New Deal Photography
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|Author||: Nicholas Natanson|
|Editor||: Univ. of Tennessee Press|
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.
|Author||: 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; This book records the full reach of the FSA program from 1935 to 1943, honoring its vigor and commitment across subjects, states, and stylistic preferences. The photographs are arranged into four broad regional sections but are allowed to speak for themselves.
|Author||: 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, but also captured powerful images of life in rural and small town America.New Deal Photographs of West Virginia, 1934-1943 presents images of the state's northern and southern coalfields, the subsistence homestead projects of Arthurdale, Eleanor, and Tygart Valley, and various communities from Charleston to Clarksburg and Parkersburg to Elkins. With over one hundred and fifty images by ten FSA photographers, including Walker Evans, Marion Post Wolcott, Arthur Rothstein, and Ben Shahn, this collection is a remarkable proclamation of hardship, hope, endurance, and, above all, community. These photographs provide a glimpse into the everyday lives of West Virginians during the Great Depression and beyond.
|Author||: Julia L. Foulkes|
|Editor||: Temple University Press|
In the 1930s and 1940s, as the United States moved from a rural to an urban nation, the pull of the city was irrepressible. It was so strong that even a photographic mission designed to record the essence of rural America could not help but capture the energy of urbanization too. To the City showcases over 100 photographs from the Farm Security Administration (FSA) project along with extracts from the Works Progress Administration (WPA) guidebooks and oral histories, to convey the detail and dimensions of that transformation. This artfully grouped collection of photographs includes magnificent images by notable photographers Dorothea Lange, Walker Evans and Gordon Parks, among many others. Foulkes organizes this history of Americana into five themes: Intersection; Traffic; High Life and Low Life; The City in the Country; and Citizens to illuminate the changes in habits, landscapes, and aspirations that the march to cities encompassed. As the rural past holds symbolic sway and the suburb presents demographic force, the urban portion of our history—why and how cities have been a destination for hope—recedes from view. To the City is a thoughtful, engaging reminder.
|Author||: James Agee|
Agee's colleague at Time in the 1940s, John Hersey, writes a major evaluation of Agee's work and the Agee legend in a new introduction to this literary classic. 64 pages of photos.
|Author||: Mary Murphy|
|Editor||: Montana Historical Society|
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 picnicked and suffered and died and were buried in it." In Montana the four photographers traveled to forty of the state's fifty-six counties, creating a rich record of the many facets of the Depression and recovery: rural and urban, agricultural and industrial, work and play, hard times and the promise of a brighter future. The photographers captured the dignity of Montanans as they struggled to scratch out livings from dried-up fields, nurture families in the shadows of Butte head frames, and foster communities on the vast expanses of the northern plains. Hope in Hard Times, features over 140 Farm Security Administration photographs to illustrate the story of the Great Depression in Montana and the experiences of the photographers who documented it. Today these striking images, from cities like Butte to small towns like Terry, present an unforgettable portrait of a little-studied period in the history of Montana. Selected from the Farm Security Administration Collection at the Library of Congress in Washington, D.C., the photographs in Hope in Hard Times offer viewers an unparalleled look at life in Montana in the years preceding the United States' entry into World War II.
|Author||: Diana L. Linden|
|Editor||: Wayne State University Press|
Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. In Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press. In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads—a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal—Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art. Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, and Depression-era American culture will enjoy this insightful volume.
|Author||: 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 combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms. The Bitter Years celebrates some of the most iconic photographs of the 20th century and, since no proper catalogue was produced at the time, provides a whole new insight into Steichen's impact on the history of documentary photography."
|Author||: 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.
|Author||: 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. Leaving her studio, Lange confronted citizens’ anguish with her camera, documenting their economic and social plight. This move propelled her to international renown. This biography synthesizes recent New Deal scholarship and photographic history and probes the unique regional histories of the Pacific West, the Plains, and the South. Lange’s life illuminates critical transformations in the U.S., specifically women’s evolving social roles and the state’s growing capacity to support vulnerable citizens. The author utilizes the concept of "care work," the devalued nurturing of others, often considered women’s work, to analyze Lange’s photography and reassert its power to provoke social change. Lange’s portrayal of the Depression’s ravages is enmeshed in a deeply political project still debated today, of the nature of governmental responsibility toward citizens’ basic needs. Students and the general reader will find this a powerful and insightful introduction to Dorothea Lange, her work, and legacy. Dorothea Lange, Documentary Photography, and Twentieth-Century America makes a compelling case for the continuing political and social significance of Lange’s work, as she recorded persistent injustices such as poverty, labor exploitation, racism, and environmental degradation.
|Author||: Kathleen Krull|
|Editor||: Simon and Schuster|
Discover the incredible life of Frances Perkins, the first woman to serve in a presidential cabinet and the mastermind behind Franklin D. Roosevelt’s New Deal, in this fascinating picture book biography that’s perfect for fans of I Dissent. Most people know about President FDR, but do you know the woman who created his groundbreaking New Deal? As a young girl, Frances Perkins was very shy and quiet. But her grandmother encouraged Frances to always challenge herself. When somebody opens a door to you, go forward. And so she did. Frances realized she had to make her voice heard, even when speaking made her uncomfortable, and use it to fight injustice and build programs to protect people across the nation. So when newly-elected President Franklin Delano Roosevelt finally asked Frances to be the first female Secretary of Labor and help pull the nation out of the Great Depression, she knew she had to walk through that open door and forward into history. In this empowering, inspirational biography, discover how the first woman to serve in a presidential cabinet led the charge to create the safety net that protects American workers and their families to this day.
|Author||: Gilles Mora,Beverly W. Brannan|
For this remarkable volume, Mora and Brannan immersed themselves in the vast archive at the Library of Congress and emerged with unknown treasures. Theirs is a new view of the achievement of the FSA photographers--the most comprehensive in print--that gives them their due as the creators of a new American photographic vision.
|Author||: Margaret Olin|
|Editor||: University of Chicago Press|
Photography does more than simply represent the world. It acts in the world, connecting people to form relationships and shaping relationships to create communities. In this beautiful book, Margaret Olin explores photography’s ability to “touch” us through a series of essays that shed new light on photography’s role in the world. Olin investigates the publication of photographs in mass media and literature, the hanging of exhibitions, the posting of photocopied photographs of lost loved ones in public spaces, and the intense photographic activity of tourists at their destinations. She moves from intimate relationships between viewers and photographs to interactions around larger communities, analyzing how photography affects the way people handle cataclysmic events like 9/11. Along the way, she shows us James VanDerZee’s Harlem funeral portraits, dusts off Roland Barthes’s family album, takes us into Walker Evans and James Agee’s photo-text Let Us Now Praise Famous Men, and logs onto online photo albums. With over one hundred illustrations, Touching Photographs is an insightful contribution to the theory of photography, visual studies, and art history.
|Author||: Betsy Fahlman|
|Editor||: University of Arizona Press|
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 lessons positioned at the intersection of community history and culture. Art is a powerful instrument of historical record and cultural construction, and many of the issues captured by the Farm Security Administration photographers remain significant issues today: migratory labor, the economic volatility of the mining industry, tourism, and water usage. Art tells important stories, too, including the work of Japanese American photographer Toyo Miyatake in ArizonaÕs internment camps, murals by Native American artist Gerald Nailor for the Navajo Nation Council Chamber in Window Rock, and African American themes at Fort Huachuca. Illustrated with 100 black-andwhite photographs and covering a wide range of both media and themes, this fascinating and accessible volume reclaims a richly textured story of Arizona history with potent lessons for today.
|Author||: Russell Freedman|
|Editor||: Houghton Mifflin Harcourt|
Through memoirs, diaries, letters, and other firsthand accounts, illuminates the lives of the American children affected by the economic and social changes of the Great Depression, including middle-class urban youth, migrant farm laborers, boxcar kids, and others.
|Author||: Anne Whiston Spirn|
|Editor||: University of Chicago Press|
The never-before-published photographs and captions from Dorothea Lange's fieldwork in California, the Pacific Northwest, and North Carolina during 1939 for the New Deal's Farm Security Administration come together in an iconic collection that includes defining images of that time in American history.
|Author||: Russell Lee,John Collier (Jr.),James Burton Colson,Jack Delano|
The Pueblo Food Experience Cookbook is an original cookbook by, for, and about the Pueblo peoples of New Mexico.