Perhaps one of the most surprising aspects of Maxim Salomon’s photojournalism is the shortness of the period this fantastically creative – and difficult – man produced his most important body of work.
The lion’s share of the journalistic work on display at the Eretz Israel Museum exhibit “Maxim Salomon: Reportage, 1947-1957″ was shot for Uri Avnery’s sensationalist tabloid Ha’olam Hazeh, where Salomon worked for only one year, and the Israel Defense Forces weekly Bamahaneh, where he worked for the next five.
Even if you grew up in the decades when magazines like Life or the British Picture Post brought the world into your home each week by way of powerful photo essays, you may have long since forgotten the sweet anticipation that accompanied the moment when you opened up an issue and began to page through it to see what surprises it contained. Walking through the small Dekel Pavilion at the museum, where the Salomon show will be up until the end of the year, you may feel a similar feeling of excitement, and also participation, as still photographs – especially when they come without the texts that originally accompanied them – often demand the active use of the viewers’ imagination, if they want to understand the story being told.
GA Magazine | Eretz Israel Museum | Haaretz.com
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