1972 Stanford University Museum of Art, Stanford, California
1973 Witkin Gallery, New York, New York
Lunn Gallery, Washington, D.C.
1977 Lewis Hine, 1874–1940: A Retrospective of the Photogra-
pher; The Brooklyn Museum of Art, Brooklyn, New York
1999 Lewis Wickes Hine: The Final Years; The Brooklyn
Museum of Art, Brooklyn, New York
2000 Let Children Be Children, Lewis Wickes Hine’s Crusade
Against Child Labor; Lore Degenstein Gallery, Susque-
hanna University, Selinsgrove, Pennsylvania, traveling
exhibit from The International Museum of Photography,
George Eastman House, Rochester, New York
Selected Works
Young Russian Jewess, Ellis Island, 1905
Spinner Girl(orCotton-Mill Worker), c. 1908
Factory Boy, Glassworks, 1909
Doffer Family, Mrs. A. J. Young and her Nine Children,
Tifton, Georgia, January, 1909
Italian Immigrant, East Side New York City, 1910
Breaker Boys in Coal Chute, South Pittson, Pennsylvania,
January 1911
River Boy, Beaumont, Texas, November, 1913
Power House Mechanic, 1920
Child Picking Cotton, 1929
Steamfitter, 1921
Men At Work, 1932Further Reading
Gutman, Judith Mara.Lewis W. Hine Two Perspectives.
ICP Library of Photographers, NY: Grossman Publish-
ers, 1974.
Kaplan, Daile.Photo Story: Selected Letters and Photo-
graphs of Lewis W. Hine. Washington, DC: Smithsonian
Books, 1992.
Kaplan, Daile.Lewis Hine in Europe, The Lost Photographs.
New York: Abbeville Press Publishers, 1988.
Goldberg, Vicki.Lewis Hine Children At Work. Munich,
London, New York: Prestel, 1999.
Langer, Freddy.Lewis Hine: The Empire State Building.
Munich, London, New York, Prestel, 1998.
Rosenblum, Nina.America & Lewis Hine. A film biogra-
phy. Daedalus Productions, 1984.
Trachtenberg, Alan.Reading American Photographs Images
as History: Mathew Brady to Walker Evans. New York:
Hill and Wang, 1989.
Trachtenberg, Alan, Naomi Rosenblum, and Walter Ro-
senblum.America & Lewis Hine Photographs 1904–1940.
Millerton, NY: Aperture, 1977.HIRO
Yasuhiro Wakabayashi, known more commonly as
Hiro, has not achieved widespread recognition in the
art world, but is one of the most creative and sought-
after commercial photographers in the late twentieth
century. His work cannot be simplified as mere
advertising, as his aim is always to create highly
unique and provocative images. Whether shooting
product still lifes, celebrity portraits, or fashion
spreads, he succeeds in elevating his commercial
photography to the aesthetic status of high art.
Due to political circumstances, Hiro’s early life
was characterized by instability and upheaval. He
was born in Shanghai, China, in 1930 to Japanese
parents. His father, a linguist, was working on a
Chinese–Japanese dictionary. Hiro did not see his
parents’ homeland until the age of six, when they
were forced to flee to Nagano during the Sino-Japa-
nese war. The family was then shuffled between
China and Japan multiple times as relations between
the two nations grew increasingly antagonistic. The
family almost immediately returned to China, how-
ever, this time settling in Peking. As a young teen,
Hiro was drafted into the Japanese army of occupa-
tion and bore witness to torture and atrocities. In
1945, as the Chinese army entered to re-take the city,
the Wakabayashis were forced into an internment
camp. After a few months they were able to depart
once again for Japan and re-settled in Tokyo, where
Hiro finished high school.
Following World War II, Hiro came into contact
with American soldiers in Japan and became
increasingly fascinated with America. He was par-
ticularly attracted by the design of the products the
soldiers brought with them, from military machin-
ery to beverage cans. By tutoring American officers
in Japanese he came into contact with Western
magazines, and was motivated to experiment with
photography himself. He began shooting around
Tokyo with a Minoltaflex. The American maga-
zines Hiro had discovered had such an impact on
him that in 1954 he chose to depart for New York
City with a very specific objective in mind: toHIRO