By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
Meyerowitz spent the next four days in anxious exile from the city where he was born. By the time he was able to get back to his apartment on Bethune Street, both he and Barrett were turned away from already overwhelmed volunteer centers. He faced more frustration the following day down at the fenced-in perimeter at Chambers and Greenwich streets, where, he says, "I had one of those experiences that change your life." Though he couldn't really see much of anything of the demolished buildings from where he stood, like any photographer, he wanted to see it through his lens. But as soon as he raised his Leica, a female police officer tapped him hard on the back and shouted, "No photographs here!" When his attempts to be reasonable failedthe "crime scene" was, after all, five blocks awayMeyerowitz showed the officer the press pass he'd secured just in case, only to be directed to a penned-in area a block further away uptown and warned that any more "lip" would result in the loss of his pass.
"I was shocked," Meyerowitz says. "It had a kind of fascistic quality. I stood there, looking at what little I could see of the pile, and thinking, If there's no photography allowed, there won't be any history." History and photography have been married since the medium's earliest days, and Meyerowitz began mentally ticking off prime examples of their link as he walked back uptown: Charles Marville, Mathew Brady, Lewis Hine, Jacob Riis, and the remarkable crew of artistsincluding Walker Evans, Dorothea Lange, and Ben Shahnbrought together by the Farm Security Administration (FSA) to record the effects of the Depression in America. By the time he got home, he'd resolved to return to the World Trade Center site and make not just a photograph but an archive. "I realized that that cop had hit me on my shoulder the way a Zen master does when you're slumping during meditation. She woke me up. I don't know who she is, but I really thank her."
Since that awakening, Meyerowitz has been a driven man. Rangy and fit at 63, with a shaved head and penetrating eyes, the photographer is already quite imposing, but his intensity has found a new and all-consuming focus. "Like every artist," he says, "you want to do something that's socially useful and meaningful, and I have periodically in my life. But a lot of times I'm making pictures that are aesthetic; they're about air, light, the view camera, and descriptionthings that are of value to me as an artist. So if I love describing places, this is just another place, but this is a place whose description was going to be lost. And it started to burn in me in a way that I haven't felt in many years, and I just got caught by it and I refused to let it go."
After convincing Robert Macdonald, the director of the Museum of the City of New York, to sponsor his archive of the aftermath, Meyerowitz managed to wangle greater and greater access to ground zero. Although there's still an official ban on photography within the perimeter of the site itself, he's made pictures there nearly every day for the past month and a half, most recently with a pass that designates him the mayor's photographer, and he intends to remain there until the ground is cleared. Ultimately, following the FSA model, he hopes to involve other photographers in the project (including Susan Meiselas, John Szarkowski, Tony Roma, and Gus Powell, who has tagged along as his "assistant" a few times), but for now he's photographing on his own. The results, destined for the collection of the Museum of the City of New York, are only just beginning to get processed and printed. One shot, of a huge torn flag on the facade of the World Financial Center, appeared in the October 15 New Yorker (which has contracted for another 18 photos over the course of the next year); another appears here. But Meyerowitz's stories from what he calls "the forbidden city," related with a Whitmanesque flair for itemization, are already in circulation, and they offer a fascinating view of life in the zone. Just listen.