Berenice Abbott black and white photo of two men in the distance walking on a bridge. Bright yellow embroidery floss emanates from each of their paths.

Best Berenice Abbott quotes in “A View of the 20th Century”

I recently subscribed to The Met on YouTube and found a trove of treasures from this institutional mainstay. Since 2020, the museum has released three to four films from the moving-image archive to celebrate its 150th anniversary. Called “From The Vaults,” the series continues through March 2022. 

Hey, when you turn 150 years old, it’s your party and you can make everyone celebrate for two years if you want to.

I’m slowly making my way through all the artifacts they’ve posted; most recently, a 1992 film about American painter Ralph Fasanella, who was known for his depictions of working-class city life and born in the Bronx on Labor Day 1914 to newly minted Italian immigrants.

​​Berenice Abbott: “A View of the 20th Century”

One of the most compelling docs I’ve watched in The Met’s series so far was another 1992 piece, this one about the photographer Berenice Abbott. I LOVE Berenice and am often drawn to her Works Progress Administration images when selecting images for my embroidery collection.

As one source in the film so succinctly put it, Berenice took, “Emotionally resonant pictures of ordinary things.” That’s as working class as it comes.

What I didn’t realize was how accomplished Berenice was in other intellectual and theoretical pursuits beyond artmaking. Here are some of my favorite quotes from this legendary artist.

"I'm not a nice girl. I'm a photographer." Berenice Abbott

“This clear-eyed, insightful documentary, directed by Martha Wheelock and Kay Weaver, offers a grand tour of Abbott’s extraordinary life, from her youth in Ohio and apprenticeship in Paris through her later groundbreaking scientific photography at MIT and final years in Maine. 

Using the artist’s memories as a lens for apprehending nearly a century of American and European cultural history, this film pays homage to Abbott’s genius for invention, her free-spirited embrace of uncertainty and experience, and her unshakeable devotion the art of photography.”

Watch Berenice Abbott: A View of the 20th Century

Best Berenice Abbott quotes

in “A View of the 20th Century”

Berenice Abbott photographing on South Street, New York, 1937. Photo by Consuelo Kanaga.


“The only pleasure you can get from creating something is the pleasure you have in doing it. Not the final product even. The pleasure you have in doing it. And that cannot be taken away from you. And it cannot be crushed. But you had a certain kind of joy creating it. And that’s all you can expect.”

“There are many teachers who could ruin you. Before you know it you could be a pale copy of this teacher or that teacher. You have to evolve on your own.”

“I think you have to be intensely personal and be true to yourself. The subject matter that excites you is something you want to photograph. You have to convey to the person who looks at it what it was that excited you.”

"The only pleasure you can get from creating something is the pleasure you have in doing it." Berenice Abbott
Embroidered ball pit of French knots by Jackie Mantey fill the gap under a highway as cars head toward a smoke stack, photographed by Berenice Abbott.
“To the Pit” by Jackie Mantey. Embroidery floss on photo paper. // Original image info: Berenice Abbott, 1937, “Triborough Bridge, East 125th Street approach, Manhattan.”


“If you’re trying to express people, you have to be part of it because it’s an exchange. You’re a part of that time.”

“The art is selecting what is worthwhile to take the trouble about.”

“I think it stands to reason that if you recognize and appreciate your heritage, it helps you with your future.”

Embroidered thread kites by Jackie Mantey peek out of black and white buildings, photographed by Berenice Abbott.
“Social Distancing” by Jackie Mantey. Embroidery floss on photo paper. // Original image info: Berenice Abbott, 1937, “General view from penthouse, 56 Seventh Avenue, Manhattan.”

"Art is selecting what is worthwhile to take the trouble about." Berenice Abbott


“Anything you photograph has to be exciting somehow visually. It has to be photographically important, visually important. Otherwise you write about it.”

“Photography is very much a prisoner of its time. You work within the framework of the technique at the time, and that’s the way you have to judge photography.”

“I think all photography is documentary or it isn’t even photography. Most photographs are documents by their very nature of the realistic image. When they try to make it a nonrealistic image, they’re imitating another medium. Selectivity is key.”

“Many interesting things aren’t photogenic at all.”

"Selectivity is key." Berenice Abbott
“It isn’t just that you think the city is beautiful. It’s that the city is very interesting. Everything in it has been built by man. It expresses people more than people themselves.” Berenice Abbott


“It isn’t just that you think the city is beautiful. It’s that the city is very interesting. Everything in it has been built by man. It expresses people more than people themselves.”

“The city is full of every period, every epoch. Everything there comes out of the human gut. Everything that’s built. Every sign that’s put up. The new, the old, the beautiful, the ugly. It’s the juxtaposition of all this that is an intensely, immensely human subject. You’re photographing people when you’re photographing a city. You don’t have to have a person in it.”

"I think your work is the most important thing in your life. To spend more time with it." Berenice Abbott
"I believe in nature and truth and common sense, pursuit of knowledge." Berenice Abbott


“He said, ‘Nice girls don’t go down on the Bowery.” And I said, ‘Well, I’m not a nice girl. I’m a photographer.‘”

“My assistant got the job. A young man whom I had trained. I think the last thing the world really wants are independent women. I don’t think they like independent women much. Just why I don’t know. But I don’t care.”

“Yes, I’ve always been a loner. I’m certain that some people marry and it doesn’t spoil their independence, even women in some cases. The vast majority seems to snare the woman and she can lose track of her directions and her desires and her interests. I’ve heard so many women say, ‘Oh I would like to have done this but after all my family came first. I had to look after my sons.’ So apparently that was more important to them. To me it would be like losing yourself. I think your work is the most important thing in your life. To spend more time with it.”

"I always thought that there was nothing smarter than an old woman." Berenice Abbott
"I'm planning to live to be 102." Berenice Abbott


“I believe in nature and truth and common sense, pursuit of knowledge. Nothing is any good unless you sort of live up to it. Do unto others as you would have done unto you. That is very valid and can’t get you into any trouble. But you don’t need religion to have morals.”

“I always thought that there was nothing smarter than an old woman. You’ve lived so much, you’ve seen so much, in some sense you’ve been on the passive end of it, which means that you have observed plenty. But my impression was always that most ordinary women, if they’re old, have some remarkable quality that no other people have.”

Embroidered thread kite by Jackie Mantey peeks out of a black and white building, photographed by Berenice Abbott.

“I had no idea I was getting older. I’ve never worried about getting older. I don’t see why people make so much of a thing about aging. It’s so natural to age. Everything is aging all the time. Everybody’s aging constantly. Why worry? It’s slow. You’re not aware of it.You just take it in your stride. But women are so harassed with the idea because of the social attitude, the unfairness of social attitudes between the aging of men and women is so ridiculous and so dreadful that women’s years seem to be only good as long as she can procreate, but a man can be very attractive at 80.”

“I’m planning to live to be 102.” 🙂

Interview: Author and historian Joan Cashin

In my recent re-reading of “Dreamland: The True Tale of America’s Opiate Epidemic,” I was struck by the description of the first time morphine needed to be mass produced—and fast—in the United States. Answer: “The U.S. Civil War prompted the planting of opium poppies in Virginia, Georgia, and South Carolina for the first time and bequeathed the country thousands of morphine-addicted soldiers.”

It’s just one example of how the environment and landscape of the United States was forced to change during the Civil War.

For a million other fascinating examples, look no further than historian Joan E. Cashin’s new book from Cambridge University Press, “War Stuff: The Struggle for Human and Environmental Resources in the American Civil War.”

Joan E. Cashin, author of the new book “War Stuff: The Struggle for Human and Environmental Resources in the American Civil War” from Cambridge University Press

Was the physical world during the Civil War a parallel to what was happening to the soldiers and civilians embroiled in it?

“That is a good analogy,” Cashin says. “The armies—both armies, Confederate and Union—exploited the physical world to the full just as they exploited the civilian population.”

The book explores these exploitations, recounting how and why they happened, who suffered because of them, and how they changed the course of the war.

I love reading books like this—historical documentations that tell story after story of real lived experience. It’s packed with anecdotes that could consume a creative writing class for a whole semester. All my fiction-writer friends out there, books like this are also great for research.

“Some civilians began to crack under the compounding pressures of war, engaging in increasingly reckless behavior. In May 1864, a tall, well-dressed clergyman walked right through the Battle of Yellow Tavern, calling out in a booming voice, ‘Where’s my boy. I want to see my boy.’ The man strode across an active battlefield while troops shouted at him to leave before he disappeared, uninjured, into the woods. … Other civilians were overcome by trauma, undone. A white girl stood at her front door watching the buildings burn on her family’s property. She began yanking the hair from her head, repeating the curses she heard from passing troops, and shouting with maniacal laughter.”

Chapter six, “The Uncanny”

Cashin’s most recent entry into the huge Civil War canon is an intriguing one. Expertly researched and woven together by her energetic voice, Cashin gives the devastating subject matter a balanced place to call home. And homes, as you’ll read, are a big part of the environmental Civil War story.

Below, read more about Cashin’s experience writing the book, what’s been inspiring her lately, and who she’d invite to a dinner party. Hint: her guest list’s conversations would be fodder enough for her next Civil War book.

What is war “stuff”? 

The stuff that armies needed to wage war, that is, the material resources, such as food, timber, and housing, as well as the human resources, such as the skill and knowledge of the civilian population. Throughout the history of warfare, armies have often turned to civilians for what they need to wage war.   

Why is it important to examine how the Civil War impacted the environment (and how the environment impacted the Civil War)? 

I think it reminds us of how horrible war can be. Wars that last any duration of time always inflict damage on the environment. 

It was very interesting to read about houses being destroyed and civilians trying to stop the destruction of homes or buildings—and how some soldiers were deeply conflicted about this tactic. It made me consider how different the experience of “home” and “making a home” was circa the 1860s versus today. You commune differently with a place you’ve built with your own two hands. What was the most interesting thing you learned, discovered, or meditated on while working on this book?

I agree completely that most people had a deep sense of connection with their homes, even more so if they had helped build those homes. That is quite different from the world we live in today. I was surprised by many of the things I came across during research for this book, but the section on housing and what happened to the private home was one of the most shocking. 

Yes, it’s fascinating to read stories of how people survived, including the mental warfare that had to be waged in order to maintain resources. I’m thinking particularly of Cornelia Parsons’ submissiveness and smile (!) that shamed soldiers into leaving her home. Were there any firsthand accounts from the book that especially stuck with you?

Yes, many of them stuck with me. Cornelia Parsons certainly did, along with most of the hostages who were taken by the two armies. I believe that “The Uncanny” section of Chapter Six is memorable. 

When do you write?

My best writing time is the afternoon, so I try to teach in the morning. I try to do some writing every day, six days a week, even if it is only 10 minutes on a very busy day. 

What is the best thing about being a historian?

The research, the writing, and the teaching—in short, just about everything!

What has been inspiring you or interesting you lately?

Judith Giesberg’s edition of a diary by Emilie Davis, a black woman who lived in wartime Philadelphia, which came out in 2014, was inspiring to me. I am also looking forward to reading “The Civil War: An Environmental History” by Tim Silver and Judkin Browning, which is coming out with UNC-Chapel Hill. 

What are you working on now?

I am working on a book on material culture and an article on animal studies, both for the war era.

If you could invite three people, living or dead, to a dinner party, who would they be and why?

Great question. I would invite three people from the war era: Angelina Grimke Weld, Frederick Douglass, and Abraham Lincoln. I have some questions for all of them.

Art you should know: Agnes Richter’s embroidered jacket

Agnes Richter was institutionalized in Germany in 1893 when she was 49 years old. She pieced together this jacket during her time in the asylum using materials on-hand, like linens, wool, and thread, likely from her work as a seamstress in the institution. The embroidery is worn down and sweat stains abound, but some of the writing can still be read in deutsche schrift, a German script that’s nearly obsolete. Some of the phrases historians have deciphered: “I am not big,” “I plunge headlong into disaster,” and “583m,” her case number. Read more here.

10 Questions: Authors and historians Elina Gertsman and Barbara H. Rosenwein

The objects we use on a daily basis play a big role in our cultural story and memory. As writers, we know the importance of objects in terms of symbolism—and ensuring we are, when writing fiction at least, placing historically accurate objects into settings, character descriptions, and dialogue.

Your Civil War heroine with an iPhone is no bueno, bud.

That’s why tomes like “The Middle Ages In 50 Objects” (Cambridge University Press, 2018) are so helpful to writers doing research for a novel or screenplay in this time period. “50 Objects” features beautiful images of objects from the Cleveland Museum of Art paired with an essay that digs into its visual and cultural significance within the wider context of how the object was made or used.

The book is divided into four topic areas (The Holy and the Faithful; The Sinful and the Spectral; Daily Life and its Fictions; and Death and Its Aftermath) and loaded with fresh historical insights provided by the scholars Elina Gertsman (professor of Medieval Art at Case Western Reserve University) and Barbara H. Rosenwein (a medievalist who specializes in the history of emotions).

Elina Gertsman (Photo: Keli Schimelpfenig, Case Western Reserve University)

Barbara Rosenwein

And though it was written in part to progress academic conversations about the Middle Ages—and recently made the High Brow/Brilliant end of New York Magazine’s approval matrix—this book is a visual and intellectual goldmine for arm chair art history lovers. <raises hand> Reading this book was like getting an answer key to some incredible works of art; like sitting in on a university lecture from the comfort of my aforementioned arm chair.

Example: Object 22’s painting of the Madonna and Eve on wood panel features inverted letters signifying the way Mary supposedly reversed Eve’s original sin; Eve’s sexuality is underscored by the Tree of Knowledge growing between her legs. (Which, if ever there was an ideal place for a tree of knowledge to grow, I’d say it’s there… She wouldn’t even have to stand up to pick out a new book to read from its branches! #teameve)

I had the pleasure of asking Elina and Barbara a few questions about the process of writing their new book, why they made the curatorial decisions they did, what objects in the book were most interesting to study, and more. Read their thoughtful answers below, then get your own copy of “The Middle Ages In 50 Objects” here!

The hard cover is coffee table chic.


Why are objects worth studying in order to understand the past?

Objects are not just things “out there” but agents of history in every way. They are created for reasons ranging from utterly practical to outrageously frivolous—but always in ways that are particular to certain people and places at particular times. As they come into being and use, they carve out their own meanings and interact with other objects—and people. Consider the scene of the Crucifixion (Object 43): the bottom of the Cross depicted there has been touched by pious fingers and lips so many times that the paint and ink are smudged.

The Middle Ages was a culture of the senses. Think of the incense perfuming the air in places of worship (churches and mosques alike), the music of liturgy and entertainment, the visions of color and light afforded by manuscript illuminations, the taste of the Eucharist melting in the mouth, and the invitation to touch offered by ivory and alabaster. Considering objects in all their materiality opens a royal path to this rich and little-known culture of the past.

How did you narrow it down to just 50 objects?

We wanted to produce a book that would be both comprehensive and yet not overwhelming. We knew that each object we chose would be worthy of many pages of explanation, but we decided to limit ourselves there as well. The number 50 seemed a good solution: enough to cover several entangled cultures that had to be considered together in order to illuminate each one.

How would you describe working on this book? Was it a joyful experience?

Joy is the right word. The book almost wrote itself once we had decided on the themes and the objects that belonged to them. We generally worked in relay. Elina lit the torch, as it were, by focusing on the objects, teasing out the network of associations they triggered, visual discourses they tapped into, and the ways in which they were viewed in the past. Then it was Barbara’s turn to consider the larger context, wrapping each object in the intricate web of events, patrons, social needs, and religious uses that explained its creation and importance.

Why did you decide to balance the representation of objects used or cherished by the elites and those used or cherished by the non-elites?

There is no denying that medievalists have on-hand more material objects from the elites than from the non-elites. Patrons of the arts—both individuals and institutions—were normally wealthy, and we today prize the results of their largesse and taste—the astonishing delicacy of Books of Hours, emotionally evocative images of Saint John softly resting his head on Christ’s shoulder, or elegant tombstones made to mark the burial of pious Muslims. But it is also important to see and understand the material lives of others less well-to-do, for they represent the majority of people in every period. When we view an iron barbute (Object 37), we are brought into the world of the soldier.

Barbute, 1350-1420, Northern Italy, iron

Its pits and dents remind us of the everyday dangers and hardships suffered by men in the Venetian army garrison at Negroponte. Negroponte? What was Venice doing there, 1,200 miles from home?  The barbute thrusts us into the thick of historical events, as Venice takes over an island that had long belonged to Byzantium. Surely, we must cherish it almost as much as the man whose life it protected.

I really enjoyed the way you divided the contents into four topic sections. Was it difficult to organize? What was your thinking behind dividing them in this way?

We didn’t want to do the West first, then the Islamic world, then Byzantium, or anything of that sort because those cultures were too intertwined to be conceptualized in that way. Nor did we want to divide the book by chronology, as if it were a textbook. We chose, rather, to work with themes that cut across the whole period and united all of the cultures.

Did any of the 50 objects surprise you or is there an object in the book you particularly liked learning about?

All of the objects turned out to have surprising twists and turns. But we especially enjoyed working on objects that opened up many different paths to explore. An example is the miniature from a Mariegola (Object 21), which required us to research Venetian guilds, anti-Jewish stereotypes, ideals of poverty, and the realities of untold wealth.

Can learning about objects from the Middle Ages help us better understand the objects of contemporary visual culture?

There is no question that sensitizing ourselves to the objects that mattered in the Middle Ages helps us understand our own. But beyond that, some of the same themes and uses have distant echoes today. This goes beyond obvious similarities, as for example the persisting image of the Crucifix. Consider depictions of Death as a skeleton (see Object 50) or contemporary gestures of prayer, which derive from the medieval practice (see the hands of the Virgin in Object 43).

If you could pick one or two objects from contemporary culture that you think future historians would find important, what would they be?

Barbara: I’d choose the Apple Watch, which is a fashion accessory, a practical conveyer of time and information, and a good symbol of our desire to be constantly in touch without touching.

Elina: I’d choose a pair of boots: shoes are always a powerful symbol of presence and loss, and the last century or so has been deeply fraught. Shoes are intimately tied to memory, often terribly so: the U.S. Holocaust Memorial Museum displays thousands of shoes, taken from the prisoners at the Majdanek concentration camp. Just two months ago, countless pairs of shoes were placed in front of the Capitolio in Puerto Rico, to mark the absence of men and women lost in Hurricane Mari and unaccounted for in the official death toll.

What has been inspiring you lately? Any books, music, podcasts, movies to recommend?

Barbara: In a small 12th-century church in Saint-Dyé, France, I heard an incredible concert that combined ancient instruments and songs with compositions by a living composer. The music worked together seamlessly, making the past present and the present past ways I could not have imagined. It was truly inspiring.

Elina: I am reading Paul Auster’s splendid “4321”—complex, sensitive, always stirring, dark at times, but somehow always jubilant. I’d recommend it without reservations.

If you could invite three people, living or dead, to a dinner party, who would they be and why?

Barbara: This is tough. I’d love to have a good dinner conversation with many people. But I guess I can narrow it down to one party in which the guests might compare notes and (let’s hope) learn from one another. I’d invite Xanthippe, Socrates’ wife, who was billed as a nasty shrew by Xenophon; Christine de Pizan, a late medieval feminist who supported herself and her family by writing witty books for wealthy patrons; and lastly Catherine Dickens, best known as the unhappy wife of Charles Dickens. My first question to them would be: What place should women have in society, and what attitudes, institutions, etc. would be required to get them there? And my second question: If you could choose a different time and place to live in, what would it be? If I dared I might pose a third: What do you think of the LGBTQIA movement, and what do you think it portends for gender relations in the future?

Elina: I’d invite Hildegard of Bingen, a 12th-century German visionary; Voltaire, an 18th-century French Enlightenment philosopher; and Andrei Voznesensky, an extraordinary Soviet/Russian poet, who died just a few years ago. I’d love to hear them talk about poetry, politics, and everything in between.