|
1926
|
|
Traveled in Europe through 1927, attending lectures at the Sorbonne, Paris, France.
|
| |
|
|
1927
|
|
Meets Ralph Steiner, who introduces Evans to photographic techniques.
|
| |
|
|
1928
|
|
Unable to find work in New York City, decided to become a photographer.
|
| |
|
|
1929
|
|
Meets Lincoln Kirstein, who becomes his mentor and promoter.
|
| |
|
|
1930
|
Walker's photographs are published in Hound and Horn, Architectural Review, and Creative Art, as well as in Hart Crane's poetry volume, The Bridge. He begins to work with a 6 1/2 x 8 1/2 large-format camera.
Participates in group exhibition at the Harvard Society for Contemporary Art, Cambridge, Massachusetts.
|
| |
|
|
1931
|
|
Starts on the Victorian Architecture project with Lincoln Kirstein and John Brooks Wheelwright.
|
| |
|
|
1932
|
|
Visits Tahiti, where he works as a photography for wealthy tourists. While there, uses a movie camera for the first time.
|
| |
|
|
1933
|
Carleton Beals' The Crime of Cuba is published with 31 photographs by Evans.
First solo exhibition at the Museum of Modern Art, New York.
|
| |
|
|
1934
|
|
First story for Fortune magazine - Dwight Macdonald's "The Communist Party", which includes Evans' photographs appears in the September issue. While traveling to Florida on assignment, begins to notice roadside scenes.
|
| |
|
|
1935
|
|
Began working on the Let Us Now Praise Famous Men collaborative project with James Agee, which brought Evans recognition. At the same time he joins the photographic team in the Farm Security Administration (FSA) headed by Roy Stryker.
|
| |
|
|
1937
|
|
|
1938
|
|
Major exhibition, "Walker Evans: American Photographs" opens at MOMA's temporary underground gallery in Rockefeller Center, New York.
|
| |
|
Began taking photos with a hidden camera in New York subways.
|
| |
|
|
1943-1945
|
|
Worked as a writer for Time magazine.
|
| |
|
|
1945
|
|
Produced his first color work for Fortune.
|
| |
|
|
1945-1965
|
|
Worked at Fortune magazine as an associate editor and photographer. Fortune published 42 of his portfolios, (some accompanied by Evans's own text) including "Labor Anonymous," November 1946 and "Chicago: A Camera Exploration," February 1947.
|
| |
|
|
1948
|
|
A retrospective exhibition is held at the Art Institute of Chicago.
|
| |
|
Appointed Fortune's Photographic Editor, which allows Evans creative control over his projects.
|
| |
|
|
1959
|
|
Evans receives his second Guggenheim Fellowship award.
|
| |
|
|
1965
|
|
Retires from professional photography. Appointed professor of Photography/Graphic Design at Yale University.
|
| |
|
|
1968
|
|
Receives honorary degree from Williams College. Becomes Fellow, American Academy of Arts and Letters.
|
| |
|
|
1971
|
|
Major retrospective at MOMA featuring 200 images brings rediscovery of Evans.
|
| |
|
|
1972
|
|
Artist-in-Residence, Dartmouth College, Hanover, New Hampshire.
|
| |
|
Retires from Yale University, but continues giving traveling workshops.
|
| |
|
|
1973
|
|
Received Grant from Mark Rothko Foundation.
|
| |
|
Buys and uses his first Poloroid color camera (SX-70).
|
| |
|
|
1974
|
|
Receives Distinguished Service Award from the American Academy Institute.
|
| |
|
|
1974-1975
|
|
Professor emeritus, Yale University, New Haven, Connecticut.
|
| |
|
|
1975
|
|
Gives a lecture at Radcliffe College in Boston on April 8.
|
| |
|
|
1994
|
|
The Metropolitan Museum of Art acquires Walker Evans Archive.
|
| |
|
 [return to top]
|
| |
