
Hannah Shapiro
Cataloguer & Sale Coordinator
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Cataloguer & Sale Coordinator

Specialist, Head of Sale

Head of Department
Provenance
The photographer to Richard Coplan, circa 2012
Literature
Sam Holmes, Elliott Erwitt: Photographs and Anti-Photographs (Greenwich, 1972), p. 37
Sean Callahan, Masters of Contemporary Photography, Elliott Erwitt, The Private Experience: Personal Insights of a Professional Photographer (Los Angeles, 1974), p. 34
Elliott Erwitt, Elliott Erwitt: Personal Best (Kempen, 2009), p. 36
Elliott Erwitt, Pittsburgh 1950 (London, 2017), p. 68
Exhibited
Elliott Erwitt: Personal Best, Personal Choice, Chanel Nexus Hall, Toyko, 6 April - May 6 2007
Elliott Erwitt: Photographs from the Collection of Richard Coplan and Martin R. Mallinger, Boca Raton Museum of Art, 9 November 2014 - 11 January 2015
The Art of Observation: The Best of Photographer Elliott Erwitt, D'Amour Museum of Fine Arts / Springfield Museums, 9 November 2019 - 12 January 2020; Fenimore Art Museum, Cooperstown, 17 September - 31 December 2022
Note
In autumn 1950, Erwitt accompanied Roy Stryker - the head of the Farm Security Administration photographic project for the U.S. government in the 1930s - to Pittsburgh to document the Steel City for the Allegheny Conference on Community Development, funded by the Mellon Foundation. The young photographer took this disconcerting image of a young boy pointing a toy gun at his own head when he happened upon a group of kids playing cowboys in the Hill District, a vibrant African American neighborhood.
Erwitt recounted his time in Pittsburgh: "That was the best kind of shooting because it was just anything at all, just going out and walking all day long and snapping away." (quoted in Elliott Erwitt: Photographs and Anti-Photographs, p. 124.)
Historian Vaughn Wallace further elaborated on this period of work: "Many of Erwitt's days were spent photographing the children of Pittsburgh. Young photographers often gravitate towards children as subjects - kids are, by their nature, spontaneous, energetic, charismatic before a lens - but Erwitt's images of children offer what amounts to a remarkably nuanced look not only at childhood, but race relations in the Steel City of the early 1950s." (Pittsburgh 1950: Elliott Erwitt, p. 139)