Spring has finally sprung, and what better way to celebrate — on World Goth Day, no less — than with a bunch of haunting photos of graveyards, romantic ruins and landscapes laid waste by time?
Today’s distinctive, global Goth culture can trace its black-clad lineage back several hundred years, to a revolutionary series of literary works, from Mary Shelley’s Frankenstein in 1818 to Edgar Allan Poe’s bleak, evocative novels, stories and poems to, of course, Bram Stoker’s 1897 psycho-sexual horror masterpiece, Dracula.
In the middle part of the last century, England’s beloved Hammer Films kept the Goth spirit alive with a slew of dark, campy — and often critically panned — gems (The Curse of Frankenstein, The Mummy and more). In the Sixties, Goth received a slightly lighter treatment with the hit American TV series, The Addams Family, based on Charles Addams’ wry, gloomy New Yorker cartoons.
In the 1970s, the romance of Goth culture revived in a big way when British bands like Bauhaus, Siouxsie & the Banshees and, above all, The Cure slouched onto the scene, crafting lovely, somber albums that appealed to misanthropes and misunderstood teens everywhere. Bands like Depeche Mode, Marilyn Manson and The Knife have helped carry the movement into the present day. (If interested, check out The Guardian’s selection of its favorite goth tunes curated for last year’s World Goth Day.)
Millions of bottles of black eyeliner and nail polish later, Goth’s influence can be felt everywhere from Alexander McQueen’s fashion to Tim Burton’s films.
Here, LightBox presents a selection of images from more than 150 years of photo history—photographs made not by Goth photographers, but pictures that instead evoke the original, dark and beautiful spirit of Goth — the spirit articulated so perfectly by Shelley’s Victor Frankenstein himself: “Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world.”
So, on World Goth Day 2013, why sit on your couch and mope when you can sit in front of your computer and mope?
Enjoy! (But no smiling allowed.)
Myles Little is an associate photo editor at TIME.
- Alexander Gardner
- Alexander McQueen
- Bauhaus
- Bruce Davidson
- Charles Addams
- Cultural history
- Culture
- Depeche Mode
- E.J. Bellocq
- Eugene Atget
- Eugene Richards
- Fashion
- Frederick H. Evans
- Goth
- Goth subculture
- Harry Gruyaert
- Jacob Aue Sobol
- Lightbox
- Marilyn Manson
- Marilyn Manson
- Michael Ackerman
- Paolo Pellegrin
- Photo Essay
- Siouxsie & the Banshees
- Subcultures
- The Addams Family
- The Guardian
- The Guardian
- the Knife
- Tim Burton
- Trent Parke
- United Kingdom
- Victor Frankenstein
- World Goth Day
Though she went to Paris in 1921 to study sculpture, Berenice Abbott would transition to photography when she became Man Ray’s assistant in 1923. Three years later, she set up her own studio, photographing the French capital’s bohemians, artists and intellectuals—and famous friends such as writers James Joyce and Jean Cocteau—before moving back to the States in 1929.
For the next two decades, Abbott focused her lens on Depression-Era New York, producing a number of moving, black-and-white images that would become part of her book Changing New York. This series, along with nearly 120 other images, is being featured in a new exhibition at Toronto’s Ryerson Image Center called Berenice Abbott: Photographs.
“She was an underestimated photographer during her life and even today,” says Gaelle Morel, the exhibition’s curator and author of the accompanying book, Berenice Abbott. “But Berenice has this capacity of mixing different aesthetics, depending on the subject, which was really extraordinary. She can do a more modern, New Vision style when it came to photographing New York buildings, or take a more documentary approach for her portraits.”
Keystone-France / Getty Images
Berenice Abbot standing for a portrait, behind a view-camera, circa early 1900s
Abbott gained acclaim for her own comprehensive career, which would later involve photographic work on physics, commissioned by Boston’s Massachusetts Institute of Technology. But she also became famous for her staunch support of French photographer Eugène Atget, whom she met in 1925 while living in Paris. Atget died two years later, and it was Abbott who would photo-edit a book of his work and help stage an exhibition of his work in New York. She sold her Atget collection to the Museum of Modern Art in 1968.
“Berenice always said she had two careers—one of her own, and one championing Atget,” Morel says. “She wanted to be recognized as the Atget of New York, not necessarily his aesthetic, but his intellect.”
Berenice Abbott: Photographs, co-organized by The Ryerson Image Centre in Toronto and the Jeu de Paume in Paris, is on view through Aug. 19 at Toronto’s Art Gallery of Ontario. The accompanying book is published by Editions Hazan and Yale University Press.
- Abbott
- Atget
- Berenice Abbott
- Berenice Abbott
- Berenice Abbott
- Book
- Boston
- Brooklyn
- Changing New York
- Eugene Atget
- Eugène Atget
- EUGENE ATGET
- Exhibition
- Gaelle Morel
- Great Depression
- History
- James Joyce
- Jean Cocteau
- Man Ray
- Massachusetts
- Massachusetts Institute of Technology
- New Vision
- New York
- New York
- Ontario
- Out There
- Paris
- photography
- Photoville
- Ryerson
- Ryerson Image Centre in Toronto
- toronto
- Toronto
- Toronto’s Ryerson Image Center
- Yale University
- Yale University Press
Outside his studio in 19th-century Paris hung a sign that declared “documents pour artistes”—documents for artists—a statement that captured the modest intent of Eugène Atget. His legacy, the result of a career that spanned more than 30 years and nearly 8,500 photographs, is one of relentless curiosity, devout investigation and masterful craftsmanship. Drawing from its expansive collection of Atget’s work, the Museum of Modern Art in New York will present a selection of more than 100 images from Feb. 3 through April 9, as an exhibition titled with inspiration from the artist himself: Documents Pour Artistes.
The exhibition, which is divided into six sections, examines the various subjects the artist approached during his life. Atget is primarily known for his images of the streets of Paris, romantic landscapes and images of storefronts (which inspired Surrealists such as Man Ray and Tristan Tsara, although Atget denied any ties to the movement)—but, in this show, MoMA includes a refreshing display of his rare photographs of people, which are equal in their formal rigor and topographical, objective approach.
Atget’s approach is paradoxically both intimate and anonymous; despite having photographed seemingly every inch of the streets of Paris, from whole buildings to window displays, Atget never photographed the Eiffel Tower. His sense of dedication to detail, found in his street photographs, extends into his images from the abandoned Parc de Sceaux, from March and June of 1925. During this time, Atget took vast images of the serene landscapes, all while taking dutiful notes of times of day of the photographs, revealing his highly proximate relationship with documentation.
Drawing inspiration from Atget’s vision of objectivity for his photographs, it is perhaps best for viewers to develop a more personal relationship with his work, undistracted by the perceptions of the outside world. The scenes captured in Atget’s images cannot be adequately illustrated with words—luckily for us, he took pictures instead.
Documents Pour Artistes is on display from Feb. 3 through April 9 at the Museum of Modern Art in New York City.
In an effort to bring the George Eastman House archive online, Dr. Anthony Bannon, Director at George Eastman House in Rochester New York, has announced partnership with Clickworker, an international crowdsourcing company. The project involves photo-tagging of more than 400,000 images from the George Eastman House, one of the world’s oldest photography museums. Using a guided and tiered tagging system, Clickworker hopes to bring the Eastman archive into the digital age, making the photographs accessible to the public — in many instances, for the very first time. To get these images online, Clickworker is using its global crowd of paid “clickworkers’, more than 115,000 strong.
People who register to work on the project as “clickworkers’ will also be able to see the results of their work just a short while later on the Eastman House licensing website. Among the images from the venerable George Eastman House archive are classic favorites like views of Paris by Eugene Atget and immigration photos by Lewis Hine–but among are some surprises, like the Hippo Back, Hippo Front photographs by Lewis Hine, and the electric portrait of Judy Garland by Nickolas Muray.
Nickolas Muray, American (b. Hungary, 1892-1965) Judy Garland. 1945 Color print, assembly (Carbro) process.
Lewis Hine, Empire State Building construction worker touching the top of the Chrysler building, 1930. Gelatin Silver Print.
Hine was commissioned to photograph construction of the Empire State Building in May 1930. He photographed construction workers, following them up into the sky as the building rose to its height of 102 stories, the tallest building ever erected at that time.
Lewis Hine, Hippo Back.
Lewis Hine, Hippo Front.
Eugene Atget, (1857-1927) Avenue de l’Observatoire, 1926. Silver printing-out paper print.
Lewis Hine, Immigration.
Alvin Langdon Coburn, The Octopus, 1912. Gelatin silver print.
- Alvin Langdon Coburn
- Anthony Bannon
- Child labor in the United States
- Chrysler
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- Clickworker
- Clickworkers
- crowdsourcing
- Crowdsourcing
- Eugene Atget
- Eugène Atget
- EUGENE ATGET
- George Eastman
- George Eastman House
- Historical
- Hungary
- Judy Garland
- Lewis Hine
- Lewis Hine
- Lewis Hine
- MySpace
- New York
- Nickolas Muray
- Nickolas Muray
- Paris
- Photography
- printing-out paper print
- Rebecca Horne
- Science
- Science and Technology
- StumbleUpon
- United States
Zoniers, Porte de Choisy, 1913By Stephen Longmire, Afterimage, May 2001It has been 20 years, amazingly enough, since New York City's Museum of Modern Art (MoMA) launched its landmark cycle of exhibitions of the work of French photographer Eugene Atget (1857-1927), who spent his last 30 years documenting the architectural record of Paris and its surroundings at the beginning of the last century.
- AARON SISKIND ALEXANDER RODCHENKO ALEC
- Abigail Solomon-Godeau
- ADAM BARTOS AARON SISKIND ALEXANDER
- AGATA ARTHUR ROTHSTEIN ASAKO NARAHASHI ASGER
- ALEXANDER RODCHENKO ALEC SOTH ALLISON
- Alfred Stieglitz
- ALLISON SEXTON
- America
- ANDERS PETERSEN ANDREA MODICA ANDREA
- Andre le Notre
- ANDREA MODICA ANDREA STULTIENS ANDREAS
- ANDREA STULTIENS ANDREAS GURSKY ANTHONY
- ANDREAS GURSKY ANTHONY HERNANDEZ
- Architectural photographers
- Arts
- ASAKO NARAHASHI ASGER CARLSEN AUGUST
- August Sander
- August Sander
- BARBARA CRANE BERENICE ABBOTT BERND
- Berenice Abbott
- Berenice Abbott
- Bill Brandt
- BILL BRANDT BILL BURKE BILL
- BILL BURKE BILL OWENS BORIS MIKHAILOV BRASSAI
- BORIS MIKHAILOV BRASSAI BRUCE DAVIDSON
- Boston
- Brassai
- BRUCE DAVIDSON BRUCE GILDEN BRUCE
- BRUCE GILDEN BRUCE JACKSON CAMILO
- BRUCE JACKSON CAMILO JOSE VERGARA
- California
- California College of Arts and Crafts
- California desert
- Cambridge
- CAMILO JOSE VERGARA CANDIDA HOFER CEDRIC
- Canadian Centre for Architecture in Montreal
- CANDIDA HOFER CEDRIC NUNN CHAUNCEY
- CHAUNCEY HARE
- Chinatown
- CHUCK CLOSE CINDY
- CINDY SHERMAN DAIDO MORIYAMA DANNY LYON
- City
- classification systems
- Columbia University
- David Featherstone
- DAVID GOLDBLATT DAVID LACHAPELLE DENNIS
- David Harris
- Dennis Hopper
- Department of Photographs
- Diane Arbus
- DIANE ARBUS DOROTHEA LANGE
- Documentary photography
- Dorothea Lange
- EMMET GOWIN ED VAN DER ELSKEN
- energy
- ENRIQUE METINIDES ERNEST
- ERNEST J. BELLOCQ EUGÈNE ATGET FLORIAN
- Eugene Atget
- Eugène Atget
- EUGENE ATGET
- Europe
- EVANS WEEGEE
- Ferdinand Reyher
- France
- Francoise Reynaud
- Freemasonry
- Garry Winogrand
- Garry Winogrand
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- Georgetown University
- Gordon Baldwin
- GORDON PARKS GUY TILLIM HALLY
- Guggenheim Fellows
- GUY TILLIM HALLY PANCER HARRY
- HARRY CALLAHAN
- HELEN LEVITT HUGH HOLLAND ISSEI
- HELMUT NEWTON HENRI
- HENRY WESSEL HELEN LEVITT HUGH
- HUGH HOLLAND ISSEI SUDA JACK
- HUGO RALPH EUGENE MEATYARD RAYMOND DEPARDON REGINALD
- In 1968 MoMA
- institutional filing systems
- International Center of Photography
- Ivan Karamazov
- J. Paul Getty Trust
- JACK D. TEEMER JR.
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- JACOB HOLDT JAMES NACHTWEY JAN
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- JEFF WALL JEONGMEE YOON JERRY
- JILL FREEDMAN
- JIM GOLDBERG JOACHIM BROHM JOACHIM
- JOACHIM BROHM JOACHIM SCHMID JOAN
- JOACHIM SCHMID JOAN FONTCUBERTA JOEL
- Joel Meyerowitz
- JOEL STERNFELD JOHAN VAN DER KEUKEN
- JOHAN VAN DER KEUKEN JOHN DIVOLA
- JOHN DIVOLA JOHN GOSSAGE JOHN
- JOHN HUMBLE JOHN
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- John Szarkowski
- JOHN SZARKOWSKI JOSEF KOUDELKA JOSEPH
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- JOSEPH RODRIGUEZ JOSEPH SZABO JUERGEN
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- Koln
- Lake George
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- Marval
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- ROGER BALLEN ROGER MINICK ROSALIND
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- Rosalind Krauss
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- San Francisco
- SAUL LEITER SCOT SOTHERN SERGEY
- SCOT SOTHERN SERGEY CHILIKOV SHELBY
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- Southern California
- Stephen Longmire
- Stuttgart
- SULTAN LARS
- SUSAN MEISELAS TAKUMA NAKAHIRA TANYTH
- TAKUMA NAKAHIRA TANYTH BERKELEY TARYN
- Tanyth Berkeley
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- time travel
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- Visual arts
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- Weston Naef
- WILLIAM CHRISTENBERRY WILLIAM EGGLESTON WILLIAM
- William Eggleston
- WILLIAM EGGLESTON WILLIAM GEDNEY WILLIAM
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