Walker Evans, Many Are Called. New Haven and London: Yale University Press in association with the Metropolitan Museum of Art, New York. 2004. 208pp.

Abstract

The review by Serhan Oksay examines the re-publication of Many Are Called, a collection of Walker Evans' subway photographs from the late 1930s. The central argument is that Evans' work transcends conventional portraiture, capturing raw, unposed moments of everyday life in New York City's subway system. Oksay emphasizes how Evans' method—hiding his camera to photograph unsuspecting subjects—allowed him to document authentic expressions and social realities otherwise obscured by self-consciousness. The review evaluates the book favorably, highlighting its historical significance and Evans' unique approach to photography. It contextualizes Evans' work within his broader career, noting his transition from aspiring writer to photographer and his collaboration with James Agee on Let Us Now Praise Famous Men. Oksay also incorporates Luc Sante’s foreword, which praises Evans’ ability to capture 'types' and 'departures from type,' distinguishing him from other portraitists. The review underscores the technical ingenuity of Evans' method (using a concealed camera) and its philosophical underpinnings—his belief in capturing the 'gritty reality of the modern moment.

(The abstract and keywords were prepared retrospectively for indexing purposes using AI-assisted tools and editorial review, based on the original article. They did not appear in the original publication.)