B. Du Bois]], [[Henry Pratt Fairchild]], [[Howard Fast]], [[Shirley Graham Du Bois|Shirley Graham]], [[Robert Gwathmey]], [[E.Y. Harburg]], Joseph H. Levy, [[Albert Maltz]], [[Philip Morrison]], Clarence Parker, [[Muriel Rukeyser]], Alfred K. Stern (husband of Martha Dodd), [[Max Weber (artist)|Max Weber]], and Henry Wilcox.<ref>{{cite book| chapter = Defense of arrested and indicted Communist leaders, 1948-49| title = House of Representatives Report No. 1700| publisher = US GPO| url = https://books.google.com/books?id=wWBbChEhg50C| pages = 46
| date = 1950| access-date = 23 June 2020}}</ref>

===Later years in Europe===
[[File:The Family by Paul Strand.jpg|thumb|''The Family'', from ''Un Paese'' (1955)]]
In June 1949, Strand left the United States to present ''Native Land'' at the [[Karlovy Vary International Film Festival]] in [[Czechoslovakia]]. The remaining 27 years of his life were spent in [[Orgeval, Yvelines|Orgeval]], France, where, despite never learning the language, he maintained an impressive, creative life, assisted by his third wife, fellow photographer Hazel Kingsbury Strand.{{citation needed|date=June 2020}}

Although Strand is best known for his early abstractions, his return to still photography in this later period produced some of his most significant work in the form of six book "portraits" of place: ''Time in New England'' (1950), ''La France de Profil'' (1952), ''Un Paese'' (featuring photographs of [[Luzzara]] and the [[Po River]] Valley in Italy, Einaudi, 1955),<ref name="theguardian-ohagan-2016">{{cite web|access-date=2022-01-11|title=I posed for Paul Strand: the day the great photographer walked into my village in Italy|url=http://www.theguardian.com/artanddesign/2016/mar/16/i-posed-for-paul-strand-the-day-the-great-photographer-walked-into-my-village-in-italy|date=16 March 2016|website=The Guardian}}</ref> ''Tir a'Mhurain / Outer Hebrides''<ref name="theguardian-macdonald">{{Cite web|url=https://www.theguardian.com/uk/scotland-blog/2012/sep/20/scotland-photography-paul-strand|title = Paul Strand's Hebrides: Subtle, sensitive with a dash of Marxist steel|website = The Guardian|date = 20 September 2012}}</ref><ref>{{cite web|access-date=2022-01-11|title=Paul Strand's intimate and rich Hebridean images bought for Scottish gallery|url=http://www.theguardian.com/uk-news/scotland-blog/2015/jul/22/paul-strands-intimate-and-rich-hebridean-images-bought-for-scottish-gallery|date=22 July 2015|website=The Guardian}}</ref>  (1962), ''Living Egypt'' (1969, with [[James Aldridge]]) and ''Ghana: An African Portrait'' (with commentary by [[Basil Davidson]]; 1976).{{citation needed|date=June 2020}}