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Oral History Interview with Roy Emerson Stryker, 1963-1965
Oral history interview with Roy Emerson Stryker, 1963-1965 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Roy Stryker on October 17, 1963. The interview took place in Montrose, Colorado, and was conducted by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview Side 1 RICHARD DOUD: Mr. Stryker, we were discussing Tugwell and the organization of the FSA Photography Project. Would you care to go into a little detail on what Tugwell had in mind with this thing? ROY STRYKER: First, I think I'll have to raise a certain question about your emphasis on the word "Photography Project." During the course of the morning I gave you a copy of my job description. It might be interesting to refer back to it before we get through. RICHARD DOUD: Very well. ROY STRYKER: I was Chief of the Historical Section, in the Division of Information. My job was to collect documents and materials that might have some bearing, later, on the history of the Farm Security Administration. I don't want to say that photography wasn't conceived and thought of by Mr. Tugwell, because my backround -- as we'll have reason to talk about later -- and my work at Columbia was very heavily involved in the visual. -
Farm Security Administation Photographs in Indiana
FARM SECURITY ADMINISTRATION PHOTOGRAPHS IN INDIANA A STUDY GUIDE Roy Stryker Told the FSA Photographers “Show the city people what it is like to live on the farm.” TABLE OF CONTENTS Introduction 1 The FSA - OWI Photographic Collection at the Library of Congress 1 Great Depression and Farms 1 Roosevelt and Rural America 2 Creation of the Resettlement Administration 3 Creation of the Farm Security Administration 3 Organization of the FSA 5 Historical Section of the FSA 5 Criticisms of the FSA 8 The Indiana FSA Photographers 10 The Indiana FSA Photographs 13 City and Town 14 Erosion of the Land 16 River Floods 16 Tenant Farmers 18 Wartime Stories 19 New Deal Communities 19 Photographing Indiana Communities 22 Decatur Homesteads 23 Wabash Farms 23 Deshee Farms 24 Ideal of Agrarian Life 26 Faces and Character 27 Women, Work and the Hearth 28 Houses and Farm Buildings 29 Leisure and Relaxation Activities 30 Afro-Americans 30 The Changing Face of Rural America 31 Introduction This study guide is meant to provide an overall history of the Farm Security Administration and its photographic project in Indiana. It also provides background information, which can be used by students as they carry out the curriculum activities. Along with the curriculum resources, the study guide provides a basis for studying the history of the photos taken in Indiana by the FSA photographers. The FSA - OWI Photographic Collection at the Library of Congress The photographs of the Farm Security Administration (FSA) - Office of War Information (OWI) Photograph Collection at the Library of Congress form a large-scale photographic record of American life between 1935 and 1944. -
The Bitter Years: 1935-1941 Rural America As Seen by the Photographers of the Farm Security Administration
The bitter years: 1935-1941 Rural America as seen by the photographers of the Farm Security Administration. Edited by Edward Steichen Author United States. Farm Security Administration Date 1962 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/3433 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE BITTER YEARS 1.935-1 94 1 Rural America as seen by the photographers of the Farm Security Administration Edited by Edward Steichen The Museum of Modern Art New York The Bitter Years: 1935-1941 Rural America as seen by the photographers of the Farm Security Administration Edited by Edward Steichen The Museum of Modern Art, New Y ork Distributed by Doubleday and Co., Inc., Garden City, N.5 . To salute one of the proudest achievements in the history of photography, this book and the exhibition on which it is based are dedicated by Edward Steichen to ROY E. STRYKER who organized and directed the Photographic Unit of the Farm Security Administration and to his photo graphers : Paul Carter, John Collier, Jr., Jack Delano, Walker Evans, Theo Jung, Dorothea Lange, Russell Lee, Carl Mydans, Arthur Rothstein, Ben Shahn, John Vachon, and Marion Post Wolcott. © 1962, The Museumof Modern Art, JVew York Library of CongressCatalogue Card JVumber:62-22096 Printed in the United States of America I believe it is good at this time to be reminded of It was clear to those of us who had responsibility for those "Bitter Years" and to bring them into the con the relief of distress among farmers during the Great sciousness of a new generation which has problems of Depression and during the following years of drought, its own, but is largely unaware of the endurance and that we were passing through an experience of fortitude that made the emergence from the Great American life that was unique. -
Sorrow-Hope Guide to Names.Pdf
Times of Sorrow & Hope GUIDE TO PERSONAL NAMES IN THE ON-LINE CATALOG This section is a guide to individuals and Ballman, George C. Merritt Bundy family families whose images are captured in these Ephrata, November . Du Bois and Penfield, photographs and who are named in the titles Marjory Collins. September . Jack Delano. given to the photographs. These people may Banonis, Al Bushong, O. K. not necessarily come from the places men- Shenandoah, [?]. Sheldon Dick. Lititz, November . tioned in the titles: the photographs were Beck brothers Marjory Collins. taken during the WWII years, and some Lititz, May . Sheldon Dick. Butkeraits, Jacob people were working elsewhere in Penn- Walter Bennett’s mill Pittsburgh, June . Marjory Collins. sylvania or were in the armed forces. But it Chaneysville, December . would appear that for the most part, the Arthur Rothstein. C people pictured do come from the areas men- Bernicoff, Clarence Carlotta, Bertha tioned. (Many more fsa-owi photographs Allentown, between and [?]. Pitcairn, May . Marjory Collins. include people, but no personal names U.S. Army photograph. [Note: See Carson, Clem (“Bud”) appear in the titles.) “Other and Unidentified Photographs” Pittsburgh, September . section of the catalog.] Esther Bubley. A Bert, Henry Casey, Jean Ackerman, Milton B. Sharon, February . Philadelphia, June . Jack Delano. Erie, June–July . Alfred Palmer. Chiaco, Frank Alfred Palmer and John Vachon. Biggs, E. Power Pennsylvania [no specific place indi- Almoney family Bethlehem, May . cated]. [Note: Photograph taken in Lititz, November . Howard Hollem. Hawaii. See “Other and Unidentified Marjory Collins. Boatman, Charles Photographs” section of the catalog.] Ankrom, Mary Pennsylvania Emergency Pipeline, Choly, William Pitcairn, May . -
Views November 2013
NEWSLETTER OF THE VISUAL MATERIALS SECTION November 2013 Volume 27, Number 3 Chair’s Corner INSIDE David Haberstich Curator of Photography, Chair’s Corner pp. 1-2 Archives Center, National Museum of American History, Smithsonian Chair-elect’s Column pp. 3-4 Of Shutdowns And Meetings 2013 Annual Meeting By the time you read this, fellow Visual Ma- Summary p. 4 terials Section members, the federal government “shutdown” may be just a bad memory, perhaps shorter than the previous shutdown, but I am sit- 2014 Midwinter Meeting ting at home writing this on October 3, the third p. 4 day of this national ordeal. I might have prepared it at home anyway, but just know- ing that I am prohibited from doing it in my federally funded Smithsonian office Symposia Reports (currently a cubicle) represents a burr in my figurative saddle. The Smithsonian pp. 5-8 Institution is a bit unusual in its mix of federal and private funding, so there are some organizations which are not affected directly, such as one office whose staff Articles pp. 9-12 is composed entirely of trust fund employees, working in a non-federal building: it’s business as usual for them. To put things in perspective, I realize that my incon- Exhibitions & Digital venience is minor compared to the actual sufferings of younger federal employees Publications pp. 13-14 and low-wage employees who essentially live from paycheck to paycheck. I know a young lady at the Department of Transportation who is preparing for a big wedding which she will fund primarily out of her own pocket, and her loss of salary may have New in Print pp. -
THE PHOTOGRAPHS of ESTHER BUBLEY Library of Congress, D
THE PHOTOGRAPHS OF ESTHER BUBLEY Library of Congress, D. Giles, Ltd, publisher Amy Pastan, editor; Melissa Fay Greene, introduction 2010 It was, to judge from the photographs, a fatiguing era for women. All that drab, oft-mended, and practical wartime clothing—wool dresses and long wool overcoats, girdles and sweaters, felt hats with small veils, and boxy suit blazers with padded shoulders—made a girl just want to lie down. And lie down they did, in Esther Bubley’s photographs, flattening the curls they rolled and uncomfortably slept on the night before, tangling and losing their bobby pins. Young women collapse and sprawl asleep on bus terminal benches and plastic-covered couches, in boarding house bedrooms, and on a sand beach at a Maryland pool. Even wide-awake 1 women are tilting: a high school girl leans against a tiled wall of lockers; a tennis player reclines against a fence; and a young woman—listening, we are told, to a radio murder mystery—curls forward so heavily over a cabinet, her head propped on her hands, one knee drawn in, that she seems to be suffering in some way, as if from a hangover or migraine. Maybe the young photographer felt weary herself, unused to the long hours on the road with cumbersome equipment; perhaps she longed for a nap of her own on a thin boardinghouse mattress with her shoes off and the curtains drawn. Women’s industry is here, too, helping to account for all that exhaustion. A tired young woman stares straight ahead, almost unable to summon an emotional expression; she works as a restroom attendant in a Greyhound bus station. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
The Forgotten Man: the Rhetorical Construction of Class and Classlessness in Depression Era Media
The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media A dissertation presented to the faculty of the College of Arts of and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lee A. Gray November 2003 @ 2003 Lee A. Gray All Rights Reserved This dissertation entitled The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media By Lee A. Gray has been approved for the Individual Interdisciplinary Program and The College of Arts and Sciences by Katherine Jellison Associate Professor, History Raymie E. McKerrow Professor, Communication Studies Leslie A. Flemming Dean, College of Arts and Sciences Gray, Lee A. Ph.D. November 2003. History/Individual Interdisciplinary Program The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media (206 pp.) Co-Directors of Dissertation: Katherine Jellison and Raymie McKerrow The following study is an analysis of visual and narrative cultural discourses during the interwar years of 1920-1941. These years, specifically those of the 1930s, represent a significant transitional point in American history regarding cultural identity and social class formation. This study seeks to present one profile of how the use of media contributed to a mythic cultural identity of the United States as both classless and middle-class simultaneously. The analysis is interdisciplinary by design and purports to highlight interaction between visual and oral rhetorical strategies used to construct and support the complex myths of class as they formed during this period in American history. I begin my argument with Franklin D. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture UNSETTLED MASSES: PUBLIC TRANSPORTATION IN THE ART OF NEW YORK CITY, 1929–1941 A Dissertation in Art History by Emily A. Schiller © 2016 Emily A. Schiller Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2016 The dissertation of Emily A. Schiller was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Co-Adviser Co-Chair of Committee Leo G. Mazow Louise B. and J. Harwood Cochrane Curator Head of the Department of American Art Virginia Museum of Fine Arts Dissertation Co-Adviser Co-Chair of Committee Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Craig Zabel Associate Professor of Art History Head of the Department of Art History Anne Rose Distinguished Professor of History and Religious Studies *Signatures are on file in the Graduate School. ii ABSTRACT During the Great Depression and World War II, public transportation thrived as an alternative to costly travel by railroads or private cars. This dissertation uses depictions of mass transit as points of departure into contextual examinations of three artists who repeatedly used passengers as subjects: Reginald Marsh (1898–1954), Donald Freeman (1908–1978), and Walker Evans (1903–1975). I argue that travel imagery attests to mobility as a common experience—an aspect of American life that viewers would recognize. Through a close examination of representations of mobility, it becomes clear that the motif appealed to these artists because it was simultaneously common and complicated—implicitly moving but explicitly stationary. -
Oral History Interview with Jack and Irene Delano, 1965 June 12
Oral history interview with Jack and Irene Delano, 1965 June 12 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Jack and Irene Delano on June 12, 1965. The interview took place in Rio Piedras, Puerto Rico, and was conducted by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview RICHARD DOUD: If you don't mind, I think I'll ask you about your background, what you were doing leading up to your association with the Farm Security Administration, and I think also if you would tell me how you became interested in photography because, as I understand, you didn't start out as a photographer primarily. JACK DELANO: That's right. Well, I was living in Philadelphia where I was brought up, and I was studying drawing and painting at the Academy of Fine Arts. Before that, I had started studying music and I was going to both schools at the same time. I was at the Academy on a scholarship, an art scholarship, and studying mainly illustration. I got a traveling fellowship from the Academy of Fine Arts to go abroad one summer, Kresson traveling fellowship, which was the first chance I had to visit museums in Europe, and so forth. Also, coming from a poor family, it was the first time I had a little extra money in my pocket. -
Oral History Interview with Gordon Parks, 1964 Dec. 30
Oral history interview with Gordon Parks, 1964 Dec. 30 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Gordon Parks on December 30, 1964. The interview took place in New York, and was conducted by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview RICHARD DOUD: If you would, Mr. Parks, I'd like to hear something about your background and how you became interested in photography in the first place. GORDON PARKS: Well, I was born in Kansas, raised in Minnesota and spent a good part of my early life, up until I was about fifteen or sixteen, in Kansas. After my mother died, I went to Minnesota where I was brought up. I brought myself up, rather. I took odd jobs up until 1942, until I joined the F.S.A. as a Rosenwald Fellow. Of course, I didn't start photography until about 1939 and up until that time I had worked as a waiter on the railway, bartender and road gangs, played semi-professional basketball, semi-professional football, worked in a brick plant, you name it, you know, just about everything. And so in 1939 I think, as I tell it now, I'm sure that it is true I first became interested in photography when I saw pictures of the bombing of the "Panay" which was a U.S. -
From Dustbowl and Dairy Farm to Defense Housing: Understanding the Farm Security Administration Photographs of Bath Iron Works
Maine History Volume 46 Number 1 Representing Maine Article 5 10-1-2011 From Dustbowl and Dairy Farm to Defense Housing: Understanding the Farm Security Administration Photographs of Bath Iron Works Rachel Miller Maine Historical Society Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainehistoryjournal Part of the Photography Commons, Social History Commons, and the United States History Commons Recommended Citation Miller, Rachel. "From Dustbowl and Dairy Farm to Defense Housing: Understanding the Farm Security Administration Photographs of Bath Iron Works." Maine History 46, 1 (2011): 67-89. https://digitalcommons.library.umaine.edu/mainehistoryjournal/vol46/iss1/5 This Article is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine History by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. FROM DUSTBOWL AND DAIRY FARM TO DEFENSE HOUSING: UNDER- STANDING THE FARM SECURITY ADMINISTRATION PHOTOGRAPHS OF BATH IRON WORKS BY RACHEL MILLER In the late 1930s and early 1940s, Roy Stryker and his team of photogra- phers at the Farm Security Administration (FSA) set out to create im- ages of America that could bolster the spirit of the country in the midst of economic depression and international war. By 1940, photographs of small towns and America’s increasing military capability were common. In December 1940, Stryker sent photographer Jack Delano to Bath, Maine, to document the housing shortage for workers at the Bath Iron Works. This assignment was part of the FSA’s project to monitor and record migrant populations during the Great Depression, with the goal of creating better housing opportunities for workers.