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Dorothea Lange: the Photographer As Agricultural Sociologist Author(S): Linda Gordon Source: the Journal of American History, Vol Dorothea Lange: The Photographer as Agricultural Sociologist Author(s): Linda Gordon Source: The Journal of American History, Vol. 93, No. 3 (Dec., 2006), pp. 698-727 Published by: Organization of American Historians Stable URL: http://www.jstor.org/stable/4486410 . Accessed: 25/02/2015 10:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Organization of American Historians is collaborating with JSTOR to digitize, preserve and extend access to The Journal of American History. http://www.jstor.org This content downloaded from 128.103.149.52 on Wed, 25 Feb 2015 10:41:23 AM All use subject to JSTOR Terms and Conditions Dorothea Lange: The Photographeras AgriculturalSociologist Linda Gordon Forsuggestions on howto usethis article in theU.S. historyclassroom, see our"Teach- ingthe JAH" Web projectat http://www.indiana.edu/-jah/teaching/. To a startlingdegree, popular understandingof the Great Depression of the 1930s de- rivesfrom visual images,and among them,Dorothea Lange's are the most influential. Althoughmany do not know her name, her photographslive in the subconscious of virtuallyanyone in the UnitedStates who has any conceptof thateconomic disaster. Her picturesexerted great force in theirown time,helping shape 1930s and 1940s Popular Frontrepresentational and artisticsensibility, because the Farm SecurityAdministration (FSA),her employer, distributed the photographsaggressively through the mass media. If you watchthe filmThe Grapes of Wrath with a collectionof herphotographs next to you, you will see the influence.'Lange's commitmentto making her photographyspeak to mattersof injustice was hardlyunique-thousands of artists,writers, dancers, and actors were tryingto connectwith the vibrantgrass-roots social movementsof the time. They formeda culturalwing of the PopularFront, a politicsof liberal-Leftunity in supportof the New Deal. The FSAphotography project aimed to examinesystematically the social and economic relationsof Americanagricultural labor. Yet none of the scholarshipabout that unique visualproject has made farmworkers central to itsanalysis. One consequenceof theomis- sion has been underestimatingthe policyspecificity of the FSAsand Lange's expose. We understandher work, and thatof thewhole FSAphotography project, differently ifwe see it as a contestedpart of New Deal farmpolicy. Putting Lange's photographyback into thatcontext makes the sharpnessof its criticaledge moreapparent. FSA photography was a politicalcampaign. The FSAwas at the leftedge of the Departmentof Agriculture,and its photographyproject was at the leftedge of the FSA. The photographersnot only chal- lenged an entireagricultural political economy, but triedalso to illustratethe racial sys- tem in whichit operated-a systemit also reinforced.Some politiciansand scholarshad censuredsouthern racism, but no prominentracial liberals addressed the more complex Linda Gordonis professorof historyat New YorkUniversity. She would liketo thankGeorge Chauncey, Jess Gil- bert,Betsy Mayer, Rondal Partridge,Sally Stein, and the discerningreaders for the Journal ofAmerican History for theirhelp. Readersmay contact Gordon at [email protected]. ' Her mostfamous picture, often known as "MigrantMother," had, by the late 1960s, been used in approxi- matelyten thousandpublished items, resulting in millionsof copies, in the estimationof PopularPhotography magazine.Howard M. Levinand KatherineNorthrup, Dorothea Lange: Farm Security Administration Photographs, 1935-1939 (2 vols.,Glencoe, 1980), I, 42. TheGrapes ofWrath, dir. John Ford (TwentiethCentury-Fox, 1940). 698 TheJournal of American History December2006 This content downloaded from 128.103.149.52 on Wed, 25 Feb 2015 10:41:23 AM All use subject to JSTOR Terms and Conditions The Photographeras AgriculturalSociologist 699 but equally unjust race relationsin the West. Since most people of color in the western UnitedStates at thattime lived in ruralareas, the Departmentof Agriculture'sphotogra- phy projectprovided a unique opportunityto make themvisible to urbanitesand non- westerners.Even the genderrelations revealed among thesephotographic subjects were less conventionalthan mainstreamdiscourse would suggest. Among documentaryphotographers, Dorothea Lange was exemplaryin both mean- ings of the word: her work exemplifieda prevailingstyle and, as a premierpractitioner of thatstyle, influenced it. Her progressivecommitment was at once typicalfor cultural frontdocumentarists and also unusuallytargeted, because she was promotingspecific New Deal policies.2She eventuallyreceived great acclaim (mostof it,unfortunately, post- humous) as a masterart photographer;but the agriculturalreform to which she was so passionatelycommitted did not (and perhapscould not) materialize.Her photography thusalso exposesthe limitationsof even a notablyprogressive part of the New Deal's ag- riculturalpolicy. That Lange, a city-born(Hoboken) citydweller (San Francisco),became an ace doc- umentaryphotographer through her work on ruralAmerica did not make her unique among FSAphotographers. They were mainlyof northernurban background,a remark- able proportionof themJewish (five of the elevenmajor photographers).3But theirori- gins mayhave been a strengthas well as a weakness.Because theysaw ruralsociety with eyesunhabituated to agriculturalvistas, they took nothingfor granted, and because they neededto learn,they were better able to teachothers. Lange executedthe FSA'S assignment morethoroughly than any otherindividual photographer-because she traveledto more regionsthan did the others,because she was marriedto and oftentraveled with Paul Tay- lor,an agricultureexpert and FSAinsider, and above all because she was based in Califor- nia, whichrepresented in manyways the futureof Americanagriculture. To simplifya complexmap, foursystems of agriculturallabor relationsprevailed in the United States: familyfarming in the North and Midwest,sharecropping in the South, tenantfarming on the southernplains, and migrantwage labor in the West. In all re- gions agriculturewas movingtoward industrial-scale production with absenteeowner- ship, but in each regionthe transformationbegan froma differentstarting point and proceededat a differentvelocity. Family farming, the Americanideal, neverdominated in the Southeast,the semiaridsouthern plains, or California.In the Southeast,slavery had builta plantationeconomy, which then adapted to a technically"free" labor forceby compellingex-slaves and manypoor whitesto become sharecroppers.In thedry southern 2 Michael Denning used the term"cultural front" to identifythe artsproduction characteristic of the Popular Frontpolitical alliance of the late 1930s and early1940s. Michael Denning, TheCultural Front: The Laboring of AmericanCulture in theTwentieth Century (London, 1997). PopularFront, in turn,named a particularstrategy dic- tatedin 1935 by theComintern to Communistparties throughout the world, directing them to seekalliance with otherparties of theLeft. But in theUnited States a popularmovement toward liberal-Left unity in supportof the New Deal precededthe Communistparty strategy by severalyears. This PopularFront was a movement,not an organization,and as a resultit was complex,heterogeneous, and ofteninternally conflicted, but thatdid not make it lessinfluential. 3Arthur Rothstein, Carl Mydans,Ben Shahn,Jack Delano, and Edwin Rosskamare thefive major Jewish pho- tographers.Also Jewishwere Esther Bubley, Louise Rosskam,Charles Fenno Jacobs,Arthur Siegel, and Howard Liberman.All the majorphotographers were formed as adultsthrough urban experience: Dorothea Lange in New Yorkand San Francisco;John Collier Jr. and RussellLee in San Francisco;Walker Evans, Arthur Rothstein, Ben Shahn,and Marion PostWolcott in New Yorkand Paris;Carl Mydansin Bostonand New York;and JackDelano in Philadelphia.Unlike the photographers,many key Farm Security Administration (FSA) administrators were south- ern:Will Alexanderand C. B. Baldwin,for example. This content downloaded from 128.103.149.52 on Wed, 25 Feb 2015 10:41:23 AM All use subject to JSTOR Terms and Conditions 700 TheJournal of American History December2006 plains,land speculationhad escalatedland prices,forcing many smallholdersinto debt and thenforeclosure; small farms remained, but increasinglyland was owned by big lend- ers and workedby tenants.In CaliforniaMexican rancherswere the originalagricultur- ists. But in the earlytwentieth century, federal funds imported water for irrigation and drainedmarshlands, thereby subsidizing an agriculturaleconomy dominated by big-busi- ness growersdependent on migrantfarm workers-mainly people of color and oftenof foreignbirth.4 Lange was the only FSAphotographer to coverall threenon-family farm regions,and as a resultshe documentedboth the most "backward"and the most "ad- vanced" agriculturallabor relations. It was a conjunctureof Americanpolitical structureand key individualsthat made ruralAmerica the focusof the biggest-evergovernment photography project. As a result, America'simages of the depressionare more ruralthan theyotherwise would have been. But the ruralfocus was consistentwith
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