Inge Morath’s artistic photographs of New York span four decades. Her first visit dates back to 1957, when she accompanied Magnum photographer Henri Cartier-Bresson on a journey through America and in 1960, she worked as a set photographer during the shooting of the legendary film’ The Misfits’, starring Marilyn Monroe.

Although Morath is an image journalist – a photo reporter in the classic sense – she brings to her work an extra dimension, something that defies description and is rather to be felt in the atmosphere. Morath’s photographic images are documents, witnesses of certain processes and events, and are factual proof of, and commentaries on, the “here and now”. As such, they pertain to a real sense of photo realism. Yet she is an author inclined toward a subjectively descriptive creativity. The inductive tension felt in her images effects more than mere registration in the viewer. It opens a full field of freedom for the individual’s imagination, prompting the viewer to ponder and imagine things beyond the immediately visible.

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