St. Louis Suite; Society for Contemporary Photogra-
phy; St. Louis, Missouri
After Art: Rethinking 150 Years of Photography,
Selections from the Joseph and Elaine Monsen Collection;
Henry Art Gallery, Seattle, Washington
1995 On the Streets; International Center of Photography;
New York, New York
Picturing the South: 1860 to the Present; High
Museum of Art; Atlanta, Georgia
1998 Years Ending in Nine: FotoFest Exhibition; Museum of
Fine Arts, Houston; Houston, Texas
Photography’s Multiple Roles: Art, Document, Mar-
ket, Science; Museum of Contemporary Photography,
Columbia College; Chicago, Illinois and traveling
In Over Our Heads: The Image of Water in Contempor-
ary Art; San Jose Museum of Art; San Jose, California
1999 Street Photographs, New York; Turin Biennale; Turin,
Italy
Human Events/Urban Events; Centro Culturale di
Milano; Milan, Italy
Modern Starts, People, Places, Things; Museum of
Modern Art; New York, New York
Selected Works
Porch, Provincetown, 1978
The Arch, 1980
The Twin Towers, 2001Futher Reading
Eauclaire, Sally.The New Color Photography. New York:
Abbeville Press, 1981.
Kozloff, Max. ‘‘Joel Meyerowitz.’’Aperture(1977): 32–35.
Meyerowitz, Joel.At the Water’s Edge. Boston: Bulfinch
Press, 1996.
———.Cape Light. Boston: Museum of Fine Arts, 1978.
———.Joel Meyerowitz. London: Phaidon, 2001.
———.St. Louis and the Arch. Boston: New York Graphic
Society in association with the Saint Louis Art Museum,
1980.
———.Redheads. New York: Rizzoli, 1991.
———.Wild Flowers. Boston: Little, Brown, 1983.
———.A Summer’s Day. New York: Times Books, 1985.
———.Creating a Sense of Place. Washington: Smithso-
nian Institution Press, 1990.
Meyerowitz, Joel, and Norman Mailer.Bay/Sky. Boston:
Bulfinch Press, 1993.
Westerbeck, Colin, and Joel Meyerowitz.Bystander: A His-
tory of Street Photography. Boston: Little, Brown, 1994.DUANE MICHALS
American
Self-taught in photography, Duane Michals has rede-
fined photography by traveling a path unrestricted by
the rules of the medium in order to explore its possi-
bilities, always seeking expression and imagination
rather than an adherence to specific, traditional
forms. Michals is particularly known for his narrative
sequences, in which he plays upon the cinematic
aspect of photography. He has written, ‘‘I believe in
the imagination. What I cannot see is infinitely more
important than what I can see... (Real Dreams,Addi-
son House, 1976). Like graphic riddles, his ‘‘photo-
stories’’ symbolize intangible realities. His career as a
photographer has been unusual, with equal success in
the commercial field and in the fine arts.
Raised in McKeesport, Pennyslvania where he was
born in 1932 to a working-class family, Michals spent
a great deal of time with his Slovakian grandmother,
who lived with his family. He credits her with his
later development of an alter ego, Stefan Mihal,
whose life Michals might have led, complete with
the suburban home, factory job, and middle-class
family. During high school, he became interested in
art and on weekends started taking watercolor paint-
ing classes at the Carnegie Institute in Pittsburgh and
then at the Carnegie-Mellon University. Enabled by
a scholarship, Michals went on to study at the Uni-
versity of Denver, where he earned a B.A. in Art in- Drafted into the United States Army shortly
after graduation, he served as a second lieutenant in
Germany during the Korean War. In 1956, after his
army stint was over, Michals decided to study gra-
phic design at the Parsons School of Design. After
one year, he left to begin working as a graphic de-
signer/assistant art director atDancemagazine.
Within a year, in 1958, he accepted a keyline/paste-
up and design position with the publicity department
at Time, Inc. That same year, it was on a three-week
trip to Russia that Michals first became interested in
photography when, with a borrowed camera, he took
candid shots and portraits of Russian people. Upon
MICHALS, DUANE