Small Trades, Irving Penn at the Getty Center, Los Angeles, Sept. 9, 2009 – Jan. 10, 2010
In June 1950 Irving Penn, (American, 1917–2009) embarked on a formidable project, photographing the small trades persons of Paris, London and New York. The project continues throughout his life and culminated 252 image portfolio currently on on display at the Getty Museum in Los Angeles. The photographers task at hand was to document the disappearing trades of the post World War Two era, and to represent people as they appear a task. Vogue magazine was the initial assigner of the project which ran the series in 1951. Beginning in Paris subjects would make their way up three flights of stairs and there engage in a “portrait dialogue” with Penn, a one on one exchange. Segregated from the place of work Penn focuses on dressing, a condensed, essential look at the influence of work and dress. With the eye of one who relishes every drape and fold, Penn’s sitters appear poised as any model and are never at odds with their sartorial identities. In fact many seem to emerge completely absorbed, immersed in their work attire. Witness the Rag and Bones man whose satchel disfigures his form, his workload indistinguishable from his body. Or the Vitier whose harness of glass substitutes for physiognomy.
For many, vocation is a matter of accessorizing the tools of the trade. We can immediately pocket their identities and feel secure that they perform their duties with impunity. Our Parisian fireman is action ready when seen with his coiled hose. Who wouldn’t buy wholesomeness from the friendly milkman or feel assured a proper fit from the crisp seamstress?
Not only does the art direction lead you to conclusions, but the materiality of the print process also lends authority to the job at hand. Penn works with these same negatives for decades. Years of refining just the right depth and texture to each print, applying discernment to each crop, mindfulness as to when the gelatin silver process or platinum/palladium process better serves the image, all reflect on his own concerns with the photographer’s trade. Penn’s own rigorous work ethic enable the sitters to do their jobs unapologetic, eschewing any discomfort or unappealing affect the clothing might have on their appearance.
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