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=== Commercial work ===
=== Commercial work ===
After the war Kalisher undertook a BA in History at [[Indiana University Bloomington]], in 1948.<ref>{{Cite journal |date=1948 |editor-last=Wiecking |editor-first=Charles W. |title=Arts and Sciences: Seniors |journal=Arbutus |volume=55 |pages=40, 41}}</ref> He set up as a commercial photographer freelancing for Scope Associates whose clients included [[Texaco|Texas Co]]. in the oil industry of the [[Kalispell, Montana|Kalispell]] area,<ref>{{Cite news |date=15 August 1963 |title=Photography in Kalispell |pages=7 |work=The Daily Inter Lake |location=Kalispell, Montana}}</ref> and one of his pictures, taken for the company pre-1954, of two women in frilly aprons backlit and chatting at the gate of a house, was chosen by [[Edward Steichen]] for [[Museum of Modern Art|MoMA]]'s world-touring ''[[The Family of Man]],'' seen by 9 million visitors. His camera at the time was a 35mm [[Contax]].<ref>{{Cite journal |date=March 1952 |title=Magazine photographers throw a champagne party |journal=Popular Photography |publisher=Bonnier Corporation |volume=30 |issue=3 |pages=80}}</ref> He also produced images for a range of trade magazines like the [[American Iron and Steel Institute]]'s ''Steelways,''<ref>{{Cite journal |date=November 1962 |editor-last=Hill |editor-first=John W. |title=The Fourth R-conclusion |journal=Steelways |volume=18 |issue=5 |pages=8}}</ref> and photographed for MoMA. From the early fifties his photographs also appeared in ''American Youth,''<ref>{{Cite journal |date=March 1960 |title=How Do You Plan to Make a Living? |journal=American Youth |publisher=Ceco Publishing Co |volume=1 |issue=2 |pages=19 (image top left)}}</ref> ''[[Sports Illustrated]],''<ref>{{Cite journal |date=26 August 1957 |title=Acknowledgements |journal=Sports Illustrated |volume=7 |issue=9 |pages=52}}</ref> ''[[Fortune (magazine)|Fortune]],''<ref>{{Cite journal |date=February 1955 |title=Acknowledgements |journal=Fortune |volume=51 |issue=2 |pages=56 |issn=0015-8259}}</ref> ''Interiors,''<ref name=":6">{{Cite journal |last=Kalisher |first=Simpson |date=May 1990 |title=photograph of Paul Rand |journal=Interiors |volume=149 |issue=10 |pages=202}}</ref> [[Television/Radio Age (magazine)|''Television/Radio Age'']],<ref>{{Cite journal |last=Swisshelm |first=George |date=7 February 1972 |title=Advertisers reach for truckers with all-night radio |journal=Television/Radio Age |volume=19 |issue=13 |pages=26 |issn=0040-277X}}</ref> ''[[Coronet (magazine)|Coronet]],''<ref>{{Cite journal |last=Redmond |first=Louis |date=February 1953 |title=Walk Down Any Street |journal=Coronet |volume=33 |issue=4 |pages=73}}</ref> ''Musical America'',<ref name=":10">{{Cite journal |date=April 1957 |title=International Report: Orchestras in New York: Jenkins Conducts Choral Premieres |journal=Musical America |volume=77 |issue=5 |pages=23}}</ref> ''[[Popular Photography]]'',<ref>{{Cite journal |date=August 1956 |title=35-mm at Work: a portfolio of outstanding pictures |journal=Popular Photography 1956-08: Vol 39 Iss 2 |volume=39 |issue=2 |pages=59 |issn=1542-0337}}</ref> and he produced the photographs for book publications including ''Clinical Sociology''<ref>{{Cite book |last=Barry. |first=Glassner, |url=http://worldcat.org/oclc/631019350 |title=Clinical sociology : Original photogr. by Simpson Kalisher |date=1979 |publisher=Longman |isbn=0-582-28049-4 |oclc=631019350}}</ref> and for a new 1955 edition of Charles Darwin's ''The Expression of the emotions in man and animals.''<ref>{{Cite book |last=Darwin |first=Charles |url=http://dx.doi.org/10.5962/bhl.title.4820 |title=The expression of the emotions in man and animals / by Charles Darwin. |date=1916 |publisher=D. Appleton and Co., |location=New York ;}}</ref>
After the war Kalisher undertook a BA in History at [[Indiana University Bloomington]], in 1948.<ref>{{Cite journal |date=1948 |editor-last=Wiecking |editor-first=Charles W. |title=Arts and Sciences: Seniors |journal=Arbutus |volume=55 |pages=40, 41}}</ref> He set up as a commercial photographer freelancing for Scope Associates whose clients included [[Texaco|Texas Co]]. in the oil industry of the [[Kalispell, Montana|Kalispell]] area,<ref>{{Cite news |date=15 August 1963 |title=Photography in Kalispell |pages=7 |work=The Daily Inter Lake |location=Kalispell, Montana}}</ref> and one of his pictures, taken for the company pre-1954, of two women in frilly aprons backlit and chatting at the gate of a house, was chosen by [[Edward Steichen]] for [[Museum of Modern Art|MoMA]]'s world-touring ''[[The Family of Man]],'' seen by 9 million visitors. His camera at the time was a 35mm [[Contax]].<ref>{{Cite journal |date=March 1952 |title=Magazine photographers throw a champagne party |journal=Popular Photography |publisher=Bonnier Corporation |volume=30 |issue=3 |pages=80}}</ref> He also produced images for a range of trade magazines like the [[American Iron and Steel Institute]]'s ''Steelways,''<ref>{{Cite journal |date=November 1962 |editor-last=Hill |editor-first=John W. |title=The Fourth R-conclusion |journal=Steelways |volume=18 |issue=5 |pages=8}}</ref> and photographed for MoMA.<ref name=":11" /> In a 1958 article in Popular Photography illustrated with his own pictures he urged his colleagues to consider "The World's Largest Photo Market;" the company magazine.<ref>{{Cite journal |last=Kalisher |first=Simpson |date=November 1958 |title=A veteran photographer urges his fellow workers to take a good look at and then begin tapping the world's LARGEST photo market |journal=Popular Photography |volume=43 |issue=5 |pages=56–59, 107–108}}</ref> From the early fifties his photographs also appeared in ''American Youth,''<ref>{{Cite journal |date=March 1960 |title=How Do You Plan to Make a Living? |journal=American Youth |publisher=Ceco Publishing Co |volume=1 |issue=2 |pages=19 (image top left)}}</ref> ''[[Sports Illustrated]],''<ref>{{Cite journal |date=26 August 1957 |title=Acknowledgements |journal=Sports Illustrated |volume=7 |issue=9 |pages=52}}</ref> ''[[Fortune (magazine)|Fortune]],''<ref>{{Cite journal |date=February 1955 |title=Acknowledgements |journal=Fortune |volume=51 |issue=2 |pages=56 |issn=0015-8259}}</ref> ''Interiors,''<ref name=":6">{{Cite journal |last=Kalisher |first=Simpson |date=May 1990 |title=photograph of Paul Rand |journal=Interiors |volume=149 |issue=10 |pages=202}}</ref> [[Television/Radio Age (magazine)|''Television/Radio Age'']],<ref>{{Cite journal |last=Swisshelm |first=George |date=7 February 1972 |title=Advertisers reach for truckers with all-night radio |journal=Television/Radio Age |volume=19 |issue=13 |pages=26 |issn=0040-277X}}</ref> ''[[Coronet (magazine)|Coronet]],''<ref>{{Cite journal |last=Redmond |first=Louis |date=February 1953 |title=Walk Down Any Street |journal=Coronet |volume=33 |issue=4 |pages=73}}</ref> ''Musical America'',<ref name=":10">{{Cite journal |date=April 1957 |title=International Report: Orchestras in New York: Jenkins Conducts Choral Premieres |journal=Musical America |volume=77 |issue=5 |pages=23}}</ref> ''[[Popular Photography]]'',<ref>{{Cite journal |date=August 1956 |title=35-mm at Work: a portfolio of outstanding pictures |journal=Popular Photography 1956-08: Vol 39 Iss 2 |volume=39 |issue=2 |pages=59 |issn=1542-0337}}</ref> ''[[Bloomberg Businessweek|Business Week]]'',<ref>{{Cite journal |date=13 July 1957 |title=The Pictures |journal=Business Week 1957-07-13: Iss 1454 |issue=1454 |pages=2 |issn=0007-7135}}</ref> and he produced the photographs for book publications including ''Clinical Sociology''<ref>{{Cite book |last=Barry. |first=Glassner, |url=http://worldcat.org/oclc/631019350 |title=Clinical sociology : Original photogr. by Simpson Kalisher |date=1979 |publisher=Longman |isbn=0-582-28049-4 |oclc=631019350}}</ref> and for a new 1955 edition of Charles Darwin's ''The Expression of the emotions in man and animals.''<ref>{{Cite book |last=Darwin |first=Charles |url=http://dx.doi.org/10.5962/bhl.title.4820 |title=The expression of the emotions in man and animals / by Charles Darwin. |date=1916 |publisher=D. Appleton and Co., |location=New York ;}}</ref>


Kalisher's work for annual reports<ref name=":7">{{Cite book |last=Brown |first=David R. |title=The print casebooks / Representing the best in Annual Reports |publisher=RC Publications |year=1975 |isbn=9780915734023 |location=New York, N.Y. |pages=99 |oclc=313656719}}</ref><ref name=":8">{{Cite book |last=Fox |first=Martin |title=Print casebooks 3 |publisher=RC Publications |year=1978 |isbn=9780915734184 |location=Washington |pages=66 |oclc=4318190}}</ref><ref>{{Cite book |last=Walter. |first=Herdeg, |url=http://worldcat.org/oclc/959199564 |title=Photographis' 69 : international annual of advertising photography : internationales jahrbuch der werbephotographie : répertoire international de la photographie publicitaire |date=1969 |publisher=The Graphis Press |pages=158–9 |language=fr, de, en |oclc=959199564}}</ref> was recognised in the Time-LIFE photography book ''Photojournalism'' which in a section "Helping Corporations Look Their Best" it used examples of his semi-abstract colour photographs for the annual reports of the Wallace-Murray Corporation and of [[Bangor Punta]]<ref>{{Cite book |last=Time-Life Books |title=Photojournalism |publisher=Time-Life Books |year=1971 |location=New York, N.Y. |pages=210, 211 |oclc=154597}}</ref> and other client for annual reports were [[Mobil]],<ref>{{Cite book |title=Mobil Annual Report 1970 |publisher=Mobil Oil Corporation |year=1970 |location=New York, N.Y. |pages=11 (bottom), 23 (center left), 25, 27, 28}}</ref> [[Champion International]] (1976),<ref name=":8" /> Condec Corporation,<ref name=":9">{{Cite book |last=Barron |first=Don |title=Creativity 7 : A Photographic Review of Creativity '77 Displayed at the New York Hilton New York Nov. 1 2 3 1977 |publisher=Art Direction Book |year=1978 |isbn=9780910158350 |location=New York |pages=522 |language=en |oclc=6681663}}</ref> Miles Pharmaceuticals<ref>{{Cite book |last=Richard. |first=Bayan, |url=http://worldcat.org/oclc/19325016 |title=The Best in medical advertising and graphics : selections from the Rx Club shows |date=1989 |publisher=Rockport Publishers |isbn=0-935603-20-4 |pages=143 |oclc=19325016}}</ref> and Arkwright-Boston Insurance.<ref>{{Cite book |last=Walter. |first=Herdeg, |url=http://worldcat.org/oclc/778990882 |title=Photographis : the international annual of advertising and editorial photography = das internationale jahrbuch der werbephotographie und der redaktionellen photographie = le repertoire international de la photographie publicitaire et redactionnelle. |date=1979 |publisher=Graphis Press |isbn=3-85709-279-3 |oclc=778990882}}</ref> He received a gold medal in 1975 for a [[Cabot Corporation]] annual report<ref name=":7" /> in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston.<ref name=":0" /> A later client, in 1980 when Kalisher was in his fifties, was the [[The Salvation Army|Salvation Army]] for whom he produced a series of gritty vignettes for their magazine advertisements.<ref>{{Cite news |date=10 May 1980 |title=Full-page advertisement |pages=21 |work=The Messenger |location=Madisonville, Kentucky}}</ref>
Kalisher's work for annual reports<ref name=":7">{{Cite book |last=Brown |first=David R. |title=The print casebooks / Representing the best in Annual Reports |publisher=RC Publications |year=1975 |isbn=9780915734023 |location=New York, N.Y. |pages=99 |oclc=313656719}}</ref><ref name=":8">{{Cite book |last=Fox |first=Martin |title=Print casebooks 3 |publisher=RC Publications |year=1978 |isbn=9780915734184 |location=Washington |pages=66 |oclc=4318190}}</ref><ref>{{Cite book |last=Walter. |first=Herdeg, |url=http://worldcat.org/oclc/959199564 |title=Photographis' 69 : international annual of advertising photography : internationales jahrbuch der werbephotographie : répertoire international de la photographie publicitaire |date=1969 |publisher=The Graphis Press |pages=158–9 |language=fr, de, en |oclc=959199564}}</ref> was recognised in the Time-LIFE photography book ''Photojournalism'' which in a section "Helping Corporations Look Their Best" it used examples of his semi-abstract colour photographs for the annual reports of the Wallace-Murray Corporation and of [[Bangor Punta]]<ref>{{Cite book |last=Time-Life Books |title=Photojournalism |publisher=Time-Life Books |year=1971 |location=New York, N.Y. |pages=210, 211 |oclc=154597}}</ref> and other client for annual reports were [[Mobil]],<ref>{{Cite book |title=Mobil Annual Report 1970 |publisher=Mobil Oil Corporation |year=1970 |location=New York, N.Y. |pages=11 (bottom), 23 (center left), 25, 27, 28}}</ref> [[Champion International]] (1976),<ref name=":8" /> Condec Corporation,<ref name=":9">{{Cite book |last=Barron |first=Don |title=Creativity 7 : A Photographic Review of Creativity '77 Displayed at the New York Hilton New York Nov. 1 2 3 1977 |publisher=Art Direction Book |year=1978 |isbn=9780910158350 |location=New York |pages=522 |language=en |oclc=6681663}}</ref> Miles Pharmaceuticals<ref>{{Cite book |last=Richard. |first=Bayan, |url=http://worldcat.org/oclc/19325016 |title=The Best in medical advertising and graphics : selections from the Rx Club shows |date=1989 |publisher=Rockport Publishers |isbn=0-935603-20-4 |pages=143 |oclc=19325016}}</ref> and Arkwright-Boston Insurance.<ref>{{Cite book |last=Walter. |first=Herdeg, |url=http://worldcat.org/oclc/778990882 |title=Photographis : the international annual of advertising and editorial photography = das internationale jahrbuch der werbephotographie und der redaktionellen photographie = le repertoire international de la photographie publicitaire et redactionnelle. |date=1979 |publisher=Graphis Press |isbn=3-85709-279-3 |oclc=778990882}}</ref> He received a gold medal in 1975 for a [[Cabot Corporation]] annual report<ref name=":7" /> in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston.<ref name=":0" /> A later client, in 1980 when Kalisher was in his fifties, was the [[The Salvation Army|Salvation Army]] for whom he produced a series of gritty vignettes for their magazine advertisements.<ref>{{Cite news |date=10 May 1980 |title=Full-page advertisement |pages=21 |work=The Messenger |location=Madisonville, Kentucky}}</ref>
Line 45: Line 45:


== Portraits ==
== Portraits ==
Kalisher photographed several significant people including poet [[Reuel Denney]], philosopher [[Marshall McLuhan]], anthropologist [[Margaret Mead]],<ref>{{Cite book |last=Cohen-Cole |first=Jamie Nace |title=The Open Mind : Cold War Politics and the Sciences of Human Nature. |publisher=University of Chicago Press |year=2016 |isbn=9780226361901 |edition=Paperback |location=Chicago |pages=113, 114, 133 |oclc=969450053}}</ref> designer [[Paul Rand]],<ref name=":6" /> artist [[Peter Voulkos]],<ref>{{Cite book |last=Foley |first=Suzanne |title=Ceramic Sculpture: Six Artists |last2=Marshall |first2=Richard |last3=Whitney Museum of American Art |last4=San Francisco Museum of Modern Art |publisher=Whitney Museum of American Art ; in Association with the University of Washington Press |year=1981 |isbn=9780874270358 |location=New York, Seattle |pages=15 |oclc=7795183}}</ref> entrepreneur [[Mitch Kapor]],<ref>{{Cite book |last=Books. |first=Time-Life |url=http://worldcat.org/oclc/499961236 |title=Software |date=1986 |publisher=Time-Life Books |isbn=0-7054-0911-2 |oclc=499961236}}</ref> conductor Newell Jenkins.<ref name=":10" /> He told [[Arnold Newman]] for an article in Universal Photo Almanac that "each portrait must be fresh experience and that the camera user must discard formulas of working."<ref>{{Cite journal |title=Books in Review : Samuels, Ralph, editor, Universal Photo Almanac, 1952, Falk Publishing Co., New York $1.75 |journal=American Photography 1952-02: Vol 46 Iss 2 |volume=46 |issue=2 |pages=68}}</ref>
Kalisher photographed several significant people including poet [[Reuel Denney]], philosopher [[Marshall McLuhan]], anthropologist [[Margaret Mead]],<ref>{{Cite book |last=Cohen-Cole |first=Jamie Nace |title=The Open Mind : Cold War Politics and the Sciences of Human Nature. |publisher=University of Chicago Press |year=2016 |isbn=9780226361901 |edition=Paperback |location=Chicago |pages=113, 114, 133 |oclc=969450053}}</ref> designer [[Paul Rand]],<ref name=":6" /> artist [[Peter Voulkos]],<ref name=":11">{{Cite book |last=Foley |first=Suzanne |title=Ceramic Sculpture: Six Artists |last2=Marshall |first2=Richard |last3=Whitney Museum of American Art |last4=San Francisco Museum of Modern Art |publisher=Whitney Museum of American Art ; in Association with the University of Washington Press |year=1981 |isbn=9780874270358 |location=New York, Seattle |pages=15 |oclc=7795183}}</ref> entrepreneur [[Mitch Kapor]],<ref>{{Cite book |last=Books. |first=Time-Life |url=http://worldcat.org/oclc/499961236 |title=Software |date=1986 |publisher=Time-Life Books |isbn=0-7054-0911-2 |oclc=499961236}}</ref> conductor Newell Jenkins.<ref name=":10" /> He told [[Arnold Newman]] for an article in Universal Photo Almanac that "each portrait must be fresh experience and that the camera user must discard formulas of working."<ref>{{Cite journal |title=Books in Review : Samuels, Ralph, editor, Universal Photo Almanac, 1952, Falk Publishing Co., New York $1.75 |journal=American Photography 1952-02: Vol 46 Iss 2 |volume=46 |issue=2 |pages=68}}</ref>


== Reception ==
== Reception ==
Line 71: Line 71:


* 2011: ''Simpson Kalisher: The Alienated Photographer'', [[Museum of Fine Arts, Houston|Museum of Fine Arts Houston]], River Oaks, Houston, Texas, USA
* 2011: ''Simpson Kalisher: The Alienated Photographer'', [[Museum of Fine Arts, Houston|Museum of Fine Arts Houston]], River Oaks, Houston, Texas, USA
* 2001, May–August: ''The City Seen: Simpson Kalisher Photographs''. [[Everson Museum of Art]], 401 Harrison St., Syracuse<ref>{{Cite news |date=31 May 2001 |title=Regional Exhibits |pages=48 |work=Star-Gazette |location=Elmira, New York}}</ref>
* 2001, May–August: ''The City Seen: Simpson Kalisher Photographs''. [[Everson Museum of Art]], 401 Harrison St., Syracuse<ref>{{Cite news |date=31 May 2001 |title=Regional Exhibits |pages=48 |work=Star-Gazette |location=Elmira, New York}}</ref><ref>{{Cite journal |date=June 2001 |title=Exhibitions |journal=Afterimage |volume=28 |issue=6 |pages=19}}</ref>
* 1984, to June–2 September: ''Simpson Kalisher Railroad Men'', photographs of rail workers. [[Akron Art Museum]]<ref>{{Cite news |date=7 June 1984 |title=Galleries |pages=48 |work=The Akron Beacon Journal |location=Akron, Ohio}}</ref>
* 1984, to June–2 September: ''Simpson Kalisher Railroad Men'', photographs of rail workers. [[Akron Art Museum]]<ref>{{Cite news |date=7 June 1984 |title=Galleries |pages=48 |work=The Akron Beacon Journal |location=Akron, Ohio}}</ref>
* 1980, 11 August–30 September: Photographs by Simpson Kalisher of Roxbury, and photographs from two of Kalisher's books, "Railroad Men, Photographs and Collected Stories" and "Propaganda and other Photographs." Voltaire Gallery, New Milford<ref>{{Cite news |date=10 Aug 1980 |title=Galleries |pages=137 |work=Hartford Courant |location=Hartford, Connecticut}}</ref><ref>{{Cite news |last=Raynor |first=Vivien |date=24 August 1980 |title=Art Photos by Kallisher at New Milford |work=New York Times}}</ref>
* 1980, 11 August–30 September: Photographs by Simpson Kalisher of Roxbury, and photographs from two of Kalisher's books, "Railroad Men, Photographs and Collected Stories" and "Propaganda and other Photographs." Voltaire Gallery, New Milford<ref>{{Cite news |date=10 Aug 1980 |title=Galleries |pages=137 |work=Hartford Courant |location=Hartford, Connecticut}}</ref><ref>{{Cite news |last=Raynor |first=Vivien |date=24 August 1980 |title=Art Photos by Kallisher at New Milford |work=New York Times}}</ref>

Revision as of 07:23, 18 September 2022

For the unrelated American photojournalist of a similar surname, see Clemens Kalischer.
Simpson Kalisher
Born(1926-07-27)July 27, 1926
The Bronx, United States of America
NationalityAmerican
Educationautodidact
Known forPhotography
Awards1975, Gold Medal, Art Directors Club of Boston

Simpson Kalisher (American, born 27 July 1926) is an American photojournalist and street photographer.

Early life

Simpson Kalisher was born on 27 July 1926 in The Bronx, New York City,[1] the youngest son of Sheva and Ben Kalisher and brother of Fay and Murray. They were living in Barnes Avenue in 1939. After one year of college, Kalisher was drafted into the military aged 18 in October 1944 for WW2 and was admitted to military hospital briefly in August 1945. He served in the U.S Army, 1944-46 and was decorated with the Combat Infantryman's Badge.

Photographer

Commercial work

After the war Kalisher undertook a BA in History at Indiana University Bloomington, in 1948.[2] He set up as a commercial photographer freelancing for Scope Associates whose clients included Texas Co. in the oil industry of the Kalispell area,[3] and one of his pictures, taken for the company pre-1954, of two women in frilly aprons backlit and chatting at the gate of a house, was chosen by Edward Steichen for MoMA's world-touring The Family of Man, seen by 9 million visitors. His camera at the time was a 35mm Contax.[4] He also produced images for a range of trade magazines like the American Iron and Steel Institute's Steelways,[5] and photographed for MoMA.[6] In a 1958 article in Popular Photography illustrated with his own pictures he urged his colleagues to consider "The World's Largest Photo Market;" the company magazine.[7] From the early fifties his photographs also appeared in American Youth,[8] Sports Illustrated,[9] Fortune,[10] Interiors,[11] Television/Radio Age,[12] Coronet,[13] Musical America,[14] Popular Photography,[15] Business Week,[16] and he produced the photographs for book publications including Clinical Sociology[17] and for a new 1955 edition of Charles Darwin's The Expression of the emotions in man and animals.[18]

Kalisher's work for annual reports[19][20][21] was recognised in the Time-LIFE photography book Photojournalism which in a section "Helping Corporations Look Their Best" it used examples of his semi-abstract colour photographs for the annual reports of the Wallace-Murray Corporation and of Bangor Punta[22] and other client for annual reports were Mobil,[23] Champion International (1976),[20] Condec Corporation,[24] Miles Pharmaceuticals[25] and Arkwright-Boston Insurance.[26] He received a gold medal in 1975 for a Cabot Corporation annual report[19] in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston.[27] A later client, in 1980 when Kalisher was in his fifties, was the Salvation Army for whom he produced a series of gritty vignettes for their magazine advertisements.[28]

Independent documentary projects

Kalisher is better known for his independent projects, including his street photography made mostly in New York City,[29][30][31][32][33] which he published in book form, exhibited, and which were included in major Museum of Modern Art surveys including The Family of Man (1955) and Mirrors and Windows: American Photography Since 1960 (1978).[34][35]

During the 1950s he befriended Garry Winogrand, who grew up near Kalisher, and his associates Guy Gillette, Jay Maisel, and John Lewis Stage as well as Lee Friedlander, who arrived in New York in 1955. It was Kalisher who introduced Winogrand to Nathan Lyons, assistant director of George Eastman House, Rochester, New York in 1952. In 1957 he joined Winogrand in meetings of an informal group of independent photographers, with Lee Friedlander, David Vestal, Saul Leiter, Walt Silver and Harold Feinstein in John Cohen's loft.[36] In 1959 the photographer Ivan Dmitri with support of the Saturday Review, initiated "Photography in the Fine Arts" (PFA), a series of six large group exhibitions of contemporary photography selected by juries of American museum curators and exhibited in national museums. In 1958 both U.S. Camera and Modern Photography denounced the project because the work selected was from commercially published sources, and not by request from the photographers themselves. In 1959 members and associates of the independent group, Kalisher, Robert Frank, Lee Friedlander, Ray Jacobs, Saul Leiter, Jay Maisel, Walt Silver David Vestal and Garry Winogrand signed a letter of objection, sending it to MoMA, which may have influenced Edward Steichen in a decision not to continue supporting PFA beyond its initial exhibition.[37]

In 1966 Kalisher tape-recorded an interview with Winogrand in which they discussed the 'snapshot' aesthetic[38] and the desirability of its 'casualness', though it was a term Winogrand was to disown in the 1970s.[39]

Kalisher's 1961 book, Railroad Men: A Book of Photographs and Collected Stories with 44 duotone plates of men at work on trains and in railway yards in a period of decline for that form of transport,[40] was produced from pictures for an unpublished magazine assignment. He funded the project himself and used a Leica and tape recorder. The photographs were accompanied by 44 interviews recorded by the photographer.[41][42][43] The series has been shown frequently and is in the collections of a number of major American museums.

Kalisher followed Railroad Men with two more photographic books, Propaganda and Other Photographs (1976)[44] in which Ian Jeffrey identifies the photographer as "a specialist observer of urban alienation and, like Diane Arbus, a brutal parodist of pictorial stereotypes;"[45] and The Alienated Photographer (2011),[46] the contents of which were also exhibited.

Kalisher was listed in a document with other photographers Garry Winogrand, Hans Namuth, Harry Callahan, Roy De Carava, amongst numbers of artists and musicians as attending a public meeting of the National Committee for a SANE Nuclear Policy in Madison Square Garden on 19 May 1960. The document was used in the 1960 Senate inquiry "Communist Infiltration in the Nuclear Test Ban Movement.[47] In 1974, by contrast, he is identified as "the internationally famed photographer" for his picture of Litchfield County's Shepaug River used to illustrate the Senate Committee on Interior and Insular Affairs Amend the Wild and Scenic Rivers Act document (part 4) to show its "scenic beauty of and the dramatic action of its clear, unspoiled water."[48] Kalisher was then living in Roxbury, near Shepaug River.

Portraits

Kalisher photographed several significant people including poet Reuel Denney, philosopher Marshall McLuhan, anthropologist Margaret Mead,[49] designer Paul Rand,[11] artist Peter Voulkos,[6] entrepreneur Mitch Kapor,[50] conductor Newell Jenkins.[14] He told Arnold Newman for an article in Universal Photo Almanac that "each portrait must be fresh experience and that the camera user must discard formulas of working."[51]

Reception

Helmut Gernsheim described Kalisher's Railroad Men as "a highly stimulating book (1961) on the forgotten workers of the American railroad companies,"[52] and in 1962 curator Hugh Edwards likened it to the work of Lewis Hine, Walker Evans, and W. Eugene Smith, as promoting “those ancient qualities, human dignity and character.”[53] Beaumont Newhall, Director at George Eastman House selected him for Art in America's 1960 listing of 'New Talent Artists,'[54] and congratulated him on his book, writing; "Many photographers have documented railroads, but you have brought us a moving record of railroad men."[55] 'R.B.' in Image magazine welcomed its "sensitive yet striking images selected and organized by a perceptive eye and ear," and sensed in the "somber sometimes haunting pictures and a counter point of stories ... reflections of a setting sun; the proud tired faces of men no longer young, working in the unhurried evening of an elderly industry."[56] It was journalist Rus Arnold in Writer's Digest who pointed out that what was most important about Railroad Men was;

"the fact that Kalisher has presented to us another variation on photo-reporting. Even while he was recording "the remarkable decency of these mature human faces and the brotherhood of the men's vocation" (as Jonathan Williams puts it in the introduction) he was tape-recording their thoughts, their memories. The formula is one many of us could well look into. It's not entirely new. The camera-and-tape-recorder interview has been appearing in magazines for years, but the result has usually been a set of words illustrated by pictures, or a set of pictures with quote-captions. In Railroad Men we have a social document conveyed through two media of communication, a rare blending of two pieces of machinery (the camera and the tape recorder) to produce a poetic essay."[57]

In a review of Kalisher's show at the Art Institute of Chicago, Edith Weigle wrote

“Kalisher's pictures are art because they are direct, honest, and powerful. They are powerful because of the photographer's ability to get at the essentials and to comprehend and portray the character of each man. Nonessentials are stripped away. The only "special effects" are the deep shadows which are there by nature, and the photographer's use of empty space, which seems innate.[58]

In reviewing Kalisher's retrospective at De Lellis Gallery in 2011, The New Yorker notes that his pictures “share a casually incisive style with Garry Winogrand’s, Tod Papageorge’s, and Joel Meyerowitz’s pictures of the city…but Kalisher worked primarily on the street, yielding photographs that are anecdotal and full of characters.” William Meyers reviewing the same show in the Wall Street Journal of 22 October 2011,[59] remarks on Kalisher's ability to make the ordinary, extraordinary;

"Simpson Kalisher ... is one of the street photographers who made midtown Manhattan as critical a site for mid-20th-century photography as the forest of Arden was for Shakespearean comedy. In a picture taken in 1959, the camera looks north up Fifth Avenue as the traffic light changes and a massed wave of pedestrians steps off the curb to cross West 51st Street. Nothing unusual is happening in this picture, there are no freaks or confrontations, but our eye keeps moving left to right and then right to left across the line of faces approaching us: The ordinariness of these people is quite stunning. The men and women look straight ahead as they march single-mindedly toward us and their destinations. It is not really us, of course, but Mr. Kalisher who is headed in the other direction."[59]

The highest price paid for a print by Kalisher at auction is US$1,875 for an untitled work made c.1949-1950, sold at Christie's New York in 2010.

Teaching and industry contributions

In the 1960s Kalisher was a regional editor for Aperture photography magazine alongside Henry Holmes Smith, Nathan Lyons and Van Deren Coke,[60] and in 1962 was elected alternate secretary of the American Society of Magazine Photographers.[61][62]

In September 1974 he was one of the presenters, with Jerry Uelsman, Beaumont Newhall, Joseph Costa, Lillian Bassman, and Bruce Davidson of a workshop, based on his book on New York City, in the University of Wisconsin Extension course, "Study with the Masters”[63] and in which he was described as “a professional photographer who has published in most of the major national magazines.”[64]

During a solo show of pictures from his book Propaganda and Other Photographs co-exhibited with Roy Stryker: The Humane Propagandist of photographs by a selection of the people who documented the New Deal programs under Roy Stryker, Kalisher delivered a lecture on 28 September 1978 on his work and its relationship to the tradition of photography as social literature[65]

Also in 1978 he participated with other artists, and with art administrators, in the Consortium for the Arts and the Connecticut Commission on the Arts "Work Sessions" at Real Art Ways, 197 Asylum St., the fourth of the Art Jobs Il September Series of conferences around the state dealing with marketing of artwork, legal protections, and surviving in business.[66] In 1980 at The Farmington Valley Arts Center in Avon he conducted a portfolio review.[67]

Kalisher was a participant in the 2001 event, The Symposium: The Garry Winogrand Game of Photography at the Center for Contemporary Photography, organised by Trudy Wilner Stack, in which other speakers were Hilton Als, Jeffrey Fraenkel, Bill Jay, Richard Misrach, Melissa Holbrook Pierson, Paul Roth, Leo Rubinfien, Luc Sante, Charles Stainback, and Mike Weaver, with others.[39]

Personal life and legacy

Kalisher's son Jesse, born on June 22, 1962, in New York, NY to Simpson and Ilse Kahn Kalisher (dec.) and after a career in advertising, also became a photographer,[68] and operated his own gallery. Jesse died in 2017.[69] During a fifity-year career in photograhy Simpson Kalisher had lived in New York from 1950 to 1971, in Roxbury 1971-98, in Greenwich 1998-2005, and again in NYC, 2005-13. He retired to Delray Beach, Florida in 2013.

Exhibitions

Solo

  • 2011: Simpson Kalisher: The Alienated Photographer, Museum of Fine Arts Houston, River Oaks, Houston, Texas, USA
  • 2001, May–August: The City Seen: Simpson Kalisher Photographs. Everson Museum of Art, 401 Harrison St., Syracuse[70][71]
  • 1984, to June–2 September: Simpson Kalisher Railroad Men, photographs of rail workers. Akron Art Museum[72]
  • 1980, 11 August–30 September: Photographs by Simpson Kalisher of Roxbury, and photographs from two of Kalisher's books, "Railroad Men, Photographs and Collected Stories" and "Propaganda and other Photographs." Voltaire Gallery, New Milford[73][74]
  • 1978, 6 September–8 October: Photography as social literature: concurrent shows of documentary photography by Roy Stryker and Simpson Kalisher. Farmington Valley Arts Center, Avon Park North[75]
  • 1962, 1 September–7 October: Simpson Kalisher, 60 photographs. Art Institute Chicago[76][77][78]
  • 1961, 2–30 October: Simpson Kalisher. Eastman House[79][80]

Group

  • 2020: New York Stories: Vintage Postwar Photographs, Keith de Lellis Gallery, Upper East Side, New York, USA
  • 2019: Moves Like Walter: New Curators Open the Corcoran Legacy Collection, American University Museum,Washington D.C., District Of Columbia, USA
  • 2017: Picture The Word: A group exhibition of Vintage Photographs. Keith de Lellis Gallery, Upper East Side, New York, USA
  • 2014: Art & Industry, Keith de Lellis Gallery, Upper East Side, New York, USA
  • 2014, August: Street Life. Keith de Lellis Gallery, Upper East Side, New York, USA
  • 2014, February: The Image Gallery Redux 1959-1962. Howard Greenberg Gallery 41 East 57th Street New York[81]
  • 1995/6, December–January: Black-and white photographs of New York City dating from the forties through the sixties by David Attie, Donald Blumberg, Simpson Kalisher, Fritz Neugass, and Marvin Newman. James Danziger Gallery, 130 Prince St. New York[82]
  • 1978, 1–3 November: Creativity '77. New York Hilton, New York[24]
  • 1978, 26 July–2 Oct: Mirrors and Windows: American Photography since 1960.[34]
  • 1976, 11 January–22 February: The Camera's Century: The American Situation. 88 photographs. Ackland Museum, Chapel Hill[83]
  • 1972, 30 October–1 November: Creativity '72. American Hotel, New York[84]
  • 1972, 25-27 September: Creativity '72. Conrad Hilton, Chicago[84]
  • 1971, 2 April: Steichen Gallery Reinstallation. MoMA[34]
  • 1968, 7–27 May: 40 photographs, most from the 1960s, by 40 contemporary photographers from the Museum of Modern Art, New York: including Americans Claudia Andujar, Donald Blumberg, Michael Ciavolino, William Current, Bruce Davidson, Bill Hanson, Charles Harbutt, Dave Heath, Kenneth Josephson, Simpson Kalisher, Irwin Klein, Chuck Levey, Nathan Lyons, Duane Michals, Sylvia Plachy, Charles Pratt, Art Sinsabaugh, David Vestal, Garry Winogrand and Thomas Stone Zimmerman; Italians Mario Carrier, Tranquillo Casiraghi, Carlo Cisventi, Mario Giacomelli, and Federico Patellani;  French photographer Edouard Boubat, and the German, Hein Gravenhorst. Braddock Junior High School[85]
  • 1968, 9 February–31 March: Ben Schultz Memorial Exhibition. MoMA[34]
  • 1967, July: Summer show: 12 photographers of the American social landscape, 217 photographs by Bruce Davidson, Robert Frank, Lee Friedlander, Ralph Gibson, Warren Hill, Rudolph Janu, Simpson Kalisher, Danny Lyon, James Marchael, Duane Michals, Philip Perkis and Tom Zimmerman. Addison Gallery, Phillips Academy, Andover, from Poses Institute of Fine Arts, Brandeis University[86]
  • 1967, 9 January–12 February: 12 photographers of the American social landscape : Bruce Davidson, Robert Frank, Lee Friedlander, Ralph Gibson, Warren Hill, Rudolph Janu, Simpson Kalisher, Danny Lyon, James Marchael, Duane Michals, Philip Perkis, and Tom Zimmermann. Rose Art Museum, Brandeis University, Waltham, Mass.[87]
  • 1965/6, 6 October 1965 – 9 January 1966: Recent Acquisitions: Photography. MoMA [34]
  • 1965, 16 March–16 May: The Photo Essay. MoMA[34]
  • 1964, 13 February–15 March: Four directions in photography Simpson Kalisher, Oscar Bailey, Charles Swedlund, Minor White. Albright-Knox Art Gallery[88]
  • 1955, 24 January–8 May: The Family of Man. MoMA[34]
  • 1950, 1 August–17 September: Photographs by 51 Photographers. MoMA[34]

Awards

  • LIFE magazine Contest for Young Photographers, Third Honourable Mention, Individual Picture Division[89]
  • Gold Medal for a Cabot Corporation report by Michael Weymouth and Simpson Kalisher of Weymouth Design in the Editorial category of The 21st annual exhibition of the Art Directors Club of Boston "Design 1”[27]
  • 1968: Arts Grant, NY State Commn.[90]
  • 1969-71: NY State Grant.[90]

Collections

  • San Francisco Museum of Modern Art[91]
  • National Gallery of Art, New York[92]
  • Museum of Fine Arts, Houston[93]
  • Museum of Modern Art, New York[94]

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