Description
One of the first Western photographers to document the destruction of Hiroshima and the survivors of the bombing, Wayne Miller had just returned from his stint as a World War II Navy combat photographer under the direction of Edward Steichen when he received two concurrent Guggenheim fellowships to fund his Chicago project. Taken over a course of three years beginning in 1946, his photographs span city scenes from storefront church products and services to slaughterhouse workers in the taverns at night to some making love. Along with affording a glimpse into the hopes and hardships shared by a community of migrants who had just made the long journey from the rural South to the urban North, the images collected in Chicago’s South Side reflect the enormous variety of human experiences and emotions that occurred at a unique time and place in the American landscape.
A few celebrities appear in these images—Paul Robeson, Ella Fitzgerald, Lena Horne, Duke Ellington. But mostly we see bizarre people—in clubs and at church, sporting events, parades. Much is on view that may be of interest to the student of mid-twentieth-century black Chicago: the neighborhoods Richard Wright’s Bigger Thomas traversed in Native Son, the Bronzeville limned in Gwendolyn Brooks’s earliest poems, and the street life that inspired the urbanscapes of painter Archibald Motley. The kitchenette apartments that Miller so deftly memorializes are bursting with people of every age sleeping, dressing, courting, and dreaming. One senses the intimacy between his subjects and the emotions that animate their lives.
Gordon Parks’s memoir of poverty and hope in the freezing tenements of the South Side supplements the photographs, even as Robert Stepto’s essay contextualizes the South Side in the history of postwar Chicago. Chicago’s South Sideis a superb testament to the talent of the photographer, to the spirit of the people the images portray, and to the moment in American history these photographs capture.