artist research

Walker Evans

Walker Evans was an American photographer and photojournalist best known for his work for the Farm Security Administration documenting the effects of the Great Depression.

Walker Evans, Beauties of the Common Tool | FOTOFORM
Walker Evans – Beauties of the common tool – 1955

Walker Evans began to photograph in the late 1920s, making snapshots during a European trip. Upon his return to New York, he published his first images in 1930. During the Great Depression, Evans began to photograph for the Resettlement Administration, later known as the Farm Security Administration (FSA), documenting workers and architecture in the South-eastern states. In 1936 he travelled with the writer James Agee to illustrate an article on tenant farm families for Fortune magazine; the book Let Us Now Praise Famous Men came out of this collaboration.

Walker Evans greatly influenced a photographer named Darren Harvey-Regan. Both artists paid very close attention to the choice of their objects, composition, lighting and exposure.

Walker Evans exhibition in Madrid - Fundación MAPFRE
Living room, West Virginia, 1935

Darren Harvey-Regan

Darren was born in 1974 and is aged 47 and works in the liminal space where flat representation ends, and three-dimensional object begins. Harvey-Regan’s work has appeared in exhibitions and publications internationally and is part of the permanent photography collection at the Victoria and Albert Museum, London. Solo exhibitions include Metalepsis and The Erratics, Copperfield, London, The Erratics, Passaggi – Arte Contemporanea, Pisa, IT Phrasings, The Ravestijn Gallery, Amsterdam A Shifting Sense of Things, Sumarria Lunn, London and A Collection of Gaps, Phoenix, Exeter. Darren Harvey-Regan is a graduate of the Royal College of Art and is based in London.

Snapshot: 'The Erratics' by Darren Harvey-Regan | Financial Times
‘The Erratics’ (2015) by Darren Harvey-Regan
The Erratics: Darren Harvey-Regan's Thoughtful Photographic Interpretation  Of A Geological Phenomenon - IGNANT

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