PDNB’s exhibition of Neal Slavin’s photographic series When Two or More are Gathered Together celebrates the 50th anniversary of the book release from the 1970s. As I look at Slavin’s images, questions arise about what this work communicates about American culture and history, not only from the 1970s but today. Could this work be made today? There are a few entry points for analyzing the images — photographic history, visual anthropology, sociology, and photography’s evolution in visual culture.
Photographic history is less interesting for those who are not photographers or photographic educators. As someone with a photography BFA minor and MFA major, my own relationship with the medium is conflicted. I tend to be jaded, so it takes a lot to wow me with a photograph. However, looking at Slavin’s images within the context of photographic history brings up a few important points. Very few photographers in the 1970s were using color outside of advertising. It was a costly endeavor. Most photographers did not have access to do their own development and printing. Also, color was not considered fine art. Black and white photography dominated the scene. William Eggleston’s name comes up frequently as a master of early color photography, as well as Stephen Shore with his landscape work. I think of Joel Meyerowitz also in this category, since he was photographing people.

Neal Slavin, “Capitol Wrestling Corporation in Washington, DC,” 1972-1975. Courtesy of Neal Slavin and PDNB Gallery
Slavin’s work in color is crucial not only for the acceptance of color photography as fine art but also important as an indicator of cultural trends of the time. It provides realism and specificity that black and white images lack. Color also functions symbolically, as a way to decode cultural nuances of particular groups. For example, the color red may communicate power and passion effectively drawing viewers’ attention to the focal point of a composition such as in the image of the Capitol Wrestling Corporation in Washington, DC (1972-1975).

Neal Slavin, “International Twin Association of Muncie, Indiana,” 1972 -1975. Courtesy of Neal Slavin and PDNB Gallery
Another point about photographic history is the available technology/equipment of the time. Slavin shot analog using a medium format camera and film. What this means for the younger readers is that he would not have had the luxury of previewing the images until the negatives were developed. Even with using Polaroids to test lighting and composition, there is no guarantee that the images would come out. Large groups like the International Twin Association of Muncie, Indiana (1972 -1975) or The Last Man’s Club, Hempstead, New York (1972-1975) provide both technological and compositional challenges.
Contextualizing Slavin’s work within the fields of visual anthropology and sociology fascinates me. From my amateur research, visual anthropology focuses on past visual references; understanding history, so that we can predict the future. Sociology focuses more on contemporary social systems. During the 1970s, the project would be considered more sociological, while today, we can look at the trajectory of change in group dynamics and behaviors over the past 50 years. Questions emerge such as what do the photographs reveal about individuals’ desire to belong, to identify with a group and the power relationships within the group dynamics? How is one’s own identity shaped by their group affiliations?
It’s interesting to note that Slavin did not organize the groups for the photographs. He asked the groups to organize themselves, dressing and posing as they wished. Presumably, there were “leaders” in the respective groups that directed the others for the image. One of my favorite images, Insect Scientists, New York, New York (1990) features 4 people looking directly at the camera, dressed in casual work attire. The central figure wears a tie. Insects cover the wall and their bodies. Their calm, slightly smiling faces belie the scene. For non-bug lovers, this would be a freaky experience, regardless of whether the insects were fake or real, dead or alive. The unexpected subversive humor makes me smile. It’s a striking example of tableau photography, a subgenre in the fine art world. Another performative tableau is Empire Hose Company #3, Merrick, Long Island (1972-1975). In full protective gear, firefighters huddle around a smoking door. It is as if the photographer caught this moment just before they entered the burning building, rather than a posed action shot set up by the subjects.
Slavin’s images portray different types of groups. Categorized by common interests, there are sports groups, professional groups, civic groups, and personal interest groups. From a visual culture perspective, I wonder how many of these groups still meet in person. With the advent of social media and the pandemic, social groups transitioned to online Zoom meet-ups. I currently belong to several communities that meet solely online. Sadly, our only group photographs are zoom gallery screenshots.

Neal Slavin, “The Star Trek Convention, Star Trek Association, A Division of Tellurian Enterprises, Inc., Brooklyn, New York,” 1972-1975. Courtesy of Neal Slavin and PDNB Gallery
Social media has shifted photography’s role in visual culture, especially with the advent of the selfie generation. While photography has always been more “democratic” than most other art forms (meaning affordable and available to the general middle-class public), camera phones and social media apps have transformed photography into a ubiquitous part of culture. Rather than focusing on group dynamics, the emphasis is on the individual and posting images of one’s daily life — a visual diary. Today, an image like The Star Trek Convention, Star Trek Association, A Division of Tellurian Enterprises, Inc., Brooklyn, New York (1972-1975) would be taken from a selfie perspective with other members in the background at the Comic-Con or Fan Expo event.
I return to my earlier question about whether this work could be made today. Post 9/11 restricted photographers from certain subjects and locations due to terrorist and safety concerns. I doubt images like Gas Chamber Basic Training Company of the Third Basic Combat Training Brigade, Fort Dix, New Jersey (1972-1975), D.C. Swat Team, Washington, D.C. (1987) and J.F.K. International Airport Control Tower Federal Aviation Administration, Jamaica, New York, (1972-1975) could be made today. The gas chamber training image of soldiers in a single file line, dressed identically in green fatigues and gas masks serves as an eerie, prescient reminder of past, present, and future warfare. Perhaps the strangest location is the middle of a busy New York City street. In the Art School Life Drawing Class, New York, New York, (1978), a nude female model stands on a pedestal surrounded by students sketching with easels. The street is not closed off and traffic and pedestrians stop to stare. While I won’t say that couldn’t happen today, I suspect it would be very difficult to obtain those permissions. I would have loved to have had a life drawing class outside in the middle of Manhattan. That would have been quite the unusual and memorable experience.

Neal Slavin, “Girl Wrestling Enterprises, Columbia, South Carolina,” 1972-1975. Courtesy of Neal Slavin
There are so many strange and wonderful photographs in Slavin’s book. I don’t have the word space to talk about all my favorites. My only criticism of the series is the predominance of northeastern groups. I understand logistically that it’s easier to focus on the northeast and L.A. due to the population density and the diversity of groups. However, I can’t help but wonder if there are similar groups in other rural parts of the country, specifically in the southern states. I imagine a group at a male bathhouse in Arkansas or Alabama. There is a great image of girl wrestlers — Girl Wrestling Enterprises, Columbia, South Carolina (1972-1975) which had to be unusual for the time period. There are also two Texas images — Mesquite Rodeo Corporation, Mesquite, Texas (1972-1975) and National Cheerleader’s Association, Dallas, Texas (1972-1975). Interestingly both images reinforce cultural stereotypes associated with Texas. Rodeos still thrive throughout the state and the Dallas Cowboy Cheerleaders have become a successful franchise, complete with a reality T.V. show.

Neal Slavin, “Mesquite Rodeo Corporation, Mesquite, Texas,” 1972-1975. Courtesy of Neal Slavin and PDNB Gallery

Neal Slavin, “National Cheerleader’s Association, Dallas, Texas,” 1972-1975. Courtesy of Neal Slavin
In Slavin’s words from the foreword, “I envision a work that communicates the desire to belong in America in the 1970s and the conflicts caused by that wish. …groups are the American icon.” When Two or More are Gathered Together provides a unique glance into the social dynamics and group identity of a particular time in U.S. history — one filled with strife, as well as transformation.
When Two or More are Gathered Together is on view through February 15 at Photographs Do Not Bend Gallery (PDNB) in Dallas.