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Études Photographiques, 25 | Mai 2010 a Microcosm Untouched by Time 2 Études photographiques 25 | mai 2010 Français-English A Microcosm Untouched by Time Marion Post Wolcott’s Photographs of ‘Gold Avenue,’ 1939–1941 Laure Poupard Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3444 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 5 May 2010 ISBN: 9782911961250 ISSN: 1270-9050 Electronic reference Laure Poupard, « A Microcosm Untouched by Time », Études photographiques [Online], 25 | mai 2010, Online since 21 May 2014, connection on 22 April 2019. URL : http://journals.openedition.org/ etudesphotographiques/3444 This text was automatically generated on 22 April 2019. Propriété intellectuelle A Microcosm Untouched by Time 1 A Microcosm Untouched by Time Marion Post Wolcott’s Photographs of ‘Gold Avenue,’ 1939–1941 Laure Poupard Translation : James Gussen The author wishes to thank Olivier Lugon and Clément Chéroux. 1 In 1939, Marion Post Wolcott, a young photographer recently hired by the Farm Security Administration (FSA), traveled to Florida for several months to photograph the winter harvest.1 Florida had not yet been extensively explored by the photographers of the FSA’s historical section, likely because Florida was less directly affected by the economic crisis. For Post Wolcott this was the initial stage in her discovery of the American South. On this first trip to the state, she became especially interested in its striking contrasts. The coast, the camps of migrant workers who had come down to Florida for the harvest, and the fields devastated by the drought and prolonged cold formed a strange backdrop to what had long been the source of the state’s wealth and reputation: the small seaside towns and rich tourists fleeing winter. 2 Since the harvest was late in starting, Post Wolcott left the rural areas to spend a few days in Miami, the state’s principal tourist town: ‘Decided to stay in Miami for Sunday – take a swim, lie in the sun and sand for an hour or so, and photograph the tourists and idle rich at play.’2 In a letter to Roy Stryker, director of the FSA’s photographic unit, she describes her fascination with the rituals and symbols of the American upper class and the ‘wonderful contrast’3 represented in the wealthier enclaves of the South. In January 1939, while photographing some of the beaches and villas of Miami, Post Wolcott conceived the plan for a series of documentary photographs that would later be known as ‘Gold Avenue.’ The circumstances surrounding the genesis of the series are unclear. With the exception of a few lines, she never returned in her letters to her interest in this affluent world. 3 The project was daring, even risky: white and wealthy America seemed in every respect to be the opposite of the America generally depicted by the FSA, whose efforts were wholly devoted to describing a rural world that was reeling from the economic crisis and rapidly descending into poverty. And yet, in 1939, despite that Post Wolcott’s budding interest in the American upper class represented a departure from the norms and broad Études photographiques, 25 | mai 2010 A Microcosm Untouched by Time 2 themes established by Stryker and his photographers – the FSA is primarily remembered today for its images of the ‘bitter years’4 – she was encouraged by Stryker to carry out her plan: ‘I am sure that you can find plenty of other things to work on while you are waiting for [the] actual harvest to start. A little of some of the tourist towns, which will show up how the “lazy rich” waste their time; keep your camera on the middle class, also.’5 Stryker appeared to be just as fascinated by these celebrated contrasts as Post Wolcott herself. 4 Post Wolcott’s few days in Miami formed the point of departure for what is now regarded as one of the most interesting photographic works of her brief career. The result is 166 images taken first in 1939 and then in 1941, when she made a second trip to Florida. This series, which today is unofficially known as ‘Gold Avenue,’6 represents one of the richest and most comprehensive sets of images that Post Wolcott produced for the FSA. Above all, it constitutes the only real documentation of the lifestyle of the upper class in the agency’s entire photographic output, which numbers nearly 270,000 images. Critical Reception 5 Far from John Steinbeck’s mythic characters7 and the heroes of Let Us Now Praise Famous Men,8 the photographs of ‘Gold Avenue’ depict the everyday lives of the rich property owners and rare wealthy tourists of the seaside towns of Miami and Dade City (1939) and Sarasota (1941); they sketch the portrait of a society that seems totally indifferent to the current crisis. At a time when the country was going through a period of major socioeconomic transition and being transformed in an era of crisis and massive industrialization, the handful of upper-class microcosms immortalized by Post Wolcott were impassive both in the face of the changes then underway and the threat of war. They seem to be from another age, fragments of a vanished and improbable world that has nothing in common with the precariousness and economic insecurity generally depicted by the FSA. 6 Today, a few of these images of Florida’s middle and upper classes are among Post Wolcott’s most famous works. ‘Guests of the Sarasota Trailer Park, Picnicking at the Beach,’ taken at the Florida shore in winter 1941, now stands as one of her most iconic images ; it is featured on the covers of two important biographies of the photographer, those by Jack Hurley and by Paul Hendrickson.9 The quiet charm of these four figures – the profile of a well-dressed woman wrapped up in the spectacle of the sea; the stately black automobile, symbolic mirror of a modern, middle class America – seems to have become the embodiment of a ‘shining exception,’10 an originality peculiar to the photographer, which her principal admirers have all sought to highlight. But the popularity of some of the images of ‘Gold Avenue’ was late in coming.11 For a long time, the entire series was unknown to critics and researchers, and lay forgotten among the mass of images in the archives of the Library of Congress in Washington. It was not until the late 1970s and the first round of exhibitions devoted exclusively to her work that the images of ‘Gold Avenue’ came to the fore. 7 In the reception of Post Wolcott’s work, the years 1970–80 mark the era of a genuine rediscovery. While the photographer had already received a few scattered mentions in books and exhibitions about the FSA,12 it was not until 1978 with her first solo exhibition at the University of California, Berkeley, that the full extent of her work for the agency was revealed, and the photographs of ‘Gold Avenue’ were discovered. This was followed in Études photographiques, 25 | mai 2010 A Microcosm Untouched by Time 3 the 1980s by a series of solo exhibitions and the subsequent publication of biographical essays and books13 in which the portraits of Florida’s wealthy elite figure prominently. 8 Critics at this time lauded the singularity and tremendous audacity of a photographer whom they regarded as ‘a mystery figure in the FSA scheme of things.’14 Sally Stein, coauthor of a book on Post Wolcott, points to the images of Florida as indisputable evidence of a ‘provocative departure’15 underlying her work. The photographs of affluent tourists wintering in Florida gradually evolved into the emblems of a nonconformist position, a singular political and social activism specific to the photographer. 9 In itself, the fact that the Florida photographs gained their popularity so late is not an indication that they were singled out for special treatment. Today, it is safe to say that there is still much to be discovered in the vast collection of photographs that Stryker and his unit assembled over a nearly eight-year period (1935–43), and further ‘treasures’ of the FSA will resurface in years to come. It is also to be hoped that we will no longer be limited to the same small sample of well-known photographs in future publications on the agency. And yet as Sally Stein has argued, the case of ‘Gold Avenue’ is more complex: these images of Florida were not simply the unfortunate victims of a general disregard. They had, in the past, been systematically ignored by books and exhibitions on the FSA for the simple reason that they posed a threat to the delicate balance of the agency’s documentary undertaking and, indeed, to the agency itself, which was constantly under fire from conservative critics. In short, Stein argues, ‘Gold Avenue’ was a kind of anti- propaganda, a dangerous and embarrassing exposure of the inequalities sustained by the very same white and wealthy elite to whom Stryker’s publicity campaign was addressed.16 Because they were too polemical, the photographs of ‘Gold Avenue’ were deliberately marginalized within the agency’s collection.17 By an irony of fate, it was for this very reason that they later became the focus of attention. From Patriotic Idealization to Militant Nonconformism 10 By asserting the importance of the photographs of ‘Gold Avenue’ as indisputable proof of a certain ‘insubordination’ or, at the very least, a nonconformism peculiar to the photographer’s work, Post Wolcott’s first biographers were attempting to overturn a critical discourse that was only too well established at the time. Since the 1960s, when the first large retrospective exhibitions on the FSA were mounted,18 Post Wolcott had often been defined as the exponent of a romantic and naïvely positive discourse that was wholly uncharacteristic of the history of the documentary undertaking.
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