The American photographer Peter van Agtmael experienced a life-changing moment, aged 19, when he happened on a copy of Magnum Degrees, a photobook published in 2000 of dramatic images from the previous decade.
“I got an instantaneous education in the beauty, violence, mystery, complexity and simplicity of photography,” he writes in his afterword to Magnum America, a much bigger, more mysterious and complex compendium of photographs spanning nine decades, from postwar 1940s to the present day.
Magnum was formed as a cooperative by a group of renowned war photographers, including Robert Capa and Henri Cartier-Bresson, in 1947. It’s cooperative nature was initially a reflection of its founders’ stoical postwar optimism in the face of the horrors and traumas they had witnessed, but also their shared spirit of creative independence.
Magnum America traces the nation’s often turbulent journey from those tentatively optimistic postwar years to the existential anxiety of the present political moment in which democracy itself hangs in the balance. Though punctuated by celebrated portraits and observational series on ordinary American lives, it is the hard-hitting photojournalism that arrests, from Capa’s blurred but powerful images from the D-day landing at Omaha beach to Van Agtmael’s eye-of-the-storm reportage of the siege of the Capitol by Trump supporters in 2021.
Van Agtmael and his fellow editor, the curator and feminist academic Laura Wexler, have not attempted to create a definitive visual history of the United States as reflexed through the lenses of Magnum photographers, but instead deftly explore ideas of history, culture, myth and national identity. The book comprises 600 images – some famous, some relatively unknown – culled from a total of 227,450. The selection here reflects that mix, but concentrates on images of conflict and political drama that are pertinent to today’s fraught pre-election moment.
The book is also a revealing social history of Magnum itself: the ideal and the often problematic reality. For too long, it reflected the predominantly white, male world of photojournalism, the exceptions being pioneers such as Eve Arnold, Martine Franck, Inge Morath and, later, Susan Meiselas. And, though Magnum photographers made some of the most memorable images of the black civil rights struggle in the 1960s, it wasn’t until 1988 that Eli Reed became the first black photographer to enter the Magnum fold. That irony went unnoticed for a long time. Today, Magnum is a diverse organisation, but it is its relevance – and, by extension, photojournalism’s role – that is also at stake in a world of relentless image-making and instant image-dissemination, an environment unimaginable to its founders. The ongoing carnage in Gaza enters our consciousness daily on social media, where local photojournalists as well as ordinary people with mobile phones bear witness at great risk in the midst of an ongoing humanitarian disaster. Not one photojournalist from Magnum or any other western photo agency has reported from Gaza because of Israel’s refusal to admit even embedded members of the international media. The integral act of bearing witness, which is at the core of Magnum’s collective being, continues just as powerfully all the same. The next big volume of retrospective Magnum images may have to find a way of grappling with that dilemma.
1940s: Robert Capa
American troops landing on Omaha beach, D-day, Normandy, France, 6 June 1944
On 6 June 1944, Robert Capa was one of a handful of photographers granted permission to cross the English Channel with allied forces during the D-day operation to liberate occupied France. He travelled with American soldiers from E Company of the 16th Infantry Regiment. This blurred but evocative image was taken in the immediate wake of their arrival at Omaha beach, where they were met with cannon and small arms fire from embedded German troops as they leapt off their landing crafts into cold, choppy waters. It remains one of the most visceral images of that pivotal, but at times chaotic, operation, during which about 4,440 allied soldiers lost their lives and close to 6,000 were wounded.
Intriguingly, the circumstances in which the 11 images that comprise Capa’s reportage from Omaha beach were created – which he described in characteristically self-mythologising fashion in his memoir, Slightly Out of Focus – have recently been contested. Likewise his contention that they were all that remained of 106 pictures he sent to Life magazine on his return to England, the rest having been mysteriously destroyed after being left too long at a high temperature by an unfortunate lab assistant who was processing them.
Whatever the truth, the photographs that were taken under extreme duress during his relatively short time on the beach – he made it on to a departing boat after a severe panic attack in which his hands were shaking so badly he could not reload his camera – are a powerful and up-close record of that day’s tumultuous events. There have been several attempts to identify the “soldier in the surf”, with Private Huston “Hu” Sears Riley the most likely contender. That he has not been definitively identified lends another level of poignancy to the image.
Capa, one of Magnum’s founders, was arguably the most revered photojournalist of the 20th century. His most famous quote epitomised his cavalier approach: “If your pictures aren’t good enough, you’re not close enough.” In 1954, 10 years after this photograph was taken, he was killed, aged 40, by a landmine in Vietnam, while covering the first Indochina war.
1950s: Elliott Erwitt
Wilmington, North Carolina, 1950
Elliott Erwitt was invited to join Magnum by Robert Capa in 1953. Having studied photography and film-making at college in California, Erwitt, aged 25, had already made a name for himself as an editorial photographer for various commercial magazines. He would go on to become one of the world’s most famous image-makers, best known for his striking, slightly surreal pictures of the everyday. His similarly offbeat portraits of dogs have been the subject of five photobooks to date. It is fair to say that Erwitt’s dedication to being, as he put it, “serious about not being serious” has tended to shift attention away from his more unsettlingly powerful images. One of the most rawly observant is his photograph of a grief stricken and bewildered Jackie Kennedy at her husband’s funeral.
His photograph Wilmington, North Carolina, 1950 possesses a resonance that is at odds with its neutral geographical title. Like many images in Magnum America, it captures a significant moment, simultaneously evoking the darkness of the US’s past and signalling a turbulent future of hard-won progress. The tentative beginning of the civil rights movement was still four years away when this picture was taken, and it was 14 years before that struggle achieved one of its seminal victories when the passing of the Civil Rights Act in 1964 outlawed segregation. The separate drinking fountains, marked “White” and “Colored”, the one modern and sleekly designed, the other makeshift and worn, speak of a time not that distant when discrimination was a given in certain states. The face of the man crouching over the sink beneath the Colored sign is blurred, and his stance suggests he is looking towards the other fountain that is so close yet out of bounds. As a signifier of the postwar era of US segregation in the south, Erwitt’s grainy image remains starkly affecting and deeply symbolic.
1960s: Paul Fusco
Robert Kennedy funeral train, USA, 1968
It was a year of sustained social and political turbulence in the US, the war in Vietnam dividing the country across generational lines and provoking widespread protests that often culminated in violence. The conflict on the streets reached a climax of sorts at the Democratic convention in Chicago in August 1968, when police brutally attacked activists and bystanders, the violence captured on TV cameras and broadcast nationally on news reports.
By then, the already divided nation had been traumatised by the recent assassinations of two progressive leaders: the black civil rights figurehead Martin Luther King Jr and the Democratic presidential candidate Robert F Kennedy. Paul Fusco boarded the train taking Kennedy’s body from New York to Washington focused on how he would cover the senator’s state funeral at Arlington cemetery for Look magazine. When the train emerged from a long dark Manhattan tunnel into daylight, he was taken aback by what he saw. Ordinary citizens, young and old, had gathered in clusters by the railway track, standing in silent homage to the young politician whose death, like his life, had echoed that of his older, more famous brother, President John F Kennedy.
The train moved slowly, perhaps out of respect for the dead senator, taking eight hours rather than the usual four to complete its journey. Along the entirety of the route, people congregated trackside in their summer clothes. Fusco shot about 2,000 photos en route to Washington. In them, he freeze-framed for posterity a nation in mourning: families and friends holding hands, men standing to attention to salute, a woman kneeling in prayer. Mostly, though, a seemingly endless succession of ordinary Americans of every race, creed and colour gaze upwards as the train trundles past from city to suburb and on through sun-dappled rural neighbourhoods, their collective silence palpable in every frame.
At the time, the editors of Look bafflingly decided not to publish any of Fusco’s extraordinary funeral train series. After the magazine ceased publication in 1971, they remained unseen for another 30 years, consigned to the vast archive of the Library of Congress until they were uncovered by a Magnum researcher. Almost six decades on, they evoke another now distant US, one united in grief but also, as Fusco later put it, “grateful for the commitment and hope Bobby nurtured in the legions of the poor, the black and countless other forgotten Americans”.
1970s: Alex Webb
Nixon resignation, Washington DC, 1974
On 8 August 1974, at 9pm, Richard Nixon, who was facing impeachment and removal from office for his role in the Watergate scandal, announced that he was resigning as president of America. He was the first and as yet only US head of state to do so. “As president,” he told the country in a live television broadcast from the White House, “I must put the interests of America first.”
The evidence of his misdemeanours, as uncovered by the Washington Post reporters Bob Woodward and Carl Bernstein with the help of an anonymous source known as “Deep Throat”, suggested that sentiment had not been foremost in his mind two years earlier, when a break-in had occurred at the Watergate offices of the Democratic National Committee in Washington DC. It had been carried out by a group devoted to Nixon’s re-election, which included his former close associate G Gordon Liddy. Along with six others, Liddy was subsequently jailed for his part in the burglary.
Woodward and Bernstein’s exhaustive investigation also uncovered evidence of wiretaps of the phones of those Nixon considered his most dangerous enemies. The break-in and cover-up was exposed in detail in the televised Watergate hearings that by turns enthralled and appalled the US public over 51 days in 1973.
That Nixon hung on in office as long as he did was testament to his tenacity as well as his sense of entitlement. Tricky Dicky, as he came to be known, escaped the humiliation of impeachment and a possible prison sentence and was subsequently pardoned by his successor, Gerald Ford.
When the news of his resignation broke, Alex Webb evoked the country’s collective response in his image of a single, anonymous individual intensely perusing the Washington Post on the streets of the capital. The front page headline, “Nixon Resigns”, resonates across the years, through the subsequent impeachments of Bill Clinton and Donald Trump, as well as the turbulence of the latter’s first term of office, the incendiary nature of his departure from it, and the possibility of his imminent return. “It changed history,” Woodward recently said of the crimes he helped to uncover. “It was a red light for presidents.” We may find out soon enough if that is still the case.
1980s: Susan Meiselas
US/Mexican border, 8am: undocumented workers discovered in a “drop off” site, Interstate 5, Oceanside, California, 1989
Throughout his 2016 election campaign, Donald Trump repeatedly promised his faithful that he would construct “a big beautiful wall” between the US and Mexico, one that stretched across its 2,000-mile length, thus ending once and for all the flow of illegal migrants that, he claimed, threatened the security and identity of the US. The construction of a border wall was already well under way long before Trump began his campaign, with more than 600 miles of the southern border barricaded and protected by immigration authorities. It signified the strategy of deterrence through military-style policing that had been officially sanctioned by President Clinton in 1995.
This photograph by Susan Meiselas was taken in 1989, when the border was more porous and economic migrants regularly made the crossing, mainly to do the myriad low-paid menial jobs that helped keep the American, and in particular the Californian, economy afloat. By then, Meiselas had made her name with her documentary reportage from the long civil war in El Salvador and the Nicaraguan revolution.
For her series Crossings, she worked with the migrants and the border security patrols tasked with apprehending them. Many of those sent back to their homeland would try to enter again by different routes, such was their dedication to the dream of reinventing themselves in the US. This image dramatically evokes the precariousness of the immigrant journey by capturing the moment some undocumented workers are discovered by a border patrol officer at the drop-off site they’ve been left at by smugglers after crossing the border. “When people are coming across the border, they are giving up on their homeland,” she said later of this photo and others like it. “That’s a very hard thing to do. There’s an uncertainty; maybe it’s that uncertainty that you are seeing.”
1990s: Eli Reed
Members of the Nation of Islam among the ruins of the Rodney King riots, Los Angeles, California, 1992
The Magnum archive is rich in memorable images of the struggle – and solidarity – of African American activists during the civil rights era by the likes of Leonard Freed, Burt Glinn, Bruce Davidson and Danny Lyon. It wasn’t until 1988, 41 years after the agency’s formation, that Eli Reed became the first black member of the organisation. “By signing him on, the agency granted loftiness to its existence,” Gordon Parks would later attest. Four decades earlier, in 1948, he had made a similar breakthrough when he became Life magazine’s first black staff photographer.
From the moment he took up a camera as a young man, Reed’s ambition has been to capture the full range of black people’s experience, from the everyday to the politically seismic, the intimately tender to the collectively traumatic. To this end, his book Black in America, published in 1997, is punctuated throughout with moments of tentative optimism but also tempered by a deep anger and frustration that Reed, an activist with a camera, shared with many of his subjects.
This striking image was made in the immediate aftermath of the riots in Los Angeles that followed the acquittal of four LAPD officers who had been captured on camera a year earlier brutally beating a young black man, Rodney King. It features three besuited members of the Nation of Islam, a black nationalist organisation that believes in the formation of a separate state for African Americans within the US. Despite their extremist views, they are regarded by some in the black community as role models who uphold the traditional values of discipline and self-respect, while espousing self-determination as the only alternative to endemic racism.
Here, the three young men stand, alert and yet seemingly unconcerned by the proximity of Reed’s camera, in front of the ruins of a building destroyed in the riots. The stark contrast between their aura of calm authority and the wreckage that signifies chaos and disorder lends the image an edgy complexity. One of the underlying questions posed by Reed’s immersive reportage is how the black community should respond to often murderous police brutality. It has been answered in frequently dramatic fashion in the decades since, most resoundingly in the rise of the Black Lives Matter movement, which became a global phenomenon after the police killing of George Floyd in 2020.
2000s: Thomas Hoepker
Young people during lunch break in Brooklyn with the twin towers burning across the river, 11 September 2001
The terrorist attack on the twin towers in lower Manhattan on the morning of 11 September 2001 was captured by several Magnum photographers, and their images of the cataclysm and its aftermath were published in a large-format book, New York September 11, less than two months after the event. The exception was Thomas Hoepker’s complex and, for some, provocative portrait of a group of young people gathered by the river’s edge in Williamsburg, Brooklyn, while a dense plume of grey smoke billows from the familiar skyline in the middle distance. The image so disoriented its creator that he chose not to include it in the book, waiting until 2006, the fifth anniversary of the attack, before publishing it.
Hoepker’s initial anxiety, it turned out, was justified. After its belated publication, Hoepker wrote a short article in response to a column in the New York Times that decried his “shocking” photograph and suggested that the five young people in it were relaxing, having already started to “move on” from the shock and horror of the attack. Hoepker admitted that he had initially found the image “ambiguous and confusing”, and had swiftly come to the conclusion that publishing it so close to the actual event “might distort the reality as we had felt it on that historic day”.
This, in turn, prompted one of the people in the photograph, Walter Sipser, to respond, accusing both Hoepker and the NYT columnist of distorting his reality. He pointed out that the three people chatting to him and his girlfriend were passing strangers, the group having found themselves “suddenly bound together… in the aftermath of a catastrophe”. Rather than feeling relaxed, they were, he explained, united “in a profound state of shock and disbelief, like everyone else we encountered that day”. A scene that had initially appeared “ambiguous and confusing” to the photographer felt cynically manipulative to the subjects, for whom it is a stolen and distorted moment in which nothing but the unimaginable horror unfolding in the background is what it seems. Here, the idea of bearing witness that has traditionally underpinned photojournalism in general, and Magnum in particular, seems to collapse in on itself.
2010s: Alec Soth
Lockdown drill, Belle Plaine high school, Minneapolis, Minnesota, 2014
School shootings are a particularly American phenomenon, the deadliest of which have imprinted the names of their locations – Columbine, Sandy Hook, Virginia Tech – on our collective consciousness. According to a recent CNN report, there were at least 58 shootings on US school grounds and collage campuses between January and mid-October of this year, resulting in 28 deaths and more than 72 injuries.
Alec Soth’s dramatic photograph was taken during a school lockdown drill that had interrupted an eight-grade gym class at Belle Plaine high school in his home town, Minneapolis. These kinds of drills are compulsory in more than 20 states. That they are now such a common feature in US schools, that they have become almost normalised, speaks volumes about US gun culture and the failure of legislation to control it. Kenneth Trump, the president of National School Safety and Security Services, told the New York Times: “The majority of today’s generation of students and school staff view lockdowns as a routine part of the school culture, just as we have viewed fire drills for many years.”
Soth’s deftly composed photograph is startling in its stillness and atmosphere of vulnerability. The young girls huddled together, faces hidden in hands, heads bowed in silent thought. Their pale limbs are in dramatic contrast to the deep red of their school T-shirts and the shiny gym lockers. The drama here lies in the dread possibility of what might one day come to pass, and one cannot help but ponder where the schoolgirls’ thoughts have wandered in this silent, confined space. It is an image neither violent nor transgressive but that disturbs all the same in its evocation of a singular kind of collective cognitive dissonance.
2020s: Peter van Agtmael
Storming of the Capitol, Washington DC, 6 January 2021
The tumultuous events of 6 January 2021, when a riotous mob stormed the Capitol building after an inflammatory speech by Donald Trump, hang like a storm cloud over the imminent US election. As the election results pivoted towards a Democrat victory, Trump had urged his followers to converge on the Capitol to “stop the steal”. Many thousands responded, fighting their way into the Capitol building where they ransacked offices, smashed furniture and wandered the corridors in search of the politicians that Trump had demonised. Chief among them were Nancy Pelosi, Speaker of the House of Representatives, and Mike Pence, his presidential running mate, who had refused to challenge the result. Both were perilously close to the rioters inside the building before they were safely evacuated.
Peter van Agtmael, whose photojournalism over the past few decades has interrogated the US’s foreign wars and its concurrent domestic discontents was in the midst of the mob at Capitol Hill on the day. From the eye of the hurricane, he captured protesters clashing violently with outnumbered police armed with batons and pepper spray. This image distills the greater scattered disorder that erupted around the Capitol building and the dogged determination of the protesters, one of whom has scaled a high wall, his hand clinging to a marble ledge as he bends to help others beneath him. Only his baseball cap is visible and beyond it a panoramic of the unruly horde spread out across the grounds, many of them carrying US flags.
In the background, the tall Washington Monument, built in honour of the first US president, points towards the sky, a symbol of the birth of US democracy. Beneath it, all is chaos and disorder. Van Agtmael’s dramatic image is a vivid distillation of a deeply fractured US. It may also be an augury of more turbulent times to come.
Magnum America by Peter van Agtmael and Laura Wexler is published by Thames & Hudson (£125). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply
