1 Lincoln Caplan, ed., "Walker Evans on Himself," New Republic, 13 November 1976, 23. Other biographic information in this text has been drawn from the following sources: John Szarkowski, Introduction to Walker Evans (New York: Museum of Modern Art, 1971); Hurley, Portrait of a Decade; Walker Evans: Photographs for the Farm Security Administration, 1935-1938 (New York: Da Capo Press, 1973); and Walker Evans, Walker Evans at Work (New York: Harper and Row, 1982). The last work contains selected original documents and an essay by Jerry L. Thompson.
2 Carleton Beals, The Crime of Cuba (Philadelphia: J.B. Lippincott, 1933), 31 photographs by Evans; Paul Radin and James Johnson Sweeney, African Folktales & Sculpture (New York: Pantheon Books, 1952), 113 photographs by Evans.
3 Walker Evans at Work, 107, 112.
4 James Agee and Walker Evans, Let Us Now Praise Famous Men (Boston: Houghton Mifflin, 1941).
5 John Szarkowski, Looking at Photographs (New York: Museum of Modern Art, 1973), 116.
6 Walker Evans: American Photographs (one-man photographic exhibition), Museum of Modern Art, New York, 28 September-18 November 1938; Walker Evans, American Photographs (New York: Museum of Modern Art, 1938); James Agee and Walker Evans, Let Us Now Praise Famous Men (Boston: Houghton Mifflin, 1941); Walker Evans, Many Are Called (Boston: Houghton Mifflin, 1966). The subway series is published in the last work.
7 Stryker to Evans, 20 April, 20 May, and 3 June 1938; Evans to Stryker, 21 April, 26 May, and 15 June 1938; Roy E. Stryker Papers, University of Louisville.
8 Katz, Leslie, "Interview with Walker Evans," Art in America, March/April 1971, 85.
9 This series was exposed on 35-mm film. Unlike other film sizes used by the section's photographers, 35-mm negatives are too small to be cut into individual frames for storage, so the agency stored them in strips of five. The determination of Evans's probable shooting sequence depended on the availability of these strips, and on edge numbers added to the film by the manufacturer (not the numbers assigned by the agency to identify negatives in the file). The position of the manufacturer's edge numbers may vary from roll to roll, and the numbers themselves indicate the sequence of exposures within each roll. The edge numbers for this group of negatives reach a high value of 44, implying that Evans may have "bulk-loaded" the film. The negatives include about a half dozen images that seem to have been neither published nor printed for the file. The unprinted negatives are represented here by the picture of the two men passing on the sidewalk and the close-up of the political poster.
10 Evans's method is discussed in Jerry L. Thompson, "Walker Evans: Some Notes on His Way of Working," in Walker Evans at Work (New York: Harper and Row, 1982), 9-17.
11 Fred H. Allen, New York City, Westchester, and Nassau Counties in Relation to Real Estate Investments 1942 (New York: Bowery Savings Bank et al., 1942); Real Property Inventory City of New York: Borough of Manhattan (New York: New York Housing Authority, 1934); Real Estate Directory of the Borough of Manhattan (New York: Real Estate Directory Company, 1938); Manhattan Land Book (New York: G.W. Bromley, 1934); New York, (map from vol. 6 of the series New York, 1903-1919 [Pelham, N.Y.: Sanborn Map Co., 1907]).
12 Katz, "Interview with Walker Evans," 85, 87.