The Human Family is an ambitious photography exhibition curated by Edward Steichen, director of the Department of Photography Museum of Modern Art (MoMA). It was first shown in 1955 from January 24th to May 8th at the New York MoMA, then traveled the world for eight years to break the record number of viewers.
According to Steichen, the exhibition represents "the peak of his career."
His physical collection was archived and displayed at Clervaux Castle in Luxembourg (home to Edward Steichen, born there in 1879 in Bivange, first presented there in 1994 after the recovery of the mold.
In 2003, the Human Family photo collection was added to the UNESCO World Register Register in recognition of its historical value.
Video The Family of Man
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Part of the International Museum Program The Modern Art Exhibition The Human Family travels the world, stopping in thirty seven countries on six continents. Over 9 million people see the exhibit, which is still more than a spectator for every photography exhibition since. Photographs included in the exhibition, which are still on display, focus on the similarities that bind people and cultures around the world and the Exhibition itself serves as an expression of humanism within a decade after World War II.
The newly formed United States Information Agency has been instrumental in shooting around the world in five different versions for seven years, under the auspices of the Modern Art International Program Museum. In particular, it is not shown in Spanish Franco, in Vietnam, or in China.
Copy 5: After the bilateral agreement between the US and the Soviet Union, in 1959 the American National Exhibition will be held in Moscow and Russia must use the New York City Coliseum. The Moscow trade exhibition at Sokolniki Park is where Soviet Prime Minister Nikita Khrushchev and 'Webat Kitchen' US Vice President Richard Nixon on the relative merits of communism and capitalism. The Human Family is a final inclusion not originally considered in MoMA's travel plans. With a grant for the Museum of $ 15,000 (less than half of the requested) and funds from the plastics industry for the design of a radical pre-made translucent pavilion for the house, the fifth copy of the show was rescued from what remained of Beruit and the Scandanavia show, new print. In Moscow, in the context of trade shows 'supermarkets' is meant to show fancy consumerism, and the multimedia screen assembled by Charles Eames, a collection of peaceful tones and human brotherhood symbolizes a dangerous appointment of the atomic war for Soviet citizens in the midst of the Cold War. This meaning seems to be held primarily by Russian students and intellectuals. Recognizing the importance of the Moscow exhibition as a "high point of the project" Steichen attended his opening and made excessive photographs of the event.
The original print of Copy 3 exhibited in the permanent collection at Clervaux Castle in Luxembourg has been restored twice, once in the 1990s and more comprehensively during the museum's closure in 2010-2013. [2]
Maps The Family of Man
Innovative exhibits
The physical installation and layout of the Family of Man exhibition aims to enable visitors to read this as a photo essay on human development and the life cycle that affirms the common human identity and destiny against the threat of the Cold War of contemporary nuclear war.
Architects Paul Rudolph designed a series of temporary walls between the existing structural columns that guided the visitors through the images, an effect he described as "telling a story," encouraging them to stop at those who caught their attention. The HI layout is accommodated to the greatest extent possible, using the display feature, in an international place that varies from the original space in MoMA.
The open space in the layout requires viewers to make their own decisions about their journey through the exhibition, and get together to discuss it. The layout and placement of the prints and its size variations encourage the physical participation of the audience, who must bend over to inspect the small prints displayed below the eye level and then step back to view the mural image, and to negotiate both narrow and narrow. room spacious.
The size of the prints ranging from 24 x 36 cm to 300 x 400 cm and made in the case of contemporary images from those supplied to Steichen by each photographer. Also includes copies of historical drawings including Matthew Brady's civil war documentation and Lewis Carroll portrait. Blown-ups, often mural-scale images, tilted, floated or curved, some inset to another floor-to-mill mold, even displayed on the ceiling (a slanted view of a silhouetted axeman and tree), on writing like a finger board last room), and floor (for Ring o 'Roses series), grouped together according to various themes. Repeated prints of portraits of Eugene Harris Peruvian flute players form a coda, or act as 'Pied Piper' to the audience in the opinion of some reviewers, and according to Steichen himself, reveals "a little delinquency, but a lot of sweetness - that's the singing of life." The intensity of lighting varies across ten rooms to set the atmosphere.
The exhibition opens with a closed entrance with an explosion from a London crowd by Pat English that frames the Chinese landscape in the sun on a Chinese sunshine by Wyn Bullock into a clipped inset image of a pregnant woman in the resurrection of the creation myth.. Subjects then ranged sequentially from lover, to childbirth, to home, and career, then to death and on topical notes of topical, hydrogen bombs (images from LIFE magazine from Mike's blasting test, Operation Ivy , Enewetak Atoll, October 31, 1952) which is the only colorful image; a backlit charging room of 1.8m x 2.43m Eastman transparency, was replaced for a travel version of the show with different views of the same explosion in black and white.
Finally, the cycle is full, the visitors return once more to the children in a room where the last picture is icon W. Eugene Smith 1946 A Walk to Paradise Garden . As the centerpiece of the installation exhibition of sculptures hanging from photographs including Sicilian family group Vito Fiorenza and Carl Mydans' from the Japanese family (both of the countries that were the last enemies of the Allies in WW2), others from Bechuanaland by Nat Farbman and a village of the United States Family by Nina Leen, encouraging circulation to see two-sided prints and invited reflections on the universal nature of families outside of cultural differences.
Photos are selected according to their capacity to communicate stories, or feelings, that contribute to a thorough narrative. Each group of images builds on the next image, creating an elaborate human life story. The exhibit design was built on the Steichen 1945 Power In The Pacific exhibition and exhibit designed by George Kidder Smith for MoMA, Steichen's assignment from Herbert Bayer to his curator presentation from other exhibitions and has a long history of innovative exhibition initiatives dating back to his association with Gallery 291 at the beginning of this century. In 1963, Steichen explained about the special opportunities offered by the exhibition format;
- "In the cinema and television, the image is revealed at the pace set by the director.In the exhibition gallery, the visitor organizes his own steps.He can go forward and then back off or hurry in accordance with his or her own impulses and moods as this is stimulated by exhibits.In the creation of such exhibitions, resources are brought into play that are not available elsewhere Contrast in image scale, focal point shift, interesting perspectives of long- and close-range visibility with images to be glimpsed at the outer picture in hand - all this allows the audience to participate actively which can not be given any other form of visual communication. "
Text used in exhibits and books
The prints enlarged by several photographers are shown without explanation, and are instead mixed with quotes by, among others, James Joyce, Thomas Paine, Lillian Smith, and William Shakespeare, chosen by Dorothy Norman. Carl Sandburg, Steichen's brother-in-law, 1951 recipient of the Pulitzer Prize for Poetry, wrote the accompanying poetic commentary also displayed as a text panel throughout the exhibit and included in the publication, which follows are examples;
- "There is only one person in the world and his name is All Men. There is only one woman in the world and her name is All Women. There is only one child in the world and the child's name is All Children."
- "People are thrown wide and far apart, born to hard work, struggles, blood and dreams, among lovers, eaters, drinkers, workers, footballers, fighters, players, gamblers Here there are ironworkers, bridge men, musicians , sandhogs, miners, builders of huts and skyscrapers, forest-hunters, landlords, and landless, beloved and unloved, lonely and abandoned, brutal and loving-a great family embracing close to the globe of the Earth for life and whereabouts.Everywhere is love and making love, marriage and baby from generation to generation keeping the Human Family alive and sustainable. "
- "If the human face is the" masterpiece of God "it is here then in the thousands of fateful enrollment.Often speechless faces can never say.Some say about immortality and others are just the latest tattings.The child's face a smiling or hungry smile followed by simple faces carved and worn by love, prayer and hope, along with other light and cheerful people like being thrown in the summer wing.The face has land and sea above it, the face is honest â € " As the morning sun flooded the kitchen clean with light, the face twisted and lost and wondering where to go this afternoon or tomorrow morning.Face in the crowd, leaf faces laughing and blowing wind, profiles in an instant in pain, mouth in mocking less dumbshow words, musical faces in gay songs or twist of pain, hatred ready to kill, or a face that is calm and ready to die.Some of the brands a worth to see in the long term and deep contemplation later. "
Popular publications
Jerry Mason (1914-1991) simultaneously edited and published a free book exhibit via Ridge Press, formed for the purpose in 1955 in partnership with Fred Sammis. This book, which has never been printed, was designed by Leo Lionni (May 5, 1910 - October 11, 1999) and reproduced in various formats (most popular soft cover volume) in the 1950s, and reprinted in large format for his 40th birthday , and in various editions has sold over four million copies. Most of the pictures from the exhibit were reproduced with introductions by Carl Sandburg, whose prologue reads, in part:
- "The baby's first cry in Chicago, or Zamboango, in Amsterdam or Rangoon, has the same tone and keys, each saying," Me! I have come! I belong! I am a family member. Many babies and adults here are from photographs made in sixty-eight countries around our planet Earth. You travel and see what the camera sees. The wonders of the human mind, the intelligence of the heart and the instincts are here. You may find yourself saying, 'I'm not a stranger here.' "
However, the negligence of the book, very significant and contrary to the peaceful objective Steichen stated, is a description of the explosion of hydrogen bombs; the audience was very sensitive to the threat of universal nuclear destruction. Instead of the enormous color transparency in which a space is devoted to the MoMA exhibition, and black-and-white mural prints visiting countries other than Japan, only this Bertrand Russell anti-nuclear warning quote, in the white on the black pages, appears in the book ;
- "[...] The best authorities unanimously say that war with hydrogen bombs is very likely to end humanity [...] There will be universal death - suddenly for only a small part, but the majority of torture disease and slow disintegration ".
The absence also of the book, but also removed by the eleven weeks of the early MoMA exhibition, is a sad photo of the consequences of the death penalty without trial, a young African American man who died young, tied to a tree with his hands tied tautly tethered with a strap that extends outside the frame.
For most buyers, this is their first encounter with a book that puts the image above the text. In 2015, to mark the sixtieth anniversary of the inaugural exhibition, MoMA republished the book as a hardcover edition, with original jacket design from 1955 and duotone printing of new copies of all photographs.
Photographer
The purpose of stating Steichen is to draw attention, visually, to the universality of human experience and the role of photography in its documentation. The exhibition brings together 503 photos from 68 countries, by 273 photographers (163 of whom are Americans) who, with 70 European photographers, mean the ensemble represents a Western point of view.
Dorothea Lange helps his friend, Edward Steichen, in recruiting photographers using his FSA and Life connections, which in turn promote the project to their peers. In 1953 he distributed letters; "A Calls to Photographers Around the World," calling them to "show Man to Man around the world, here we hope to reveal with visual images, human dreams and aspirations, strengths, despair under crime.If photography can bring this thing - to live, this exhibition will be created in a spirit of faith that is full of zeal and devotion to Humans.No shortcomings will be done. "The letter then lists topics that may include photos and categories are reflected in the final arrangement of the event. Lange's work features in the exhibit.
Steichen and his team are very interested in the Life archive for the photos used in the final exhibition. This represents more than 20% of the total (111 out of 503). However, Steichen also traveled internationally to collect pictures, in 11 European countries including France, Switzerland, Austria and Germany. In total, Steichen earned 300 images from European photographers, many of the humanist groups, first shown in the European Post-War Photography exhibition at the Museum of Modern Art in 1953. Since the merger of this body worked into 1955 The The Family of Man exhibit, Postwar European Photography is considered a preview for The Family of Man . The international tour of the definitive 1955 exhibition is sponsored by the now-defunct US Information Agency, which aims to counter Cold War propaganda by creating a better world image of American policies and values.
Here is a list of all participating photographers (see original 1955 MoMA checklist):
Reception and criticism
Photography, Steichen says, "communicates equally to all people around the world.This is the only universal language we have, the only one who does not need translation." When the exhibition opened, most reviewers liked the show, embraced the idea of ​​this 'universal language', and praised Steichen as a kind of writer and exhibit as text or essay. Photographer Barbara Morgan, in Aperture, attributes this concept to the theme of the universalization of the event;
- In understanding the show, the individual himself is also enlarged, because these photos are not just photographs - they are also the shadows of ghosts of our peers; This woman into her photographic eye that I now see perhaps is currently weeding the family rice fields, or boiling the fish with coconut water. Can you see polygamous family groups and imagine different norms that make them live happily in their very different societies - but like - ourselves? Empathy with hundreds of humans really extends our sense of value.
Roland Barthes however quickly criticized the exhibition as an example of the concept of myth - the dramatization of an ideological message. In his book Mythologies, published in France a year after the Paris exhibition of 1956, Barthes declared it a product of "conventional humanism", a collection of photographs in which everyone lives and "dies in the same way everywhere." "Just showing pictures of people who are born and dead tell us, literally, nothing."
Many other important reactions, both positive and negative, have been presented in social/cultural studies and as part of artistic and historical texts. The earliest critics of the show, ironically, the photographer, who felt that Steichen had disparaged individual talents and made the public reluctant to accept photography as an art. The show is the subject of the whole Aperture problem; "The Controversial 'Family of Man'" Walker Evans underestimates "the human family [and] jealous" Phoebe Lou Adams complains that "If Mr. Steichen's deliberate spell is not working, it can only be because he has so intentions on physical similarity [Man] that... he completely forgets that family fights can be as fierce as any other. "
Some critics complain that Steichen only transcribed magazine photo essays from the yard to the museum wall; in 1955, Rollie McKenna likened the experience to a journey through the funhouse, while Russell Lynes in 1973 wrote that the Family of Man "is an extensive photo essay, a literary formula basically, with many of the emotional and visual qualities provided by the massive firmness of the explosion and his rather sentimental message was sharpened by the juxtaposition of the grain fields and the landscape of rocks, peasants and nobles, a sort of 'look at all these good people in all the strange places belonging to this family.' "Jacob Deschin, a photography critic for The New York Times, writes," this show is basically a pictorial story to support editorial concepts and achievements rather than photography exhibitions. "
From the optics of the struggle, echoing Barthes, Susan Sontag in On Photography accuses Steichen of sentimentalism and simplification: '... they hoped, in the 1950s, to be entertained and disturbed by sentimental humanism. [...] Photo choice Steichen assumes human condition or human nature possessed by everyone. "Directly quotes Barthes, without acknowledgment, he continues;" By claiming to show that individuals are born, working, laughing and dying everywhere in the same way, the "Human Family" denies the decisive weighting of history - of the original, historically ingrained differences, injustices, and conflicts. '
Others attacked the show in an effort to write about race and class issues, including Christopher Phillips, John Berger, and Abigail Solomon-Godeau. Many of these critics, it should be noted, have not seen the exhibit but are working from published catalogs that mainly exclude atomic explosion images.
Instead, other critics defended the exhibition, referring to the political and cultural environment in which it was staged. Among these were Fred Turner, Eric J. Sandeen, Blake Stimson, and Walter L. Hixson. More recently, the compilation of essays by contemporary critics backed by contemporary newly translated articles for exhibition appearances collected and edited by Gerd Hurm, Anke Reitz and Shamoon Zamir presents a reading of Steichen's motivational revisions and audience reactions, and a reassessment of the validity of Criticism influential Roland Barthes in "La grande famille des hommes" in his book Mythologies .
Tribut, sequel and critical revision
In the years since The Family of Man, some exhibits came from projects that were directly inspired by Steichen's work and others presented against it. Another is an alternative project that offers new ideas on themes and motifs presented in 1955. It serves to represent artist, photographer and curator responses to exhibits alongside cultural critics, and to track the evolution of reaction as a society and their self-image changes.
Photography World Exhibition
Following the Human Family for 10 years, 1965 Weltausstellung der Fotographie (World Photography Exhibition) is based on an idea by Karl Pawek and, supported by the German magazine Stern , traveling the world. It presents 555 photos by 264 authors from 30 countries, exceeding the number in the Steichen exhibition. In the introduction to the catalog entitled 'Die Humane Camera', Heinrich Boll writes: "There are times where the meaning of the landscape and its breath become noticeable in a photograph: The person described to be familiar or historic moment occurs in front of the lens, a uniformed child, looking for battlefields for their deaths They are moments when crying is more than personal for crying mankind The secret is not revealed, the secret of human existence becomes visible. "
The exhibition, writes Pawek, 'wants to keep the spirit of Edward Steichen's wonderful ideas and collection of memories, Human Family .' The exhibition asked the question 'Who is Human?' in 42 topics. Focuses on issues sublimated in the Human Family by the idea of ​​universal brotherhood between men and women of different races and cultures. Racism, which in the event Steichen was represented by a scene of unlawful murder (substituted in European performances by the enlargement of the famous image of the NÃÆ'¼rnberg court), was confronted in the Weltausstellung der Fotographie VIII Das MissverstÃÆ'¤ ndnis mit der Rasse (Misconceptions about Race) by blacks in a photo by Gordon Parks who seems to see from the window two scenes of attack on blacks (photographed by Charles Moore). Another photo by Henri Leighton shows two children walking together in the hands holding the public, one black, one white. Although the reference to the content of the older exhibits in the new is real, the idealism that unites the Human Family here is replaced by a more fragmented and sociological one. The exhibition met with refusals by the press and officials in the photography profession in Germany and Switzerland, and was described by Fritz Kempe, a member of the board of leading photo companies, as "delicious food to stimulate the aggressive instinct of semi-intellectual youth". Nevertheless, he went on to tour 261 art museums in 36 countries and visited by 3,500,000 people.
2nd World Photography Exhibition
In 1968, the second Weltausstellung der Fotographie (Second World Photography Exhibition) was devoted to images of women with 522 photographs from 85 countries by 236 photographers, of which nearly 10% were female (compared to 21% for < i> Human Family ), although there is evidence of the effects of feminist consciousness in the image of men in the household environment cleaning, cooking and caring for the baby. In his introduction, Karl Pawek writes: "I have approached the first exhibition with all my theological, philosophical and sociological tools." What is a Man? The question must evoke an ideological idea. [...] I also operate from a philosophical point of view when presenting photographs. As far as women are concerned, the theme of the second exhibition, I do not know anything. There I am, without philosophy about women. Maybe a woman is not a philosophical theme. Maybe there is only human, and woman is something unique and special? Thus I can only hold on to what is concrete in the picture. "
Children's Family
UNESCO named the 1977 Year of Children and in response to the book Family of Children dedicated to Steichen by editor Jerry Mason, and imitating the original catalog in its layout, in the use of quotations and in colors used on the cover. As for Steichen's event there was an outbound call for imaging but 300,000 entries were received compared to 4 million at the MoMA event, resulting in a selection of 377 photos by 218 participants from 70 countries.
Opposition: We are the world, you are a third world
In 1990 the second leading exhibition of Rotterdam Biennale was Opposition: We are the world, you are the third world - Commitment and cultural identity in contemporary photography from Japan, Canada. Brazil, the Soviet Union and the Netherlands The catalog cover mimics the original layout and color but replaces the famous image of a small flute by Eugene Harris with six pictures, four photographs of young women from different cultural backgrounds and two excerpts from the painting. In the ecological exhibit scene that is threatened with extinction and threats to cultural identity in the global village dominate, but there is a signal that nature and love can prevail, despite all the artificial things that surround it, especially so in family life.
New Relationships. Man Revisited Family
In 1992, American critic and photographer Larry Fink published a photo collection under the title New Relationship. Family Revisited at the Quarterly Photography Center. His approach renewed Steichen's vision by integrating aspects of human existence that Steichen had omitted because of his desire for his deepest coherence and conviction. Fink merely gives the following comment: "Rather than the prejudice of the deer to the anthropological/sociological analysis of the event described, rather than categorizing and choosing democratically for social relevance." Taking the most insurmountable and rewarding way I just choose a quality picture with the belief that the path strong visual energy will visit an equally strong social presence ". He concludes: "This show is a summary of visual clues It's not an answer or even a complete question, but a cognitive clue...."
family, nation, tribe, community: SHIFT
In September/October 1996 NGBK (Neue Gesellschaft fur Bildende kunst Berlin - New Society for Visual Art Berlin) in the context of 'Haus der Kulturen der Welt (HKW)' (House of World Cultures Berlin) compiled and arranged the project family , nation, tribe, community: SHIFT with direct reference to the historical MoMA exhibition. In the catalog, five authors; Ezra Stoller, Max Kozloff, Torsten Neuendorff, Bettina Allamoda and Jean Back analyzed and commented on the historical model and twenty-two artists offer individual approaches around the following themes: Universalism/Separatism, Family/Anti-Family, Individualization, General Strategy, Differences. These works are mostly from artist photographers rather than photojournalists; Bettina Allamoda, Aziz Cucher, Los Carpinteros, Alfredo Jaar, Mike Kelley, Edward and Nancy Reddin Kienholz, Lovett/Codagnone, Loring McAlpin, Christian Philipp MÃÆ'¼ller, Anna Petrie, Martha Rosler, Lisa Schmitz, STURTEVANT, Partners Tabizian, and Andy Golding, Wolfgang Tillmans, Danny Tisdale, Lincoln Tobler, and David Wojnarowicz reflect major contemporary issues: identity, information crisis, illusion of fun, and ethics. In the introduction to the exhibition, Frank Wagner writes that Steichen has offered a harmonious, neat and highly structured world vision which, in fact, is complex, often incomprehensible and even contradictory, but instead, this Berlin exhibition highlights' first 'and' third 'world tension and wishing to concentrate on various attitudes.
The 90s: A Family of Man?
The following year Enrico Lunghi directed the exhibition The 90s: A Family of Man: a human image in contemporary art , held 02.10.-30.11.1997 in Luxembourg, the birthplace of Steichen and at that time a repository of the archives of the complete his book Human Family. In addition to their understanding of Steichen's efforts to present parity among the human race, curators Paul at Felice and Pierre Stiwer interpreted Steichen's show as an attempt to make the Museum of Modern Art content publicly accessible in an era when it was considered an elitist support of abstract art 'understood'. They demonstrated the success of their predecessors in having his show adopted by the recording audience and emphasized that criticisms differ only from 'intellectuals'. However, Steichen's success, they cautioned, was to manipulate messages from his chosen image; 'Anyway,' they wrote, 'is not he the artistic director of Vogue and Vanity Fair...?'. They expressed their desire to retain the artists' autonomy of the exhibit while not posing their work as the antithesis of the Steichen concept, but to honor, and echo, the arrangement while 'asking the question' as indicated by the question mark in their quote about the original title. Steichen's exhibition and catalog of 'quotes', sets the pages of his exhibition books with their quotes around the picture groupings (in monochrome) in addition to the works of contemporary (color-dominated) artists collected in themes used in the original, even if the correlation fails some contemporary ideas, that digital imaging, installation and montage work effectively deliver. Thirty-five artists include Christian Boltanski, Nan Goldin, Inez van Lamsweerde, Orlan and Wolfgang Tillmans. Reassess the Human Family
The Photographic Society of America (PSA) draws on their archives for the reconsidering phase of the Human Family during April and May 2012. They base their view on the original Steichen exhibit concept but concentrate on the sub-theme of the part of birth until death. Of the nearly 5,000 photos in the PSA collection, 50 choices were made for their performances. One similar job is Ansel Adams' Mount Williamson from Manzanar in the Human Family presented in the mural scale, while PSA uses vintage, 11 "x 14" Adams prints from their collection , featuring it with a copy of the first edition of The Family of Man publication that opened for the two-page spread of Adams photos..
Permanent installation, Chateau Clervaux, Luxembourg
The permanent installation of today's exhibition at Chateau Clervaux in Luxembourg follows the layout of the inaugural exhibition at MoMA to recreate the original viewing experience, though it needs to be adapted to the unique two-story space of the restored castle. Since 2013 the restoration now incorporates libraries (which include some of the sequel exhibit catalogs above) and the contextualization of the Human Family with historical material and interpretations.
Cultural reference for Human Family
- The Karl Dallas song, The Family of Man , also recorded by The Spinners and others, was written in 1955, after Dallas saw the exhibit.
- In 1962, Instytut Miko? owski publish Commentze fotoi. The Family of Man by Polish poet Witold Wirpsza (1918-1985), comments on individual photos and exhibits selected from the exhibition.
References
Further reading
- Gresh, Christian. 2005. "The European Roots of the 'Human Family'". History of Photography 29, (4): 331-343.
- Hurm, Gerd, (ed.); Reitz, Anke, (ed.); Zamir, Shamoon, (ed.) (2018), Referenced male family: photography in the global age , London I.B.Tauris, ISBN 978-1-78672-297-3
- Steichen, Edward (2003) [1955]. Human Family . New York: Museum of Modern Art. ISBNÃ, 0-87070-341-2
- Sandeen, Eric J. Imagining An Exhibition: The Human Family and the American 1950s . Albuquerque: University of New Mexico Press, 1995.
- Stimson, Blake (2006) World Pivot: Photography and His Nation . Cambridge, Massachusetts: MIT Press.
- Turner, Fred (2012) 'Human Family and Political Attention in the Cold War of America' within General Culture 24: 1 Duke University Press. doi: 10.1215/08992363-1443556
External links
- Photos documenting the original full exhibit at MoMA
- The official website of the Man Family Museum, Clervaux, Luxembourg
- CarlSandburg.net: Research Website for Sandburg Research
Source of the article : Wikipedia
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