Photographing New York City, New School for Social
Research; New York, New York
Instructors’ Exhibition, The Photo League; New York,
New York (in member and instructor shows through 1949)
1940 Membership Exhibition, American Artists Congress;
New York, New York
Chelsea Document, The Photo League; New York,
New York (later at Chelsea Tenants’ League and Hud-
son Guild)
A Pageant of Photography, Palace of Fine Arts;
Golden Gate International Exposition, San Francisco,
California
Image of Freedom, Museum of Modern Art; New
York, New York
1942 New York At Warproject, The Photo League; New
York, New York (later shown at headquarters of Local
65 of the United Retail and Wholesale Employees and at
Madison Square Garden during the International
Women’s Exposition)
1943 Air Force Photo Exhibition, Rockefeller Center; New
York, New York
1944 Photography Today, ACA Gallery; New York, New
York
1948 In and Out of Focus, Museum of Modern Art; New
York, New York
This is the Photo League, The Photo League; New
York, New York
1951 Realism in Photography, ACA Gallery; New York,
New York
1952 DeCordova and Dana Museum; Lincoln, Massachu-
setts (mural-size prints ofGullsseries)
1978 Photographic Crossroads: The Photo League, National
Gallery of Canada; Ottawa (traveled to the International
Center of Photography, New York, New York; Museum
of Fine Arts, Houston, Texas; and Minneapolis Institute
of Arts, Minneapolis, Minnesota)
Selected Works
Barry, Les. ‘‘The Legend of Sid Grossman.’’Popular Photo-
graphy47, no. 5, 1961
Bezner, Lili Corbus. ‘‘Coming in from the Cold: Sid Gross-
man’s Life in the League.’’ InPhotography and Politics
in America: From the New Deal into the Cold War,
Baltimore and London: The Johns Hopkins University
Press and The Center for American Places, 1999
Bloom, Suzanne. ‘‘Sidney Grossman - Images of Integrity.’’
ArtWeek12, no. 12, (1981)
Documentary Photography. New York: Time-Life Books,
1972
Journey to the Cape, photographs by Sid Grossman, text by
Millard Lampell, editors Miram Cohen, Sy Kattelson,
Charles Pratt, and David Vestal. New York: Grove
Press, 1959
Livingstone, Jane.The New York School: Photographs 1936–
1963. New York: Stewart, Tabori, and Chang, 1992
Negroes in New York, 1939. (photographs by Sid Grossman),
Museum of the City of New York at http://www.mcny.org
Tucker, Anne. ‘‘Sid Grossman: Major Projects.’’Creative
Camera223/224 (1983)
Tucker, Anne. Sidney Grossman: Photographs 1936–55,
Exh. cat. Houston: Museum of Fine Arts, 1981
Vestal, David. ‘‘Sid(ney) Grossman.’’ In Contemporary
Photographers, New York: St. Martin’s Press, 1982Further Reading
Calomiris, Angela.Red Masquerade: Undercover for the
FBI. New York: J.B. Lippincott, 1950.
Dejardin, Fiona M. ‘‘The Photo League: Left-wing Politics
and the Popular Press.’’History of Photography18, no 2,
(1994).
The Photo League, 1936–1951. New Paltz: College Art Gal-
lery, College at New Paltz and State University of New
York; New York: Gallery Association of New York
State and Photofind Gallery, n.d.
Photo Notes 1938–1950, ed. Nathan Lyons, Rochester, New
York: Visual Studies Workshop, 1977.
Stange, Maren.Symbols of Ideal Life: Social Documentary
Photography in America, 1890–1950. Cambridge: Cam-
bridge University Press, 1989.
Tucker, Anne. ‘‘A History of the Photo League: The Mem-
bers Speak.’’History of Photography18, no. 2 (1994).
Tucker, Anne. ‘‘The Photo League.’’Ovo Magazine10, no.
40/41 (1981).
Tucker, Anne. ‘‘The Photo League.’’Creative Camera223/
224 (1983).
Tucker, Anne W., Clare Cass, and Stephen Daiter.This
Was The Photo League: Compassion and the Camera
from the Depression to the Cold War. Chicago: Stephen
Daiter Gallery, 2001.GROUP F/64
Over a period of roughly four years in the early
and mid-1930s a small group of photographers and
arts enthusiasts met in an Oakland, California,
studio to look at each other’s work and share
ideas about photography as an art form. They
named themselves ‘‘Group f/64’’ after a small
camera lens aperture to symbolize their collective
commitment to clear photographic seeing. Their
identifying label and its attendant practices and
ideals intentionally refuted the painterly worksGROUP F/64