Renowned photographer Bruce Davidson's groundbreaking "Subway" project, which documented New York City's underground transit system during one of its most challenging periods, remains a seminal work in contemporary photography. The project, first published by Aperture in 1986, captured the subway system when it was arguably at its lowest point following the financial crisis of the 1970s that decimated the city's public programs and infrastructure.
In a recent Zoom conversation, gallery owner Howard Greenberg and photographer Bruce Davidson discussed the creation of this now-classic photographic essay. Davidson began systematically photographing the subway around 1980, traversing routes from the Bronx down to Coney Island and Rockaway Beach during a time when maintenance, upkeep, and crime had reached critical levels as the previous decade came to a close.
Greenberg, who has represented Davidson for over twenty years, emphasized the photographer's unique position in the field. "Bruce Davidson is not only one of the great photographers of the 20th century, he's different than the others as well," Greenberg noted. Davidson had established his reputation early in his career with an extended photo essay on a Brooklyn street gang called the Jokers, demonstrating his commitment to long-term documentary projects.
The "Subway" project stands as an early prototype of what would become the dominant medium in art photography today: color photography. When asked about his decision to photograph the subway during such a dangerous period in New York City's history, Davidson reflected on his complex relationship with the work. "I still haven't come to terms with what it means. I think I'm still attached to it in a certain way though," he explained.
Davidson emphasized the importance of meaning and passion in his photographic approach. "It's important that there's a meaning to my photographs, a passion that sustains me, and a clear reason for being there. In 1979/1980 the subway contained all those things for me," he said. Despite the challenging subject matter, Davidson viewed the project as being about aspiration, describing how he "fastened myself as a hunter would."
The photographer's use of flash photography was both a technical and conceptual choice that required considerable courage. Greenberg observed, "By using the flash purposefully, you were really calling attention to yourself. You became the event. It was courageous to do something like that." Davidson acknowledged that the flash wasn't always present, particularly in situations that felt too dangerous, but it helped him explore color, passion, and meaning in his work.
Throughout the three to four years he spent on the project, Davidson encountered remarkable individuals who became integral to his photographic narrative. He recalled one particularly memorable encounter: "One woman was standing on the platform and her dress was blowing in the wind. I didn't want to frighten her, so I went up to her and asked permission. She became one of my favorite encounters in this body of work."
While Davidson initially approached the subway project in black and white photography, reflecting his established identity as a photographer, he ultimately chose to present the work primarily in color. "Well it began in black and white because that's who I thought I was, but I also saw that there was something else happening in the subway that had to do with color," Davidson explained. Although he preferred the black and white images, of which there were only about two dozen, he felt the project had more meaning when presented in color.
Davidson's approach to working with his subjects involved building relationships and showing respect for the people he photographed. He carried a small album to show people his work and would sometimes send prints to subjects after the fact. In one instance, he encountered a young man with a scar on his face who initially threatened to break his camera if photographed. Through showing his album and gaining the man's trust, Davidson was able to photograph him.
Greenberg praised Davidson's commitment to long-term projects, noting how this dedication allowed the "Subway" work to expand, change, and evolve, becoming more abstract toward the end of the book. "The only reason the work could expand and change and evolve and become more abstract is the commitment to doing this project for a long period of time," Greenberg observed.
The conversation, which was edited and condensed for clarity, revealed Davidson's philosophical approach to photography, influenced by his wife's perspective that "the facts of someone's life are more important than my artistic expression." This humanistic approach, Greenberg suggested, is what makes Davidson's photographs so impactful and distinguishes his work in the field of documentary photography.
