Category Archives: Photography

Architecture + Teenie Harris


Charles "Teenie" Harris," Dramatic sky seen from Penn Avenue near Homewood, c. 1943,  gelatin silver print, Carnegie Museum of Art, Heinz Family Fund, 1996.69.224 © 2006 Teenie Harris Archive

Charles “Teenie” Harris, Dramatic sky seen from Penn Avenue near Homewood, c. 1943, gelatin silver print, Carnegie Museum of Art, Heinz Family Fund, 1996.69.224 © 2006 Teenie Harris Archive

Teenie Harris is perhaps best known for his ability to photograph people and capture their spectrum of expressions as well as truthfully document their life events. He was surrounded by family, friends, and a large community who seemed to be drawn to him and offered their trust to his lens, as well as frequently “photobombed” the margins of his frame while he was on assignment.

But Harris also had a keen eye for architecture and the urban landscape—he was known to have a deep love for the city of Pittsburgh, and at times it seems as if the city itself was another member of his community. His landscape and architectural images show the same intimacy and the deliberate and careful composition that he used when photographing children playing in the street or a family being evicted from their home. Continue reading

Teenie Harris’s Pastime


Charles "Teenie" Harris, Charles "Teenie" Harris, wearing riding attire, seated on horse and patting the horse's neck, possibly in Schenley Park, with Adirondack chair in background, c. 1935-1940, black and white: unknown safety film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.8715 © 2006 Teenie Harris Archive

Charles “Teenie” Harris, Charles “Teenie” Harris, wearing riding attire, seated on horse and patting the horse’s neck, possibly in Schenley Park, with Adirondack chair in background, c. 1935-1940, black and white: unknown safety film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.8715 © 2006 Teenie Harris Archive

When we talk to people who knew Teenie Harris personally we hear the same thing over and over again: Teenie was everywhere, always taking pictures. We asked his family if he ever slept since the other part of taking pictures required long hours in the darkroom. They said he managed to keep on going with his trademark positive energy despite little sleep at times. Then we wondered, what about his down time, did he ever put down the camera? Continue reading

The Spittin’ Image of Architecture


I was recently looking at some of the photographs in the exhibition Architecture + Photography with curatorial assistant Alyssum Skjeie, who co-organized the show with me, when I saw an image that was so familiar it felt like I’d been transported back to an art history class. The photograph shows the vestibule and staircase of the Laurentian Library (or Biblioteca Laurenziana) in Florence, which was designed by Michelangelo and constructed by him and others in several “campaigns” between 1524 and 1559. The staircase is dramatic and idiosyncratic—it’s been described as looking like a lava flow—and the photograph here is a version of the “money shot” that’s shown in virtually every source on Renaissance architecture. Seeing that image again evoked the same kind of feeling I experience when looking at photographs from trips I’ve taken.

Michelangelo (1475–1564) and Giorgio Vasari (1511–1574), Laurentian Library vestibule and stairway (1525–1571), gelatin silver print

Michelangelo (1475–1564) and Giorgio Vasari (1511–1574), Laurentian Library vestibule and stairway (1524–1559), gelatin silver print

My reaction isn’t unique or remarkable: a great deal of what we know or remember about the world is what’s been captured by us or for us through images. It’s fair to say that this is especially true of the constructed environment—the buildings and other structures we humans build for ourselves. Most of us don’t get to literally travel the world to see its architectural wonders, and not even the highest-resolution, largest-scale photograph can provide the physical experience of space that’s so crucial to truly understanding a building or site. So we rely on pictures—and have done so ever since photography was invented. Louis-Jacques-Mandé Daguerre, one of the medium’s two principal founders, originally trained as an architect, and buildings were a favorite subject for experimentation in the field’s early days.

Louis-Jacques-Mandé Daguerre, Boulevard du Temple, 1838. This image possibly shows the first people to be photographed in the lower left (a customer having his shoes polished by a bootblack).

Louis-Jacques-Mandé Daguerre, Boulevard du Temple, 1838. Although the focus here is the landscape of buildings in Paris, this image by Daguerre shows what are possibly the first people to be photographed—in the lower left you can see a customer having his shoes polished by a bootblack. The scene was most certainly filled with many other Parisians walking along the boulevard, but the long exposure time Daguerre would have used for the photograph only captured the stationary figures.

This points to the central proposition of Architecture + Photography: the mere fact that a building appears in a photograph doesn’t mean that that image is about architecture. In other words, it’s not necessarily “architectural photography.” For example, the pictorial content of Richard Stoner’s Why We Fight, September 18, 1990 (1990) is obviously the oil tanks in the lower left corner and the huge, somewhat agitated and ominous sky that looms over them. But does the picture aim to elucidate ideas about oil tanks as architecture? The title certainly suggests otherwise. (Titles: another great topic for dissection!)

Richard Stoner, Why We Fight, September 18, 1990, 1990, chromogenic print; The Carnegie Museum of Art Purchase Award: 81st Annual Exhibition of the Associated Artists of Pittsburgh

Richard Stoner, Why We Fight, September 18, 1990, 1990, chromogenic print; The Carnegie Museum of Art Purchase Award: 81st Annual Exhibition of the Associated Artists of Pittsburgh

By contrast, the subject of Ezra Stoller’s work is, unequivocally, buildings. One of the top architectural photographers in the twentieth century, Stoller shot many of the most iconic images of modernist postwar American architecture. He was keenly aware of the photographer’s ability to shape viewers’ understanding of architectural imagery and attempted to communicate through a two-dimensional medium the experience one might have of a building or place. An example is this somewhat enigmatic photograph of the McMath Solar Telescope (Skidmore, Owings & Merrill, 1962) at Kitt Peak National Observatory in Arizona: Stoller doesn’t show the entire structure, but instead focuses on its colossal scale and extraordinary setting. You can easily place yourself in that photograph, sharing the sensations we imagine the man in the photograph having.

Ezra Stoller, Kitt Peak, 1962, gelatin silver print; Purchase: gift of the Drue Heinz Trust

Ezra Stoller, Kitt Peak, 1962, gelatin silver print; Purchase: gift of the Drue Heinz Trust

The Laurentian Library, along with Stoner’s and Stoller’s images, are but three points on the spectrum of photographers’ intentions in presenting architectural imagery in their work. Come see the show while it’s open (through May 26)! We would love to hear your thoughts on the subject.

For information on Frances Benjamin Johnston, a featured photographer in Architecture + Photography, see Alyssum’s blog post

Thelma Lovette YMCA


ymca2On Saturday February 15, 2014, the Thelma Lovette YMCA in Pittsburgh’s Hill District celebrated its second year with an outstanding Black History month event, centering on the theme “From Which We Came.” The Teenie Harris Archive was invited to display the myriads of photos which Teenie shot in and around the old Centre Avenue YMCA, bearing witness that this original community center was, in fact, the “hub of the Hill” in its heyday.

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Established in 1923, it was noted that the first YMCA (at the Corner of Centre Avenue and Francis Street) opened before both the NAACP and the Urban League held branches in Pittsburgh. The many distinguished speakers discussed the fact that the YMCA had been THE place to meet for not just sports events, but organization meetings, society soirees, cotillions, youth groups, plays, and much more. Dr. Leon Haley, who has written a book on the history of the Centre Avenue YMCA, gave an insightful presentation on what went on in the Y, for many decades. There was a Black Civil War Drum Corps reenactment led by John Ford, a performance by the Miller School of African Dance and Drum Troop, as well as elected officials such as city councilman Daniel Lavelle and Bill Robinson giving commendations. Thelma Lovette YMCA executive director, Aaron Gibson, gave a wonderful speech voicing both his, and other board members hopes—that the new facility will come to reflect the positive community bonding of the older facility.

Charles "Teenie" Harris, Capt. Charles B. Hall standing in convertible car between Joseph M. Guffey and David L. Lawrence in Independence Day parade, with broadside on telephone pole in background advertising Louis Jordan at the Savoy, on Centre Avenue at Francis Street in front of YMCA, Hill District, July 4, 1945, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.9794 © 2006 Teenie Harris Archive

Charles “Teenie” Harris, Capt. Charles B. Hall standing in convertible car between Joseph M. Guffey and David L. Lawrence in Independence Day parade, with broadside on telephone pole in background advertising Louis Jordan at the Savoy, on Centre Avenue at Francis Street in front of YMCA, Hill District, July 4, 1945, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.9794 © 2006 Teenie Harris Archive

In the coming months, the Teenie Harris Archive will have a permanent display of several historic images on the internal walls of the new Y. However, for this event, the Harris Archive displayed 4 poster boards with over 70 images (and two notebooks with even more images) of people enjoying the facilities of the old Y. One book centered solely on Teenie Harris capturing the philanthropic work of Mrs. Thelma Lovette in his lens. As a result of our display and chatting with guests, the Harris Archive received more than 30 new identifications of people and events. Many were very sentimental about the images of swimmers, basketball games, ping pong and boxing matches, dance classes, voter registration drives, and teen parties. I even found one of my own mother, doing “calisthenics” in the 1940s. Patrons were eager to share their treasured memories of what they loved about going to the Y. (I was particularly amused to hear about the many courtships begun at this central location.) So once again I’m happy to say the Teenie Harris Archive offered insight and reflection on a most historic Pittsburgh venue.

Charles "Teenie" Harris, Group portrait, from left, seated: James F. Clarke, Thelma Lovette, Theodore "Ted" Brown, K. Leroy Irvis, and William Finch; standing: Leroy Wilcox and William E. "Bill" Miller, gathered in interior with leaf patterned curtains and mirror during primary election campaign, April 1958, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.47750 © 2006 Teenie Harris Archive

Charles “Teenie” Harris, Group portrait, from left, seated: James F. Clarke, Thelma Lovette, Theodore “Ted” Brown, K. Leroy Irvis, and William Finch; standing: Leroy Wilcox and William E. “Bill” Miller, gathered in interior with leaf patterned curtains and mirror during primary election campaign, April 1958, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.47750 © 2006 Teenie Harris Archive

Father Donald McIlvane, Dec. 19, 1925–Feb. 16, 2014


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Charles “Teenie” Harris, Group portrait of four men, including reporter to left, Reverend Jimmy Joe Robinson, William “Bouie” Haden, second from right, and Reverend Donald McIlvane on right, outside large church or city building, July–August 1967, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.4693 © 2006 Teenie Harris Archive

The Rev. Donald McIlvane, a retired Roman Catholic priest and staunch ally to the underserved, passed away February 16, 2014. Father McIlvane was not only a worldwide religious leader, but unquestionably, a compassionate Civil Rights soldier, as well. Although Rev. McIlvane was an unlikely candidate to become a radical priest, having come from a well-to-do family, he served and lived alongside the needy, suffering many similar life experiences, even to the point of being mugged.

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Protesters, possibly including Nate Smith on megaphone in front of, others, including James McCoy, Matthew Moore Sr., Vince Matthews, Herbert Bean, Dr. Charles Greenlee, Rev. Donald McIlvane, Charles Kendall, Charles Michaels, Mike Desmond, Byrd Brown, Gabby Russell, and Pauline Hall demonstrating against discrimination at US Steel in front of Union Trust Building, Downtown, June 1966, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.5867 © 2006 Teenie Harris Archive

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Protesters, including Rev. Donald McIlvane, and other ministers, picketing slum housing in front of Rittle Rosfeld Real Estate Company, East Street near intersection of Shawano, with Weimer Tire, Four Roses billboard, and Veebee’s Cafe in background, North Side, 1967, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.7113 © 2006 Teenie Harris Archive

He was once quoted as saying “Martin Luther King had more influence on me than any leader in my life.” In fact he was so influenced by Dr. King, that he joined him in Civil Rights protests nationwide. His human rights efforts spanned six decades, including monitoring South Africa’s post-apartheid election, to which Nelson Mandela became the first democratically elected leader.

Here in Pittsburgh, Rev. McIlvane was often seen in his clerical collar, taking part in meetings, hearings, rallies, or protest marches—all in the quest for human rights. On a personal note, I knew Father McIlvane as a youngster. I remember how diligently he worked beside my father and other local Civil Rights leaders. He impressed me as a person who would do anything to see that justice was given to everyone, be they young, old, white, black, rich or poor—he loved all people, and they felt that from him. Teenie Harris captures the essence of this dedicated servant in these dynamic photographs.

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Nannie L. Carrington and Houston Dargan carrying signs reading “We protest discriminatory seniority units at U.S. Steel”, with Father Donald McIlvane in background, leading picketers against segregation at U.S. Steel in front of Union Trust building, on Grant Street, downtown, June 1966, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.5826 © 2006 Teenie Harris Archive

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The 2900 Webster Avenue Block Club including in front row: Mrs. McClanahan, Lena Davis, Thelma Lovette, Lucille Anderson, Jessie Lyons, Georgia Murray, and Norvie Dolphin; back row: James Reynolds, Beatrice Bankstown, Father McIlvane, and Emily Davis at the Davis house at 2931 Webster Avenue, Hill District, 1966, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.13088 © 2006 Teenie Harris Archive

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Bride Victoria Janice Brown wearing pillbox style headpiece with mid length veil, and groom Leon Bryan Jr. wearing eyeglasses, facing Elder Nelson A. Bliss and Father Donald W. McIlvane, gathered at altar in St. Richard Roman Catholic Church, July 1966, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.19625 © 2006 Teenie Harris Archive