Overall, while I'm not sure that I can discern a truly innovative or original point of view in these pictures, they are undeniably well-made photographs that are clearly relevant to the larger 1930s photographic landscape. For collectors of FSA work and fans of Walker Evans, I think Sekaer will be a welcome addition. While he will likely remain a secondary figure in the overall historical story, Sekaer seems to have made plenty of solid images that would happily share a wall with better known Depression-era names.
- Exhibition: Signs of Life, High Museum (here), accompanying monograph (here)
- Review: New Yorker (here)
- Feature: NY Times (here)