During his career Evans captured in pictures concise, compelling and sobering all sides of a capitalist society that presents the world as a shining example of development. "Evans pointed the way contemporary art photography," says Gollonet for whom Evans images are presented without the "magic of the darkroom. Among his most famous images include a portrait of a barefoot boy in the interior of home in Morgantown. The austerity of the interior contrasts with the presence of billboards that promise comfort and happiness. Also very popular are his portraits of farmers tenants in Alabama. Portrait complaint CubaSu step Havana, with the aim of illustrating the book The Crime of Cuba, represented one of the first reports of the scheme as Gollonet, to explore and portray the corner of a city in which there are workers, vagabonds, longshoremen, prostitutes and children and homeless Cuban Family (1933) or sleeping Tramp (1933). But since 1938, Evans undertook a radical experiment in the picture and begins to work, hiding the camera under his coat, without framing control to focus on faces and gestures of subway passengers in New York. Intended to photograph people without warning, trapping the natural and showing plainly. Between 1945 and 1965, Walker Evans becomes the exclusive photographer for Fortune magazine wing pair. At this stage, Evans released important albums, one of them is, Beauties of The Common Tool (1955) composed of five photographs that shows five common tools, but isolated and expanded way, as if they were abstract sculptures. The arrival of color despite their distrust of the effectiveness of color painting in the last phase of his career, from the late fifties until his death in 1975 - becomes, surprisingly, the focus of its work and a new lens through to research their interests. In 1974, the launch of the Polaroid SX-70 will offer an artist of poor health the possibility of continuing to create, to do away with the hard work in the darkroom. In its rearward snapshots remain issues that have haunted him throughout his career. In the photographs of signs, but bright colors are new, but the fragmentation and provocative language and double meanings remain true to the iconography vital Evans. Another feature of recent years is its collector. Only at home accumulating about 9,000 postcards and other items collected and ordered vernacular. he discussed how the photograph was a form of collecting.
Original sources:
The Cultural http://www.elcultural.es/noticias/ARTE/503720/Walker_Evans_la_desesperanza_del_capitalismo_en_100_fotografias
World
Ginza Chuo Dori 
