{"id":1352,"date":"2009-12-07T15:26:22","date_gmt":"2009-12-07T23:26:22","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/12\/danny_lyon_-_black_white_acros\/"},"modified":"2009-12-07T15:26:22","modified_gmt":"2009-12-07T23:26:22","slug":"danny_lyon_-_black_white_acros","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/12\/danny_lyon_-_black_white_acros.html","title":{"rendered":"Danny Lyon &#8211; black &#038; white across time"},"content":{"rendered":"<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Danny_Lyon\">Danny Lyon<\/a> was 20 when he shot some of the most iconic images of the Civil Rights Movement. <\/p>\n<p>No white skin, no service<i>: Tottle House&#8230; Occupied During Sit-in, <\/i>1963<br \/>\nSilver Gelatin Print<br \/>\n11&#8243; x 14&#8243;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"dannylyonssitin.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/dannylyonssitin.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"315\" width=\"461\" \/>It&#8217;s all there: casual clarity fused with formal rigor.<\/p>\n<p><a href=\"http:\/\/www.nytimes.com\/2009\/04\/26\/arts\/design\/26kenn.html\">Randy&nbsp; Kennedy<\/a>:<\/p>\n<blockquote><p>Like<a href=\"http:\/\/www.larryclarkofficialwebsite.com\/\"> Larry Clark<\/a>, who blurred the line between observer and participant<br \/>\nand wanted to confront middle-class viewers with the American<br \/>\nunderclass, Mr. Lyon has made a peripatetic attempt to photograph<br \/>\npeople who are generally unseen or unwanted, even hated, and he has<br \/>\nnever been able to approach it with a journalist&#8217;s distance.<\/p><\/blockquote>\n<p>At the <a href=\"http:\/\/www.jamesharrisgallery.com\/Previous%20Exhibitions\/dannylyon112009.html\">James Harris Gallery<\/a> are 17 of Lyon&#8217;s vintage highlights, 1962 to 1972.<\/p>\n<p><i>Rt. 12, Wisconsin<\/i>, 1963<br \/>\nSilver Gelatin Print<br \/>\n11&#8243; x 14&#8243;<br \/><img loading=\"lazy\" decoding=\"async\" alt=\"dannylyonbikers.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/dannylyonbikers.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"309\" width=\"401\" \/> <i>The Line, Ferguson Unit<\/i>, 1967\/8<br \/>\nSilver Gelatin Print<br \/>\n11&#8243; x 14&#8243;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"dannylyonprisoners.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/dannylyonprisoners.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"376\" width=\"481\" \/>Through Dec. 19.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Danny Lyon was 20 when he shot some of the most iconic images of the Civil Rights Movement. No white skin, no service: Tottle House&#8230; Occupied During Sit-in, 1963 Silver Gelatin Print 11&#8243; x 14&#8243; It&#8217;s all there: casual clarity fused with formal rigor. Randy&nbsp; Kennedy: Like Larry Clark, who blurred the line between observer [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1352","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1352"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1352\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}