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Weegee

Weegee (June 12, 1899 – December 26, 1968), born Usher Fellig in (then part of ), was an influential American photographer and celebrated for his stark, unflinching black-and-white images of City's crime scenes, emergencies, and street life during and . Adopting the "Weegee"—a phonetic play on "," reflecting his prescient arrivals at news events—he pioneered a raw, tabloid-style that captured the human drama of urban chaos, including murders, fires, accidents, and crowds of onlookers. His work elevated freelance news into an form, blending with dramatic flair through the use of a 4x5 camera and on-camera flash. Immigrating to the with his family in 1910 to escape antisemitic pogroms, Fellig changed his name to upon arrival at and grew up in New York's . Self-taught from age 14, he began as a darkroom assistant at the New York Times and later worked as a printer at Acme Newspictures before becoming a freelance photographer in 1935. By 1938, Weegee equipped his car with a police radio scanner and a mobile , enabling him to reach scenes faster than competitors and sell images to newspapers like the and . His photographs often depicted the gritty spectacle of city life, from tenement blazes and car wrecks to entertainers and parade brawls, emphasizing the voyeuristic gaze of the public. Weegee's career gained artistic recognition with a 1943 exhibition at the , curated by , and he published seminal books including Naked City (1945), which inspired a 1948 , and Weegee's People (1946), showcasing his portraits of society's margins. In 1947, he relocated to , where he photographed celebrities at premieres, experimented with distorted lenses and for surreal effects, and collaborated on films with directors like . Returning to in 1952, he lectured at institutions like and continued contributing to magazines such as Life and Vogue until his death from a in 1968. Today, his archive is held by the , and his oeuvre remains a cornerstone of 20th-century , critiquing the era's fascination with spectacle and human vulnerability.

Early Life and Background

Immigration and Family

Usher Fellig, later known as Weegee, was born on June 12, 1899, in Zolochiv (also spelled Złoczów or Zolochiv), a small town in then part of the Empire and now in , to Jewish parents Bernard Fellig and his wife. The Fellig family was part of a large Jewish community in the region, where life was marked by religious observance and traditional trades, but also by increasing instability. The family's decision to emigrate stemmed from severe poverty and the pervasive threat of anti-Jewish pogroms that swept through in the late 19th and early 20th centuries, exacerbating economic hardships for Jewish communities. Bernard Fellig, who worked as a part-time and hatmaker, immigrated to the first around 1906 to establish a foothold, sending money back to support the family's eventual journey. In , his wife and their four children—including the 11-year-old —followed, arriving at in after a grueling transatlantic voyage on a . Upon settling in Manhattan's , the family crammed into a single room in a crowded building, typical of the immigrant neighborhoods teeming with Eastern European fleeing and seeking opportunity. Bernard continued his trade as a hatmaker while occasionally leading religious services, but the household struggled financially, with young soon contributing by taking odd jobs to help support his siblings. This immersion in the raw, vibrant chaos of urban immigrant life—marked by street vendors, sweatshops, and community —profoundly shaped Fellig's , fostering an acute awareness of human drama amid adversity that would inform his later work.

Entry into Photography

At the age of 14 in 1913, Arthur Fellig left school to help support his immigrant family, taking on odd jobs such as selling newspapers as a newsboy and working as a bank messenger. These early experiences in City's bustling streets exposed him to the city's raw energy and hardships, laying the groundwork for his later photographic pursuits. Fellig's entry into was entirely self-taught, sparked by a fascination with the medium during his teenage years. Without formal training, he immersed himself in the technical side of the craft, beginning with low-level roles in the industry. By the early 1920s, he secured a position as a darkroom assistant—often called a "squeegee boy" for the tool used to remove excess water from prints—at , where he processed images and occasionally filled in for absent photographers. He later moved to Newspictures (later part of ), starting as a printer and advancing to , sometimes living in the facilities to save money and stay close to the work. These stints honed his skills in developing and printing, allowing him to experiment with composition and lighting under the pressures of deadline-driven news operations. By the mid-1930s, Fellig transitioned to freelance work, selling images to multiple newspapers like the Daily News and World-Telegram. To secure scoops on breaking events, he cultivated relationships with and personnel, gaining informal access to scenes, accidents, and emergencies that became the core of his emerging style.

Pseudonym and Persona

Origin of "Weegee"

The pseudonym "Weegee" originated from the word "Ouija," the name of a popular board game used for supposed communication with spirits, which Fellig adopted to evoke his uncanny ability to anticipate and arrive first at crime scenes and news events in New York City. This moniker reflected his self-styled clairvoyance, as he often claimed to possess a near-mystical intuition for sourcing stories, enhanced by installing a police radio in his car to monitor emergency calls in real time. Fellig began using "Weegee" professionally around 1935, coinciding with his transition to freelance photography after leaving a staff position at Acme Newspictures. Initially, the name appeared in bylines accompanying his freelance photographs sold to New York tabloids, including the , , Daily News, and Herald Tribune, marking his emergence as an independent operator capturing the city's gritty underbelly. These early credits helped establish "Weegee" as synonymous with rapid, on-the-spot documentation of murders, fires, and accidents, distinguishing his work from anonymous agency submissions. In the early , Fellig formalized his professional identity by changing his name to Weegee the Famous, aligning his public persona more closely with the intuitive, larger-than-life image he cultivated through his . This adoption underscored his reliance on the police radio as a tool that bordered on , allowing him to beat competing photographers to scenes and solidify his reputation for foresight in the fast-paced world of .

Self-Promotion as "Weegee the Famous"

In the late , Arthur Fellig expanded his "Weegee" into the self-aggrandizing title "Weegee the Famous," which he prominently featured on his business cards and rubber stamps applied to the verso of his photographs to brand his work as that of a celebrity . This branding tactic emerged as Fellig sought to distinguish himself in the competitive press scene, positioning himself as an instantly recognizable figure rather than an anonymous . To emphasize his round-the-clock availability for capturing , Weegee engaged in theatrical stunts, such as sleeping in his 1938 Chevrolet coupe equipped with a , which allowed him to monitor emergency calls directly and arrive at scenes ahead of official responders. He further dramatized this mobile lifestyle by outfitting the car's trunk as a makeshift for on-site developing to advertise his freelance services and underscore his relentless dedication. These antics not only enhanced his operational efficiency but also cultivated a mythic image of Weegee as an ever-vigilant urban predator, always one step ahead of the competition. Weegee's collaboration with the progressive tabloid , starting in 1940, significantly amplified his notoriety through regular illustrated features that showcased his gritty alongside his captions, turning his images into narrative spectacles for a broad readership. As a stringer for the paper, which launched that year without advertisements to prioritize visual storytelling, Weegee contributed distinctive crime and city-life spreads that highlighted his raw aesthetic, helping to elevate his profile from niche to household name in New York's media landscape. This partnership, lasting through the 1940s, provided a platform for his branded persona to reach wider audiences, solidifying "Weegee the Famous" as synonymous with unfiltered urban drama. Weegee's public persona was that of a gritty, cigar-chomping outsider—a self-styled tough from the city's underbelly who contrasted sharply with the more polished, establishment press photographers employed by major dailies. Often depicted in fedora and overcoat, chain-smoking while hauling his bulky camera, he embodied the hard-boiled archetype of the independent hustler, unencumbered by editorial hierarchies and driven by instinct rather than assignment desks. This image, which he actively promoted through anecdotes in interviews and his 1961 autobiography Weegee by Weegee, portrayed him as an irreverent everyman chronicler, appealing to audiences fascinated by the seamy side of while setting him apart from his more conventional peers.

Photographic Career

Technique and Equipment

Weegee primarily utilized a 4×5 camera, a standard press camera made of aluminum and steel, which allowed for quick operation in dynamic environments. This equipment, paired with large flashbulbs attached to a bulky flashgun, enabled him to capture stark, high-contrast images in low-light conditions, such as nighttime scenes and fires. The flashbulbs produced intense bursts of light that froze motion at shutter speeds around 1/200 second and apertures of f/16, creating dramatic shadows and a noir-like aesthetic that emphasized the raw grit of urban life. To maintain his edge in speed and immediacy, Weegee converted the trunk of his 1938 Chevrolet sedan into a mobile , where he could process on-site immediately after shooting. This setup included basic developing trays and chemicals, allowing him to produce contact prints rapidly and deliver them to newspapers before competitors arrived. The vehicle's mobility was further enhanced by a scanner, which he monitored continuously to locate events swiftly, though his core workflow centered on this portable processing capability. Weegee's approach favored on-the-spot shooting of unposed moments, though he occasionally staged scenes to heighten drama, prioritizing the capture of raw human emotion amid chaos. He positioned himself close to subjects—often at about 10 feet—to document authentic reactions at scenes, crowds, and disasters, resulting in images that conveyed unflinching realism and psychological intensity. This technique, combined with his flash's harsh illumination, produced a signature style that transformed fleeting night scenes into visually arresting tableaux of New York's underbelly.

1930s to Mid-1940s: New York Crime Scenes

In 1935, Weegee established himself as a freelance news photographer in , positioning his car near police headquarters to monitor emergency calls and arrive at crime scenes ahead of official responders. He captured stark images of murders, traffic accidents, tenement fires, and the ensuing chaos, selling his prints directly to tabloid newspapers such as the , , and . By installing a in his vehicle in 1938, he enhanced his speed and notoriety, often developing prints in the trunk of his car using a portable to meet tight deadlines. From 1940 to 1945, Weegee contributed extensively to the progressive tabloid , where he produced illustrated photo essays documenting the raw undercurrents of urban life, including , , and human drama. His work for the paper, which emphasized visual storytelling over text-heavy reporting, allowed him to explore broader city spectacles beyond isolated incidents, such as crowds gathering at disaster sites and the faces of bystanders drawn to tragedy. This period marked a shift toward more narrative-driven , with Weegee's images appearing alongside his own captions that infused a gritty, firsthand perspective. Weegee's photographs from this era often highlighted the voyeuristic allure of urban violence, capturing not just the victims but the fascinated onlookers who turned crime scenes into impromptu spectacles. One iconic example is Their First Murder (1941), which depicts a group of children and adults peering curiously at the body of a slain gambler on a street, their expressions blending shock, excitement, and detachment. Similarly, images like Balcony Seats at a Murder (1939) show spectators elevated above the fray, treating the event as theater, underscoring the public's morbid fascination with death in the city. These works, frequently using on-the-spot flash illumination, emphasized the surreal humanity amid horror and earned Weegee recognition, including a 1941 exhibition by the Photo League and a 1943 inclusion in the Museum of Modern Art's collection. In 1945, Weegee compiled many of his most compelling images from 1938 to 1943 into the book , a raw portrait of New York's nocturnal underbelly that blended crime documentation with ethnographic insight. Published by Essential Books, the volume's 239 photographs, accompanied by Weegee's terse captions, sold briskly at $4 per copy and became the most commercially successful in American up to that point, propelling him to national fame. The book's success not only validated his freelance approach but also inspired a 1948 film adaptation, cementing its influence on depictions of urban grit.

1950s and 1960s: Diversification and Hollywood

In 1947, Weegee relocated to Hollywood, California, where he shifted focus from New York crime scenes to the film industry, producing still photographs and serving as a technical consultant on motion pictures. His 1945 book Naked City directly inspired the 1948 film of the same name, directed by Jules Dassin, for which Weegee provided photographic expertise and on-set guidance to capture authentic urban grit. He also collaborated on films with directors like Stanley Kubrick, providing photographic expertise. During his five-year stay in Hollywood from 1947 to 1952, Weegee documented the construction of film sets, celebrity culture, and the underbelly of Tinseltown, amassing thousands of images that critiqued the glamour of stardom. These works culminated in the 1953 publication Naked Hollywood, a companion to his earlier Naked City that exposed the raw, often unglamorous realities behind movie production. While there, he also experimented with 16-millimeter filmmaking and initiated his "Distortions" series, employing unconventional methods like plastic lenses and prisms to warp portraits of actors and public figures into satirical caricatures. Returning to in 1952, Weegee broadened his practice into more artistic and commercial avenues, embracing experimental techniques to move beyond . In the 1950s, he explored , capturing vibrant street scenes and nude studies that contrasted his earlier stark black-and-white aesthetic, with some images appearing in magazines like Life. He further developed distortion effects through lens manipulations and optical tricks, sharing practical advice in instructional works such as Weegee's Creative Camera (1959), which demonstrated methods for achieving artistic manipulations in everyday photography. Weegee's diversification continued into the 1960s with publications like his Weegee by Weegee (1961), a self-reflective volume illustrated with over 100 photographs spanning his career. He sustained output in experimental and satirical imagery, including panoramic compositions and prism-filtered views, until health challenges curtailed his active projects in 1966.

Personal Life

Daily Habits and Relationships

Weegee's lifestyle was defined by its nocturnal rhythm, as he worked primarily at night responding to crime scenes and emergencies in , often sleeping during the day in makeshift arrangements such as the back of his car or the offices of news agencies when rent was unaffordable. His routine was sustained by heavy consumption of coffee and cigars, reportedly up to twenty cups and twenty cigars each night to fuel his relentless pace. This eccentric pattern reflected his immersion in the city's underbelly, where he developed photographs on-site in a built into his Chevrolet's trunk, prioritizing speed over comfort. In his personal relationships, in the early , he began a long-term companionship with Wilma Wilcox, a student and Quaker, who provided low-key support without demanding much of his time; they lived together starting in until his death, and she preserved much of his archive afterward. In 1947, he married , a widow, but the marriage dissolved after a few years without a formal , as he pawned his to end it informally. He also formed connections with artistic figures in circles, including inviting members of , such as , to his home, indicating his engagement with bohemian intellectuals despite his tabloid roots. Weegee's eccentricities extended to his personal spaces and interests, where he decorated his sparse apartments with pinned-up prints of his own photographs, treating them like trophies, and later collected police-related items amid his cluttered living quarters. His disdain for formal society was evident in works like his 1943 photograph "The Critic," which satirized opera patrons, underscoring his preference for the raw energy of street life over elite events.

Health Issues and Death

In the 1960s, Weegee's health declined significantly due to , limiting his once-vibrant activities in lecturing and writing about ; Wilcox returned in 1964 to provide care for him. He spent his final years in a , where he was visited by friends and associates in the world. Weegee died on December 26, 1968, at Park West Hospital in from a , at the age of 69. Following his death, his body was cremated, and his ashes were scattered at sea by the . Weegee's estate, managed by his longtime companion Wilma Wilcox, included a vast archive of over 20,000 prints, 7,000 negatives, and personal memorabilia. In 1993, Wilcox donated the complete collection to the () in , where it forms the core of the Weegee Archive and has supported numerous exhibitions of his work.

Legacy and Influence

Impact on

Weegee's pioneering approach to tabloid-style revolutionized the genre by emphasizing raw, unfiltered depictions of and chaos, setting a standard for sensational yet candid imagery that blurred the lines between and art. Working as a freelance in during the 1930s and 1940s, he equipped his car with a to arrive at scenes ahead of official reporters, capturing split-second moments of human vulnerability and spectacle with a camera and harsh flash lighting. This immediacy influenced the development of candid , inspiring later practitioners to prioritize emotional authenticity over posed compositions. Notably, his focus on societal outcasts and marginalized figures—such as circus performers, freaks, and street dwellers—directly shaped the work of , who expanded these themes in her 1960s portraits of the unconventional. Central to Weegee's impact was his emphasis on spectacle and human drama, which critiqued the alienation and grit of mid-20th-century urban life. In his seminal 1945 photobook Naked City, he compiled over 200 images of New York's nightlife, disasters, and everyday struggles, portraying the city's underbelly as a noirish tableau of isolation amid crowds. The book highlighted the stark contrasts between glamour and despair, using high-contrast black-and-white photography to underscore themes of social disconnection and the dehumanizing effects of metropolitan existence. By foregrounding the emotional intensity of ordinary people in extraordinary circumstances, Weegee elevated photojournalism beyond mere documentation, fostering a narrative style that humanized the spectacle of tragedy. Weegee's contributions extended to democratizing access to unvarnished news images through his association with the ad-free newspaper PM (1940–1948), which championed a no-censorship policy to prioritize pictorial reporting over commercial constraints. As a frequent contributor, he supplied graphic crime scenes and social vignettes that PM published without advertiser influence, allowing for bolder, more explicit visuals than those in mainstream outlets like LIFE magazine. This approach prefigured modern embedded reporting by integrating photographers directly into the flow of events, enabling real-time, immersive coverage that brought gritty realities to a broad readership. His archival legacy further cements Weegee's influence, with approximately 16,000 photographs and 7,000 negatives donated to the in 1993, providing an unparalleled record of City's social history from to the . These materials document not only crimes and fires but also parades, life, and cultural shifts, offering historians insights into the era's urban dynamics, racial tensions, and human resilience. The archive's breadth has supported numerous exhibitions and scholarly analyses, underscoring Weegee's role in preserving the visual narrative of a transformative metropolis.

Recent Exhibitions and Recognition

Interest in Weegee's work experienced a significant revival in the late , beginning with the International Center of Photography's (ICP) major retrospective "Weegee's World: Life, Death and the Human Drama" in 1997-1998, which featured 329 images drawn primarily from his personal archive and was selected as the best photography exhibition in a museum by the International Association of Art Critics for that season. This exhibition highlighted Weegee's raw documentation of urban life and death, underscoring his influence on beyond his lifetime. In 2012, ICP mounted another key retrospective, "Weegee: Murder Is My Business," organized by Chief Curator Brian Wallis, which showcased over 100 original photographs from the Weegee Archive, along with recreations of his apartment and to immerse visitors in his working environment. The show focused on his and crime scene photography, emphasizing his speed and in capturing New York's underbelly. The most recent major exhibition, "Weegee: Society of the Spectacle," opened at on January 23, 2025, and runs through May 5, 2025, following tours at the Fondation Henri Cartier-Bresson in (2024) and Fundación in . Curated by Clément Chéroux, it draws from ICP's comprehensive Weegee collection to explore his images of , accidents, and through the lens of and spectacle, drawing parallels to contemporary digital culture. The exhibition explicitly connects Weegee's practice to Guy Debord's 1967 theory in , positioning his work as an early critique of how images mediate and commodify reality. Accompanying the 2025 exhibition is a , Weegee: Society of the Spectacle, which presents iconic and lesser-known works alongside essays on his anticipation of theory. Scholarly attention has grown in the , with analyses linking Weegee's sensationalism to Debord's ideas on the produced by mass-mediated images. Since the 2010s, efforts by and the partnership have made thousands of Weegee's prints, negatives, and from the 20,000-item accessible online, facilitating broader research and public engagement with his oeuvre. 's online selections include high-resolution scans of key works, while Getty's platform hosts digitized holdings, enabling global access to his raw depictions of life.

Cultural Depictions

In Film and Literature

Weegee's life and work have been extensively documented in autobiographical and biographical literature, providing intimate insights into his career as a photojournalist. In his 1961 autobiography, Weegee by Weegee, the photographer offers a candid, self-narrated account of his rise from immigrant roots to fame, detailing his early days in New York City's Lower East Side and his relentless pursuit of crime scenes with a Speed Graphic camera. The book, published by Ziff-Davis, includes 116 black-and-white photographs and reflects Weegee's brash personality through uncensored anecdotes about his freelance operations and interactions with police and crowds. This work was later reprinted in unabridged form by DeVault-Graves Digital Editions in 2016, preserving its original text and emphasizing Weegee's role in shaping tabloid photography. Biographical non-fiction has further cemented Weegee's legacy, portraying him as a pivotal figure in mid-20th-century . Christopher Bonanos's 2018 biography, Flash: The Making of Weegee the Famous, draws on archives to chronicle his transformation from Arthur Fellig to the "Weegee," highlighting his technical innovations like wiring his for rapid printing and his symbiotic relationship with tabloids. Similarly, Miles Barth's edited volume Weegee's World (1997), published by Bulfinch Press, compiles essays and photographs to explore his influence on visual storytelling, positioning him as a "" attuned to the city's underbelly. These works attribute Weegee's impact to his ability to humanize tragedy, often crediting his contributions to the evolution of beyond mere documentation. In photo-history literature, Weegee is frequently referenced as a pioneer of the form, which blended images with narrative text to capture urban grit. The Foundation's 1978 monograph Weegee, part of its series, analyzes 41 of his prints to illustrate how his compositions evoked the dramatic tension of , influencing subsequent documentary styles. Books like Unknown Weegee (2006), edited by Cynthia Young and published by Steidl/, delve into his lesser-known archives of nearly 20,000 prints, underscoring his role in elevating to literary status through thematic essays on crime and spectacle. In 2025, Weegee: Society of the Spectacle, edited by Clément Chéroux and published by Thames & Hudson, reframes his oeuvre by juxtaposing his gritty news photography with later glamorous distortions, highlighting the paradox of his career and critique of media spectacle. Weegee's stark depictions of crime scenes have echoed in , inspiring authors to adopt a raw, tabloid-inflected style that mirrors his unflinching gaze on urban violence. James Ellroy's 1987 novel The Black Dahlia, which fictionalizes the 1947 Elizabeth Short murder, draws stylistic parallels to Weegee's work through its visceral portrayal of underbelly, evoking the photographer's "distant cousin" approach to desperate, sensational characters and forensic detail. This influence manifests in Ellroy's narrative rhythm, which prioritizes gritty realism over sentiment, much like Weegee's flash-lit exposures of human frailty. Non-fiction journalism histories often depict Weegee as a transformative force in pictorial reporting, particularly through his association with the progressive tabloid . Jason E. Hill's 2018 study Artist as Reporter: Weegee, Ad Reinhardt, and the "PM" News Picture, published by , examines how Weegee's images in (1940–1948) challenged traditional by integrating artistry with reportage, crediting the paper's credit-line policy for elevating photographers' authorship. Retrospectives in PM's archives, as analyzed in scholarly works, highlight Weegee's "mischievous" interventions at scenes, where he staged subtle elements to amplify social critique, influencing later histories of illustrated news. These depictions frame PM as a platform that amplified Weegee's voice, fostering a legacy of empathetic yet sensational urban narrative.

In Art and Media

Weegee's stark, flash-illuminated depictions of urban crime and nightlife profoundly influenced visual artists in the mid-20th century, particularly , who drew inspiration from Weegee's thematic focus on death and sensationalism in his 1960s silk-screen series Death and Disaster. Warhol's mechanically reproduced images of car crashes, electric chairs, and racial violence echoed Weegee's unflinching documentation of City's underbelly, adapting the photographer's raw intensity into pop art's detached commentary on media spectacle. This connection was further highlighted when Weegee photographed Warhol in 1965, capturing distorted portraits that blurred the lines between subject and influencer in their shared fascination with fame and mortality. Weegee's oeuvre has been extensively featured in television documentaries and broadcasts, emphasizing his pioneering role in noir photography. The 1993 documentary The Real Weegee, directed by Jonathan Berman, explores his rapid-response techniques and gritty aesthetic through archival footage and interviews, portraying him as a quintessential chronicler of 1930s-1940s New York crime scenes. Similarly, the BBC's 2020 Culture article and accompanying 2024 Reel video "Striking images capturing the 'dark underbelly of America'" delve into his noir-infused images of gunned-down victims, fires, and marginal figures, underscoring how his high-contrast, flash-lit style captured the city's seedy underworld with dark humor and immediacy. His stylistic hallmarks appear in broader media representations, including subtle references in television series like , where the show's portrayal of and urban grit evokes Weegee's nocturnal, high-drama visuals as a foundational influence on modern depictions of New York's criminal milieu. Contemporary podcasts on photography frequently revisit Weegee's legacy, such as the 2021 ArtCurious episode "CURIOUS CALLBACK: The Wild and Wonderful World of Weegee," which examines his images alongside Warhol's work, and the 2013 Noir Alley segment by , which analyzes his contributions to the aesthetic in visual storytelling. Weegee's signature flash-lit aesthetic—characterized by harsh lighting, high contrast, and hyperreal clarity—has permeated and , emulating his urban intensity for contemporary campaigns. Photographers like have adopted direct-flash techniques inspired by Weegee for luxury brand ads, such as ' Spring/Summer 2008 campaign, creating unpolished, vivid product shots that blend with commercial appeal. Retail brands like Coming Soon have similarly employed this style since 2013 in imagery, using stark flash to highlight urban-inspired furniture and apparel, transforming Weegee's tabloid edge into a playful, high-impact visual language for modern .

Collections

Public Institutions

The (ICP) in serves as the primary repository for Weegee's oeuvre, housing the Weegee bequeathed to the institution in 1993. This comprehensive collection includes approximately 20,000 original prints and negatives, alongside tear sheets, manuscript drafts, correspondence, and personal memorabilia, preserving the breadth of his tabloid-style documentation of life. The (MoMA) in maintains a significant holding of Weegee's photographs, with 22 works accessible online, reflecting early institutional recognition of his contributions beginning in the 1940s. These acquisitions underscore MoMA's role in elevating Weegee's from news imagery to . The in possesses 95 prints by Weegee, acquired through its photography department, forming a key part of its permanent collection since the early 2000s. This holding has supported scholarly publications and exhibitions highlighting Weegee's raw depictions of urban spectacle. Additional public institutions preserve Weegee's works, including the , which holds several gelatin silver prints such as The Critic (1943) and Crowd at Coney Island (1940) in its Prints and Photographs Division. The Whitney Museum of American Art and the also hold works by Weegee in their collections. The Jewish Museum in features select pieces by Weegee.

Notable Works

One of Weegee's most iconic early photographs, "Their First Murder" (1940), captures a group of children craning their necks to glimpse a victim's body shrouded under a sheet at a in . The image starkly symbolizes the desensitization of urban youth to violence, as the children's expressions mix curiosity and excitement amid the grim reality. This gelatin silver print is part of the International Center of Photography's archive. In "The Critic" (1943), Weegee juxtaposed two elegantly dressed socialites, Margaret Kavanaugh and Lady Decies, arriving at the House with a disheveled homeless woman staring critically at them from the sidewalk. The photograph critiques divides in mid-20th-century , highlighting the stark contrasts between wealth and poverty through Weegee's flashlit composition. This staged work, a gelatin silver print, resides in the International Center of Photography's collection. Weegee's 1945 book Naked City features a series of photographs documenting New York's urban underbelly, including poignant images of Bowery derelicts such as sleeping homeless men and women in flophouses and on sidewalks. These works, like "At Sammy's Bowery Follies" and scenes of inebriated figures amid the neighborhood's skid-row atmosphere, reveal the human toll of and in Depression-era and wartime . The series exemplifies Weegee's shift toward broader beyond crime scenes. In his later career, Weegee experimented with "creative photography" techniques, producing distorted nudes by manipulating negatives with heat and other methods to create surreal, caricatured forms. These works, featured in his 1964 book Weegee's Creative Photography, mark a departure from documentary realism toward artistic abstraction and . Examples from this period, including warped female figures, are preserved in the Museum's archives.

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