Siskind began to photograph in 1932, while he was an English teacher in the New York City public-school system. As a member of the Photo League, he participated in projects designed to document neighbourhood life during the Depression. Unlike other documentary series of the period, Siskind’s Dead End: The Bowery and Harlem Document Old Houses of Bucks County, and on natural phenomena and still life.Show as much concern for pure design as for the plight of his subjects. After the late 1930s, Siskind no longer photographed people, concentrating instead on architectural photography, as in his series
The abstract work for which Siskind became best known developed from his attempt to express his own states of mind in photography, rather than simply to record subject matter. In the early 1940s he began photographing patterns and textures of such mundane subjects such as coiled ropes, footprints in sand, and seaweed. Much like the members of Group f.64, Siskind achieved surprising, dramatic results by shooting his subjects at close range. Within a few years he became preoccupied with the abstract qualities of two-dimensional surfaces such as pavement, billboards, and walls, especially those transformed by weathering and decay. This theme was perhaps most poignantly realized in his 1967 series of photographs of the ruins of the Arch of Constantine and the Appia Antica in Rome. Siskind’s early abstract work was not immediately accepted by other photographers, but it was widely admired by painters such as Willem de Kooning and Franz Kline , who were associated with Abstract Expressionism. Siskind, in fact, exhibited his abstract photographs with these artists’ paintings.
Much of Siskind’s influence on photography resulted from his activities as a founding member of the Society for Photographic Education and as coeditor of Choice, a literary and photography magazine. His greatest influence, however, was as professor of photography at the Institute of Design of the Illinois Institute of Technology in Chicago, a post he held from 1951 to 1971, when he became a professor of photography at the Rhode Island School of Design in Providence, Rhode Island. His publications include Aaron Siskind, Photographer (1965), a 30-year anthology of his photographs; Bucks County: Photographs of Early Architecture (1974); and another anthology entitled Places, 1966–1975 (1976).