PRINT September 1995


Danny Lyon was a photo-school icon in the ’70s; his subjects helped define the milieus of choice for the male photographers of those times—prisons, biker gangs, political movements. This year, though, when the word on the street made his retrospective at the Lowinsky Gallery in New York a must-see for me, I was surprised to find that much of his new work was devoted to his family: photos of his wife and children from the ’70s to the ’90s, made into collages that sometimes include older pictures of and by previous generations of Lyon’s family, and occasionally pictures from the other worlds in which Lyon travels. In their free mixtures of sizes, of subjects, of color and black and white, and of authors, these collages break the mold of the traditional single black and white documentary photograph. Visually and emotionally dense, they capture the complexity and ambivalence, as well as the

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