On Wall Street by David Anderson
Architectural Photographs of Lower Manhattan, 1980-2000

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These images—free of cars, signs and people—freeze the city in time. But everywhere you look are traces of bygone eras...
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I am not sure there is any other pair of monosyllabic words in the English language that evokes as powerful a sense of place as Wall Street, except, of course, New York itself. So writes famed architectural critic Paul Goldberger in his introduction to one of the most important photographic books on New York City to appear since 9/11: David Anderson's On Wall Street. During the late 1970s and early 1980s, a lot of glass-and-steel, boxlike buildings were going up in New York City. David Anderson realized that the architecturally elaborate and stylistic buildings of the early 1900s through the 1930s that defined Wall Street would never be made again. He thus embarked on a twenty-year project (from 1980 to 2000) to document Wall Street's classic architecture before further changes in the area were made, including the demolition and destructive renovation of too of its many historic structures.

Anderson's approach to photographing Wall Street is unique. He avoids people, vehicular traffic, and storefronts, and rarely does he present a view of an entire building. Instead, he focuses on the details or a certain profile in order to reveal a building's architectural form and energy and its larger sense of place within the city's urban fabric. Anderson's photographs of Wall Street will forever be part of a visual record of a by-gone era that emphasized artistic craftsmanship rarely achieved in modern buildings. Like the historic skyscrapers and civic buildings that Anderson depicts, his photographs are equally solid, self-assured, and beautiful. Collectively, they capture the spirit, architectural genius, and harmonious elevated scale of this special place in the financial capital of the world.

About David Anderson

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DAVID ANDERSON was born in Lincoln, Nebraska, in 1943 and raised there. At age seventeen, he showed his photographic work to Alfred Einsenstaedt at Life Magazine, who encouraged him to begin his photographic career at the New York Daily News, which he did. After serving the U.S. Army as a cameraman, including duty in Vietnam, from 1969 to 1983 he was a cinematographer based in New York City who specialized in commercials and documentaries. He also photographed two independent films directed by artist Nancy Graves, including Isy Boukir (1971), which was purchased for the collection of films at the Museum of Modern Art. Since 1983 he has worked as an architectural photographer and is represented by the Yancey Richardson Gallery, of New York City. His photographs are in numerous public and corporate collections, including American Airlines, AT&T, the Brooklyn Museum, the Canadian Centre for Architecture in Montreal, Citicorp, Deutsche Bank, Equitable Life Assurance Society, the Museum of the City of New York, Santa Barbara Museum of Art, and the Sheldon Memorial Art Gallery at the University of Nebraska in Lincoln, among others. After living in New York City for fifty years, Mr. Anderson moved in 2010 to the Hudson River valley of New York. His website is www.davidvanderson.com. PAUL GOLDBERGER began his career as the executive editor of "Architectural Digest". He then worked for twenty-five years at "The New York Times", where in 1984 he won the Pulitzer Prize for his architectural criticism. He also has been the architecture critic for "The New Yorker" since 1997 and in 2004 became Dean of the Parsons School of Design at the New School University in New York City. He is the author of "Why Architecture Matters" (Yale, 2009), "Up from Zero: Politics, Architecture, and the Rebuilding of New York" (Random House, 2004), "One the Rise: Architecture and Design in a Post-Modern Age" (Times Books, 1983), "The Skyscraper" (Knopf, 1982), and "The City Observed?New York: A Guide to the Architecture of Manhattan" (Random House, 1979), among others.
Published December 1, 2012 by George F Thompson Publishing. 128 pages
Genres: Arts & Photography, Travel.
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Reviewed by The Editors on Jan 18 2013

These images—free of cars, signs and people—freeze the city in time. But everywhere you look are traces of bygone eras...

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