Many mistake the art of photography as simple captures for the purpose of “memories.” But in reality, it’s much more than that—it’s about seizing a moment, and all it entails, for others to experience as if present in its occurrence. Cornell Capa, photographer and founder of the International Center of Photography, was a master of seizing the moment. He coined the phrase “concerned photographer” to describe those who used their work to educate and change the world, not just record it. His coverage of the fall of the Perón regime solidified his reputation as a major news photographer. Life magazine founder, Henry Luce, wrote that Capa “really made pictures tell the story as words never did.”
The first picture of the Argentina exhibit that captures your attention is one where the painted portraits of Juan and Eva Perón are being hoisted and positioned on the railings of a balcony. This took place before the rally at which Juan Perón announced, and then withdrew his resignation as President. Even if you know nothing of Argentina’s history, this capture informs you of how important this moment in time was. As you see the workers pulling up Eva’s portrait by a rope, you can almost see it moving in slow motion—as if allowing you to re-live the anticipation that the citizens must have experienced. The smiling face of Eva, as she was lifted up to join that of her pigmented husband, felt as if it held some hope (as Eva served to symbolize many times for her people), but because this rally did not turn out as many expected, this picture also educates us on the impending disappointment, and anger that this indirect false sense of hope created.
As in all dealings of politics, there were two sides—those for Perón, and those against—and Capa made sure to remain unbiased and present us with both. The next picture that holds a thousand words is that of supporters of Perón perched on a lamppost decorated with pictures of Eva. Below them is a sea of faces covering every inch of the picture. The way every single space was occupied by a face that screamed loyalty towards Perón, was a great symbol of the massive amount of people that felt part of the “strong/tight alliance” in his regime. Also, the fact that the lamppost held pictures of Eva instead of Juan informs us of the influence she had during his reign—may be telling us that many of his supporters may not have even been his directly, but Perón supporter through Eva.
To represent those against Perón there was a picture that followed featuring students burning pictures/paintings of him. Their faces depicted hatred for him and what he represented. Through this capture we’re being filled in on the more violent side of this political ordeal–how many took to symbolically cleansing the country of anything representing Perón by bathing it in fire. We learn that all countries face the same hardships of being “controlled” by a leader that you disagree with, and that sometimes dramatic actions must be made in order to ignite change.
Cornell Capa was indeed himself a “concerned photographer.” His amazing photographs were not only records, but they educated us on the problems that were Argentina’s government and people. They conveyed messages so strong that there is no doubt it caused a certain change in many viewers in how they understand and participate in the politics of their own countries. Capa’s pieces, whether accompanied by an article or not, spoke volumes.