This exhibition of black-and-white photos largely from the 1960s has been co-organized by the
The exhibit has its direct roots in 2005, said center curator
Center donors came together and allowed the
"Amy (YCBA Director
Not that they're similar guys with similar styles. They're not.
Davidson, a photojournalist, captured the British people at work and play in his trips in 1960 and 1965. Working over the years with renowned photo agency Magnum Photos, Davidson has toiled to capture "the decisive moment," that telling instant isolated and frozen in time by the photographer.
Caponigro, a landscape photographer, did almost the opposite -- focusing on ancient stone circles, dolmens (portal tombs) and early churches in the British and Celtic countryside. He would work to capture the timeless qualities of antiquity and nature in a place such as Stonehenge.
"Paul and Bruce are such distinguished photographers of the same generation ... born within a year of each other," said Wilcox. "They are both craftsmen in the ways of traditional photography ... using film and black-and-white photographs. And they're both masters of the darkroom."
The photos are not interspersed or paired, however. Wilcox said running them side by side seemed "artificial," so they were kept separate -- laid out in a sort-of mirror image with Davidson's work on one side of the expansive gallery's rooms and the Caponigro's on the other. They meet at place where a 16-minute film tells their story.
How did they get to shoot photos in
After the service, he did a famous 2-month assignment with British magazine The Queen, commissioned to just explore
"I think I took on the assignment of
With his trusty Leica always in tow, he met and photographed a group of charming young people in
"I like to be on the inside of a life, and photograph as an insider. But actually, I'm an outsider; that's true of all my work," Davidson said.
Davidson, who said he loves freedom in his work, said he "just had a feeling about the Brits. What I liked about them was their humor, and at that time you could take a picture of them and they would just slough it off."
He was interested in the heightened moments of life, too.
Life magazine published his team photos when he was in the
Caponigro went to
"By way of
But years later, he was warned by another photographer that
He had a wife and child at the time (his son,
"And then, of course, I discovered that, being a landscape photographer basically ... that the Irish landscape was so beautiful I was happy to lose myself in it," he said.
A Guggenheim grant allowed him to motor around for a year in his wife's VW Bug, he said. It was a time when Boston Italians like him weren't so chummy with the city's Irish back home.
Didn't matter, said Caponigro.
He was brought up in a three-story building his grandfather had bought and had opened a grocery store in the basement. "And every member of the family (was) on successive floors, with their husbands, wives, children ... I was living in a beehive of Italians. And I had a quiet nature ... but these Italian families, they're so big in loving each other and ... minding everyone's business but their own. There's no quiet, and I needed that quiet."
Responding to a question by
He said on repeated visits, he became an honorary Celt, at least with tavern regulars.
At Stonehenge, he found that the ancient stones were an equivalent to what Egyptians had done. So he looked into the mythology of the Celts and other groups.
Caponigro, who said he never had much interest in school, called himself "an emotional archaeologist," and said Stonehenge is situated on land that the ancients knew gave off energy under certain conditions.
One of his famous photos was taken when Stonehenge was closed to the public, but he was allowed inside the ring of stones, he said. The photo now relays a quiet energy of its own in a
Info: 203 432 2800 , britishart.yale.edu
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