Arthur Rothstein's

Arthur Rothstein’s American Portraits Pictures from the road 1936-1943 Farm Security Administration

Edited and photobook design by C. Thomas Anderson Edited and photobook design by C. Thomas Anderson

thegreatdepressionphotos.com

2014

All photogaphs taken by Arthur Rothstein for the Resettlement and Farm Security Administrations 1935-1943

Photos courtesy of Library of Congress Washington, DC

Quotations from Oral history interview with Arthur Rothstein, 1964 May 25, Archives of American Art, Smithsonian Institution

Cover photo

Wife of a homesteader. Pennington County, South Dakota

May 1936 When Arthur Rothstein arrived in Washington to join the Farm Security Administration in 1935, they called him the “kid from the Bronx.” He was just 20. Raised in the Bronx he was born in Manhattan. New York City with its bustle of peo- ple, the stimulation of everything coming at you all at once was madness, but he must have loved it. He called himself a “provincial New Yorker” and at 20 he knew nothing of America beyond the Hudson. All that would change. If he had thought poverty was only an urban problem, he would see how dead wrong he was once he got on the road with a camera free from the city’s distractions. In 1935, the country was on the ropes and he was supposed to photograph it.

Arthur Rothstein Shenandoah Valley First Photo Trip for FSA Well, there were great advantages, of course, in being a provincial New Yorker, because everything seemed fresh and exciting. We had a group of people there that were being moved out to make way for a national park, Shenandoah National Park, and these were people who lived in the hills and the hollows of the Blue Ridge Mountains not far from Washington, about eighty miles. I went out there and lived in a cabin on the top of a mountain for a few weeks, walked around and became acquainted with these people. At the beginning they were very shy about having pictures taken, but I would carry my camera along and make no attempt to take pictures. They just got to know me, and finally, they didn’t mind if I took a few pictures. Arthur Rothstein 1964 Child living in Corbin Hollow, Virginia Shenandoah Valley October 1935 Russ Nicholson, grandfather of all the Nicholsons in Nicholson Hollow. Shenandoah National Park, Virginia October 1935 I took quite a few unusual pictures at that time using a Leica camera and a technique that is almost a standard now. A technique that I developed out of necessity all by myself which I call the “unobtrusive camera,” the idea of becoming so much a part of the environment that the people aren’t even aware that pictures are being taken. I did it out of necessity. It was the only way I could get these pictures, you see. The purpose of the project was to photograph these people who were going to be moved out and photograph them in such a way that you had some idea of how they lived and what they did, because their entire way of life was going to be destroyed. They were going to be taken out of this environment and moved into shiny new houses where they would no longer have the picturesque quality that they had living in the hills. This record I made I think served a very useful purpose. It showed how a certain group of people in the United States lived at a particular time, and they no longer exist. I think that it has a great deal of value. Some of the pictures I made were good enough to be consid- ered fairly fine examples of photography . But before I went out I had long discussions with Roy Stryker about what I was going to do and what I was going to show.

Roy was the one who made me aware of the fact that there is a great deal of significance in small details. He made me aware of the fact that it was important, say, to photograph the corner of a cabin showing an old shoe and a bag of flour; or it was important to get a close-up of a man’s face; and it was important to show a window stuffed with rags. He made me conscious of all these things, and I just went out and did them. I enjoyed doing them, and in the process of doing them I developed a certain sense of design and order and composition, and combined that with the use of a miniature camera, which at the time was only six or sev- en years old.

Arthur Rothstein 1964 One of Dicee Corbin's children, Shenandoah National Park, Virginia October 1935 Fennel Corbin. Shenandoah National Park, Virginia October 1935 [Roy] Stryker [head of the Farm Security Administration photo section] benefited a great deal from having two people who were already in the government and who were tremendously interested in photography and in Roy’s work: Ben Shahn and Walker Evans. Now these men were a little farther advanced in the field. They already had reputations. Ben was a well-known artist at that time and Walker Evans was an accomplished photographer with a very definite sense of style. Both of them contributed a great deal to my own development as a photographer in those days, because they had very definite approaches, and it was not just a question of making a picture, but making a picture that had meaning. Arthur Rothstein 1964 Other assignments Dust Bowl Cimarron County, Oklahoma 1935

Boy caught in a dust storm shielding his eyes Migrant boy. Tulare migrant camp. Visalia, California March 1940

[Orphaned boys frequently walked the roads alone in search of work. Adults beat these youngsters to scare them away from applying for jobs. To get work boys had to appear, strong, mature, and competent. They often worked under the same brutal conditions as adults.] [Ben Shahn and Walker Evans] made me very aware of the elements that go into photography-that go beyond just the content of the picture-the elements of style, of ndividual approach, of being able to see clearly, being able to visualize ideas. I’m quite sure these two people did more for my development as a photographer than any two photographers that I could think of at that particular stage. Of course, I would imagine that as I’ve gone along in my career there have been many people who have influenced me; certainly now I’m involved in an entirely different kind of work, in photojournalism. They were not concerned at all with photojournalism. They were interested in photography as a fine art. Arthur Rothstein 1964 The family of a migratory fruit worker from Tennessee now camped in a field near the packinghouse at Winter Haven, Florida January 1937 Wife and child of a sharecropper, Washington County, Arkansas August 1935 [Rothstein did not think this pho- to had much emotional value and should not be kept in the FSA file. Walker Evans strongly disagreed and urged Stryker to keep it.] Waiting for better times J. Huffman of Grassy Butte, North Dakota, sits in front of his closed store July 1936 Miles City, Montana. Stockmen in front of a bar on main street June 1939 Unloading bananas on the dock Mobile, Alabama February 1937 Taxicab driver along riverfront. Saint Louis, Missouri May 1936 Two children of a migratory fruit worker. Deerfield, Florida January 1937 Artelia Bendolph Gees Bend, Alabama April 1937 Yardman on mine railroad Jefferson County, Alabama February 1937 Supervisor conferring with farmer Falls City, Nebraska May 1936 … we had a great social responsibility. This is one thing that we all had in common. We were dedicated to the idea that our lives can be improved, that man is the master of his environment and that it’s possible for us to live a better life, not only materially, but spiritually as well. We were all tremendously socially conscious.

Arthur Rothstein 1964