Where’s Boston? 50 Years Later

By Elin Spring

Every milestone presents a chance for us to take stock of ourselves. On this 250^th anniversary of the United States, some photography shows are capitalizing on the occasion to look back at who we were, how we have changed and what we aspire to be as a people. The most compelling exhibition in this vein has just opened at the Boston Athenaeum, “Where’s Boston? 50 Years Later.” The show re-visits photographer Constantine Manos’ extraordinary, commissioned project for the city’s Bicentennial celebration, “Where’s Boston?.” Now fifty years on and a multitude of changes later, we can relish this engrossing and (yes!) fun exhibit, on view through December 12^th, 2026.

“Sunday morning flea market, Faneuil Hall” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

In preparation for the Bicentennial exhibition housed in a grand pavilion on the Prudential Center Plaza, Constantine Manos combed every neighborhood in and around the city for nine months during 1974. Although the Bicentennial was called “Where’s Boston,” Manos always framed the heart of the city in its citizens. His B&W portraits became a series and 1975 book which he entitled “Bostonians.” This comprises the historical and emotionally absorbing body of work on view now.

“Young girl on a park bench, Boston Common” from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

“Demonstrator in front of City Hall, Government Center” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

When viewing photographs from past eras, we can have a tendency to feel nostalgic for “the good old days.” While it is obvious that Manos had deep empathy for his subjects, he also identified fault lines and tensions that were flaring in Boston. For example, the strife surrounding school integration by busing children out of their neighborhoods made national headlines and has scarred Boston’s reputation as racist ever since. Manos’ photographs subtly recognize Boston’s flames of discontent, revealing the fractious growing pains of a city in transition. From today’s vantage point, his pictures seem to underscore that Boston, like any great metropolis, will always be a city in transition.

“High school football game, White Stadium” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

“Italian religious street procession, North End” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

Manos’ images remain living testimonies because of his rapt attention to people. Most of his photographs find private moments in public spaces, whether at a parade, rally, street market or front stoop. Images he made indoors often utilize mirrors whose reflections reveal multiple relationships. Spontaneous encounters animate his images with a variety of ages, ethnicities, religions, races and social classes. Then and now, his laser focus on personal narratives and connections is magnetic.

“Backstage at Boston Ballet performance, Music Hall” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020. (Installation view by Elin Spring)

“Moran family baptism, South Boston” 1974, from the series Bostonians by Constantine Manos, courtesy of the Constantine Manos Estate.

“Summer Day at Lebanese-American Association, South End” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

Dynamic and affecting, Manos’ approach is inherently riveting: he always foregrounds people, either interacting or in contemplation, and utilizes the rest of his frame to contextualize their surroundings. In this way, he taps into our insatiable penchant to people-watch, while relaying the unique architecture, traditions, and complexities of Boston’s distinct neighborhoods. Manos’ remarkable gift was finding that spark of recognition that makes a portrait entrancing.

“Marchers in St. Patrick’s Day parade, South Boston” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

“Waiting for the Columbus Day Parade, East Boston” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

For those of us attentive to print quality, this exhibit offers even more treats. An exacting craftsman, Manos’ gelatin silver prints possess a mellifluous tonal range with that delicious, old-fashioned depth that has become a lost art. In fact, the few gelatin silver prints made in 2026 from digital negatives visually and figuratively pale by comparison.

“Singing of the National Anthem at July Fourth ceremonies, Faneuil Hall” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

This velvety and meticulous printing style discloses nuanced dialogs within his prints. For example, in “Singing of the National Anthem,” the strong contrast between the bright blazer on a Black singer and the dimmed, historic political painting behind him accentuates the complexities of patriotism in a nation marred by slavery. Another fascinating exhibit feature is the vitrine filled with contact sheets from the 35mm negatives shot with his Leica rangefinder camera. Just as his prints demonstrate Manos’ artistic choices, these contact sheets are the closest we can get to watching his creative thought process in motion.

Contact sheets from Constantine Manos’ 35mm film (installation view by Elin Spring)

“Fireman resting after blaze, Symphony Road” 1974, from the series Bostonians by Constantine Manos, Boston Athenaeum Purchase; Howe Fund; December 16, 2020.

When reflecting on Manos’ portraits in light of our current circumstances, the thought emerges that there are no “good old days.” Every human era is marked by wars and dissent. The thing that Manos so beautifully conveyed is that our humanity and spirit survive these slings and arrows of outrageous fortune. He offers the intimate familiarity of his subjects’ emotions and interactions as enduring evidence of our commonalities. In 1975, he presented “Bostonians…with the hope that we can know and love each other and our city better.” Just as his devout humanism showed us who we were then, today Manos’ photographs channel our thoughts toward who we might aspire to be.

For more information about this exhibit, go to: https://bostonathenaeum.org/whats-on/exhibitions/50-years-later-wheres-boston/

Feature Image: “Fidler on Boston Common” 1974, from the series Bostonians by Constantine Manos, courtesy of the Constantine Manos Estate.