The Family of Man

The Family of Man. It was a groundbreaking photography exhibition curated by Edward Steichen for the Museum of Modern Art in New York City. Opening in 1955, it presented 503 images from 68 countries, aiming to document the universal human experience in the post-World War II era. The exhibition became a global phenomenon, touring worldwide and solidifying its status as one of the most influential photographic projects of the 20th century.

Background and creation

The concept was developed by Edward Steichen, then director of the Museum of Modern Art's Department of Photography, who was influenced by his own experiences in both world wars and the dawn of the Cold War. He and his assistant, Wayne Miller, issued an open call, receiving nearly two million submissions from photographers including Robert Capa, Henri Cartier-Bresson, Dorothea Lange, and Ansel Adams. The selection process, which also involved writer Carl Sandburg (Steichen's brother-in-law), sought images that transcended specific national or political contexts. The project was supported by a grant from the Rockefeller Foundation and was seen as a cultural diplomatic effort, promoting a vision of shared humanity against the backdrop of the Korean War and rising geopolitical tensions.

Content and themes

Organized in a narrative, theatrical sequence, the exhibition was designed by architect Paul Rudolph to guide viewers through a lifecycle and shared experiences. Sections were dedicated to universal themes such as love, birth, work, family, joy, and death, deliberately avoiding overt depictions of war or social conflict. Iconic photographs included Elliott Erwitt's image of a kiss through a car mirror, W. Eugene Smith's depiction of children walking from darkness into light, and Alfred Eisenstaedt's famous sailor kiss from V-J Day in Times Square. The final, monumental image was a large, backlit transparency of a hydrogen bomb test, serving as a sobering conclusion. The accompanying book, published by Macmillan Publishers, became an international bestseller.

Exhibition history and impact

Following its debut at the Museum of Modern Art, where it attracted over 250,000 visitors, the exhibition embarked on an international tour sponsored by the United States Information Agency. It traveled to over 37 countries on six continents, including showings in Moscow, Paris, Tokyo, and Johannesburg, with estimated total viewership reaching nine million. A permanent installation was established at Clervaux Castle in Luxembourg, Steichen's native country, which was later inscribed on the UNESCO Memory of the World Register. The tour’s scale and the distribution of the book made it a seminal tool of American cultural diplomacy during the Cold War, presenting an idealized, apolitical vision of global unity.

Reception and legacy

Initial critical reception was largely celebratory, with praise for its humanistic ambition and emotional power from publications like The New York Times. However, later critiques, most notably from Roland Barthes in his essay "The Great Family of Man," argued it presented a sentimental, de-politicized view that glossed over real historical and social divisions. Scholars have since analyzed it as a product of its time, reflecting mid-century liberal humanism and specific American values. Its legacy is profound, influencing the practice of photojournalism, the concept of the blockbuster museum exhibition, and public engagement with photography. It remains a frequent subject of study in fields like visual culture and American studies.

Cultural and historical significance

The exhibition stands as a monumental cultural artifact of the mid-20th century, capturing a specific moment of optimism and anxiety between the Korean War and the height of the Cold War. It represents a peak in the authority of the photographic image as a document of truth and a tool for international understanding. Its use by the United States Information Agency directly links it to the cultural front of American foreign policy, aiming to win hearts and minds in the ideological struggle with the Soviet Union. While its universalist message has been contested, its impact on the museum world, the publishing industry, and the global public's relationship with photography is undeniable, ensuring its enduring place in the history of visual arts. Category:Photography exhibitions Category:1955 in New York City Category:Museum of Modern Art exhibitions Category:Cold War cultural history