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The contributions Aaron siskind's made to the Harlem Document (1932–40), a look at life in Harlem, are the best example of his early work as a social documentary photographer.
Siskind was also a fan of the concepts and aesthetics used by New York's Abstract Expressionist artists in the 1940s. With the close-up framing, emphasis on texture, line, and visual rhymes, as well as the modernist preoccupation with the flatness of the picture plane, he deepened his approach to picture production in his later shots, producing abstract representations of the real world.
Siskind was one of the first photographers to blend what was known as "straight" photography (capturing the real world as the lens "sees" it) with abstraction. He took photographs of discovered objects that were simultaneously true-to-life and abstract.
Finding subjects and photographing them in a way that emphasized Siskind's interpretation of the universe as basically abstract—a collection of resonant forms, lines, and textures—brought him both emotional joy and anxiety.
Siskind turned away from the social and political world after World War II, like the Abstract Expressionists with whom he was friends, and instead looked inward to find meaning in the largely inanimate forms he saw around him.
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