|Author||: Nicholas Natanson|
|Publisher||: Univ. of Tennessee Press|
|Release Date||: 1992|
|ISBN 10||: 9780870497247|
|Pages||: 305 pages|
|Rating||: 4/5 from 21 reviews|
Between 1935 and 1942, photographers for the New Deal's Resettlement Administration-Farm Security Administration (FSA) captured in powerfully moving images the travail of the Great Depression and the ways of a people confronting radical social change. Those who speak of the special achievement of FSA photography usually have in mind such white icons as Dorothea Lange's Migrant Mother or Walker Evans's Alabama sharecroppers. But some six thousand printed images, a tenth of FSA's total, included black figures or their dwellings. At last, Nicholas Natanson reveals both the innovative treatment of African Americans in FSA photographs and the agency's highly problematic use of these images once they had been created. While mono-dimensional treatments of blacks were common in public and private photography of the period, such FSA photographers as Ben Shahn, Arthur Rothstein, and Jack Delano were well informed concerning racial problems and approached blacks in a manner that avoided stereotypes, right-wing as well as left-wing. In addition, rather than focusing exclusively on FSA-approved agency projects involving blacks - politically the safest course - they boldly addressed wider social and cultural themes. This study employs a variety of methodological tools to explore the political and administrative forces that worked against documentary coverage of particularly sensitive racial issues. Moreover, Natanson shows that those who drew on the FSA photo files for newspapers, magazines, books, and exhibitions often entirely omitted images of black people and their environment or used devices such as cropping and captioning to diminish the true range of the FSA photographers' vision.
by Nicholas Natanson
Between 1935 and 1942, photographers for the New Deal's Resettlement Administration-Farm Security Administration (FSA) captured in powerfully moving images the travail of the Great Depression and the ways of a people confronting radical social change. Those who speak of the special achievement of FSA photography usually have in mind such white icons as Dorothea Lange's Migrant Mother or Walker Evans's Alabama sharecroppers. But some six thousand printed images, a tenth of FSA's total, included black figures or their dwellings. At last, NicholasGET BOOK!
by Peter Walther,United States. Farm Security Administration
Amid the ravages of the Great Depression, the United States Farm Security Administration (FSA) was first founded in 1935 to address the countryrsquo;s rural poverty. Its efforts focused on improving the lives of sharecroppers, tenants, and very poor landowning farmers, with resettlement and collectivization programs, as well as modernized farming methods. In a parallel documentation program, the FSA hired a number of photographers and writers to record the lives of the rural poor and ldquo;introduce America to Americans.rdquo;GET BOOK!
by Betty Rivard
Upon entering the White House in 1933, President Franklin D. Roosevelt faced an ailing economy in the throes of the Great Depression and rushed to transform the country through recovery programs and legislative reform. By 1934, he began to send professional photographers to the state of West Virginia to document living conditions and the effects of his New Deal programs. The photographs from the Farm Security Administration Project not only introduced “America to Americans,” exposing a continued need for government intervention, butGET BOOK!
by James R. Swensen
As time passes, personal memories of the Great Depression die with those who lived through the desperate 1930s. In the absence of firsthand knowledge, John Steinbeck’s The Grapes of Wrath and the photographs produced for the New Deal’s Farm Security Administration (FSA) now provide most of the images that come to mind when we think of the 1930s. That novel and those photographs, as this book shows, share a history. Fully exploring this complex connection for the firstGET BOOK!
by Mary Murphy
Arthur Rothstein, Russell Lee, John Vachon, and Marion Post Wolcott became some of the United States' best-known photographers through their pictures of Depression-era America. Their assignment, as one of their associates described it, was to have "a long look at the whole vast, complicated rural U.S. landscape with all that was built on it and all those who built and wrecked and worked in it and bore kids and dragged them up and played games and paraded and picnickedGET BOOK!
by Edward Steichen,Françoise Poos
The Bitter Years was the title of a seminal exhibition held in 1962 at The Museum of Modern Art, New York, curated by Edward Steichen, and 2012 marks its 50th anniversary. The show featured 209 images by photographers who worked under the aegis of the US Farm Security Administration (FSA) in 193541 as part of Roosevelts New Deal. The Great Depression of the 1930s defined a generation in modern American history and was still a vivid memory in 1962. The FSA, set up to combatGET BOOK!
by Kirstin Downey
Presents a portrait of the first female cabinet member and one of the most influential women of the twentieth century, whose efforts to improve the lives of America's working people resulted in such initiatives as unemployment insurance and Social Security.GET BOOK!
by John Vachon,Miles Orvell
Vachon's portraits of white and black Americans are among the most affecting that FSA photographers produced; and his portrayals of the American landscape, from rural scenes to small towns and urban centers, present a remarkable visual account of these pivotal years, in a style that is transitional from Walker Evans to Robert Frank."GET BOOK!
by Stuart Cohen
Featuring 175 duotone photographs, this book not only offers the chance to see a selection of famous and little-known images, but also to go behind the scenes of one of America's most original and creative government-sponsored projects.GET BOOK!
by Harvey L. Smith
Berkeley's 1930s and early 1940s New Deal structures and projects left a lasting legacy of utilitarian and beautiful infrastructure. These public buildings, schools, parks, and artworks helped shape the city and thus the lives of its residents; it is hard to imagine Berkeley without them. The artists and architects of these projects mention several themes: working for the community, responsibility, the importance of government support, collaboration, and creating a cultural renaissance. These New Deal projects, however, can be called "hiddenGET BOOK!
by Lili Corbus Bezner
Although critics defended the trend, arguing that truly visionary art transcended politics, Bezner notes that the cold war era effectively silenced some of the most socially engaged photographers in American society."--BOOK JACKET.GET BOOK!
by Carol Quirke
Dorothea Lange, Documentary Photography, and Twentieth-Century America charts the life of Dorothea Lange (1895–1965), whose life was radically altered by the Depression, and whose photography helped transform the nation. The book begins with her childhood in immigrant, metropolitan New York, shifting to her young adulthood as a New Woman who apprenticed herself to Manhattan’s top photographers, then established a career as portraitist to San Francisco’s elite. When the Great Depression shook America’s economy, Lange was profoundly affected. LeavingGET BOOK!
by Varshini Prakash,Guido Girgenti
An urgent and definitive collection of essays from leaders and experts championing the Green New Deal—and a detailed playbook for how we can win it—including contributions by leading activists and progressive writers like Varshini Prakash, Rhiana Gunn-Wright, Bill McKibben, Rev William Barber II, and more. In October 2018, scientists warned that we have less than 12 years left to transform our economy away from fossil fuels, or face catastrophic climate change. At that moment, there was no plan in theGET BOOK!
by Betsy Fahlman
ArizonaÕs art history is emblematic of the story of the modern West, and few periods in that history were more significant than the era of the New Deal. From Dorothea Lange and Ansel Adams to painters and muralists including Native American Gerald Nailor, the artists working in Arizona under New Deal programs were a notable group whose art served a distinctly public purpose. Their photography, paintings, and sculptures remain significant exemplars of federal art patronage and offer telling lessonsGET BOOK!
by Katherine H. Adams,Michael L. Keene
In 1935, the United States Congress began employing large numbers of American artists through the Works Progress Administration--fiction writers, photographers, poster artists, dramatists, painters, sculptors, muralists, wood carvers, composers and choreographers, as well as journalists, historians and researchers. Secretary of Commerce and supervisor of the WPA Harry Hopkins hailed it a "renascence of the arts, if we can call it a rebirth when it has no precedent in our history." Women were eminently involved, creating a wide variety of art andGET BOOK!
by 安藤広重,Melanie Trede,Lorenz Bichler
Hiroshige (1797-1858) was one of the last great artists in the "ukiyo-e" tradition. This complete reprint pairs each of the 120 large-scale illustrations with a description, allowing readers to plunge themselves into Hiroshige's beautifully vibrant landscapes of Edo (Tokyo).GET BOOK!