Evans was fascinated by the vernacular language of signs-billboards, theater marquees, hand-painted storefronts, graffiti, and rusted tin roadside signs. As in this picture of a tattered movie poster, he often photographed these found artifacts head-on, so that the flat surface of the sign seems to occupy the same plane as the surface of the photographic image. Here, Evans's careful cropping heightens the mystery of the original poster image by isolating the couple's terror from its source and focusing our attention on the large rip that seems to slash through the woman's head.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
[Harry Lunn to Waddell, April 24, 1984]; John C. Waddell
The Metropolitan Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," September 23–December 31, 1989.
San Francisco Museum of Modern Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 28–April 22, 1990.
Los Angeles County Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," May 10–July 15, 1990.
High Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 5–April 28, 1991.
Museum of Fine Arts, Boston. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," June 8–August 4, 1991.
IVAM, Centre Julio Gonzalez, Valencia. "The New Vision, IVAM, Centre Julio Gonzalez, Valencia," January 20, 1995–March 26, 1995.
The Metropolitan Museum of Art. "Walker Evans," February 1–May 14, 2000.
San Francisco Museum of Modern Art. "Walker Evans," June 2–September 12, 2000.
Museum of Fine Arts, Houston. "Walker Evans," December 17, 2000–March 4, 2001.
The Metropolitan Museum of Art. "Framing a Century: Master Photographers, 1840–1940," June 3–September 1, 2008.
The Metropolitan Museum of Art. "Surface Tension," September 15, 2009–March 15, 2010.
Evans, Walker. American Photographs. New York: Museum of Modern Art, New York, 1938. no. 13.
Hambourg, Maria Morris. The New Vision: Photography between the World Wars, Ford Motor Company Collection at the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1989. no. 93.
Hambourg, Maria Morris, Doug Eklund, Mia Fineman, and Jeff L. Rosenheim. Walker Evans. New York: The Metropolitan Museum of Art, 2000. no. 25.
Rosenheim, Jeff L. Documentary & Anti-Graphic: Photographs by Cartier-Bresson, Walker Evans & Alvarez Bravo. Göttingen: Musée de l'Elysée, Lausanne, 2004. p. 166.
Walker Evans (American, St. Louis, Missouri 1903–1975 New Haven, Connecticut)
1935
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's Department of Photographs houses a collection of more than 75,000 works spanning the history of photography from its invention in the 1830s to the present.
