Thursday, April 24, 2025
We all know that there are generally two sides to every story. For Berenice Abbott and Elizabeth McCausland, a hidden history stretches beyond their fame and official biographies — a tale of enduring love, documenting change and challenging the norms of their time.
Now on view at Heckscher Museum of Art as part of its 2025 Pride Initiative, during Women’s History Month — closing March 30 — the exhibition “Embracing the Parallax: Berenice Abbott and Elizabeth McCausland” sheds a new perspective on the artist-writer duo. Best known for their work capturing the changing landscapes of New York City, the exhibit provides a new understanding of their partnership.
Born in Ohio in 1898, Abbott first ventured to New York City in 1918. Three years later, she moved to Paris to study photography under visual artist Man Ray, eventually returning to New York City to pursue documentary photography.
“She established herself in the Parisian art scene, which is interesting because when she came back to New York, she saw how much the art scene had modernized, she was inspired,” says Jessica Rosen, Heckscher’s assistant curator, who organized the exhibit.
“Her friends thought she was crazy for giving up her prominence in the Parisian art world to go to New York, but she felt her photographic calling,” she continues.
She had her first correspondence with McCausland, the Kansas-born art critic and poet in 1934. McCausland wrote a review of one of Abbott’s shows, sparking their intellectual and romantic relationship.
“This review was the first that instilled a political interpretation to Abbott’s works. Abbott responded by saying, ‘This is the first intelligent review of my work that has appeared in this country,” Rosen says.
The pair lived in Greenwich Village, forging a fascinating collaboration.
They became most well-known for a pivotal 1939 book, “Changing New York,” composed of Abott’s photography and McCausland’s captions.
While it was meant to capture the modernization of New York through the artist’s perspective, the published version erased much of the original intention.
“Abbott and McCausland wanted to redefine documentary photography’s function by examining transformation through the lens of a rapidly modernizing New York City. Instead, their publisher diluted their message, producing a tourist guidebook for visitors to the 1939 New York World’s Fair," explains Rosen.
”The tragedy of the story is that the book that they’re both so well known for is not the book that they wanted. The publishers ended up cutting a lot of Abbott’s photos and completely rewrote all of the captions that were originally very poetic and political,” she says.
Heckscher’s exhibit attempts to write these wrongs, showcasing 22 of Abbott’s photographs, 10 of McCausland’s captions and a poem that reclaims the original works never published during their lifetime.
“I tried to use this as an opportunity to have McCausland and Abbott’s voices be heard, given that they had been ignored for most of their lives, and specifically with this project,” Rosen says.
One such example is “Hardware Store,” a 1938 photograph of a storefront in Manhattan’s Bowery.
“McCausland basically writes that she’s appreciative of the hardware store. She views it as something imperative to the lifeblood of the city. The last line of the caption is ‘This is life in honest and real terms.’ Whereas what was published makes fun of the store and the things McCausland loved about it,” according to Rosen.
Another highlight is the exhibition’s namesake, “Parallax 1951,” a term that defines how the position of an object appears to shift when observed from different viewpoints. Abbott became interested in this phenomenon, which she demonstrated through two candles — one lit and one unlit — that perfectly aligned with each other’s reflection.
The story of this pair is a powerful tribute to Women’s History Month, demonstrating the resilience and challenges faced by women — especially artists — throughout history.
“This was at a time when photography was not accepted as fine art. So being a photographer, being a woman, being a lesbian — these things all put Abbott at a disadvantage to being taken seriously,” Rosen says.
“McCausland was a left-leaning lesbian that wasn’t afraid to share her opinions or call people out, and I think that’s what made her so amazing, but that’s what made her very unlikeable to her contemporaries. But throughout her work she continued to champion her belief in social justice. She was ahead of her time in every capacity.”
And through it all, it’s a story of lasting love, reuniting McCausland’s words with Abbott’s pictures.
