An exhibition titled Women of the American Exodus featuring Dorothea Lange’s works will be taking place at an art studio in Nipomo, California where Lange’s famous picture Migrant Mother was taken. Lange is a documentary photographer and used the photographs that she shot to chronicle significant and historical events whose subjects were most often those affected by the Great Depression and poverty (Cathy Ostrom Peters). The pictures are arranged into order of increasing age of the subject in a dimly lit, four-walled room giving us a sense of darkness, and possibly the emotions that the subjects were feeling. Some beautiful works of Lange’s that can be seen are White Angel Bread Line, Daughter of Migrant Tennessee Coal Miner Living in American …show more content…
This piece, as previously mentioned, is a story quilt made of acrylic on canvas painting, with a dyed, painted, and pieced fabric. It is from 1983 and is 90 x 80’’ (Faith Ringgold). This image features fabric squares of fifteen African American women, three African American younger girls, three African American males, one African American younger boy, two Caucasian males, three Caucasian females, and 1 Native American male all painted onto yellow and brown fabric. Nine squares of fabric are found with words telling a story of Aunt Jemima, Faith’s idea of a black feminist hero (Faith Ringgold). Patches of colored flowers and patterns, such as reds, blues and purples, can be found throughout the quilt as well. The center square of the quilt reads, “Who’s Afraid of Aunt Jamima? Quilt & Book by Faith Ringgold”. Who’s Afraid of Aunt Jamima is a perfect example of a piece of work during the feminist movement as well as displaying Faith’s goals of achieving equality for African American females. The quilt displays a strong, African American female that the artist sees as a hero. I believe that Faith used this piece to show the world that there can be hero’s that are not only female but also
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
http://www.uua.org/uuhs/duub/articles/dorotheadix.html. This site gives another overview of Dorothea Dix’s early life and career highlights, but does so with an emphasis on her finding her religious home among ...
I glance amusedly at the photo placed before me. The bright and smiling faces of my family stare back me, their expressions depicting complete happiness. My mind drifted back to the events of the day that the photo was taken. It was Memorial Day and so, in the spirit of tradition my large extended family had gathered at the grave of my great grandparents. The day was hot and I had begged my mother to let me join my friends at the pool. However, my mother had refused. Inconsolable, I spent most of the day moping about sulkily. The time came for a group picture and so my grandmother arranged us all just so and then turned to me saying, "You'd better smile Emma or you'll look back at this and never forgive yourself." Eager to please and knowing she would never let it go if I didn't, I plastered on a dazzling smile. One might say a picture is worth a thousand words. However, who is to say they are the accurate or right words? During the 1930s, photographers were hired by the FSA to photograph the events of the Great Depression. These photographers used their images, posed or accurate, to sway public opinion concerning the era. Their work displayed an attempt to fulfill the need to document what was taking place and the desire to influence what needed to be done.
Despite the similarities in the two texts presented by the authors and photographers, their work is presented in two various ways. Agee and Evans project was done after living with three tenant families and Evans photographs are completely separate from Agees text. There are not any captions or names and they do not tell us where the photos are taken or who the people in the pictures are. Lange and Taylor’s project on the other hand is written in a way that helps us read the photographs and it is easier to see the connections between the text and pictures. The captions underneath the photos are based on words formulated by the people in the picture. However, the photos that do not have any people in them still have captions, but in this case we can assume that someone has told the photographer or author what to write for each photo. By this method the true meaning of how the turmoil during this period affected the people in question is more precisely illustrated because it includes the words uttered by the people thems...
Born in Maine, of April, 1802, Dorothea Dix was brought up in a filthy, and poverty-ridden household (Thinkquest, 2). Her father came from a well-to-do Massachusetts family and was sent to Harvard. While there, he dropped out of school, and married a woman twenty years his senior (Thinkquest, 1). Living with two younger brothers, Dix dreamed of being sent off to live with her grandparents in Massachusetts. Her dream came true. After receiving a letter from her grandmother, requesting that she come and live with her, she was sent away at the age of twelve (Thinkquest, 4). She lived with her grandmother and grandfather for two years, until her grandmother realized that she wasn’t physically and mentally able to handle a girl at such a young age. She then moved to Worcester, Massachusetts to live with her aunt and her cousin (Thinkquest, 5).
Myres, Sandra L. Westering Women and the Frontier Experience 1800-1915. Albuquerque: University of New Mexico Press, 1982.
The mass media carries with it unparalleled opportunities to impart information, but also opportunities to deceive the public, by misrepresenting an event. While usually thought of as falsifying or stretching facts and figures, manipulation can just as easily be done in the use of photography and images. These manipulations may be even more serious – and subtle – than written manipulations, since they may not be discovered for years, if ever, and can have an indelible and lasting impact on the viewer, as it is often said, “a picture is worth a thousand words”. One of the most significant images of Twentieth Century America was the photograph of a migrant mother holding her child. The photograph was taken during the Great Depression by photographer Dorothea Lange, and has remained an enduring symbol of the hardship and struggle faced by many families during the Depression Era. This image was also an example of the manipulation of photography, however, for it used two major forms of manipulation that remain a problem in journalistic photography.
Frida Kahlo and Barbara Kruger’s issues faced throughout their lifetime can be connected to our course. Frida Kahlo’s artwork could be discussed in the Guerrilla Girls book that we have read early in the semester. The Guerrilla Girls portrayed different artists, and their battles faced as women. Frida Kahlo’s art was overshadowed by her artistic husband, Diego Rivera, similarly to many other women artists in the Guerilla Girls. Most women were not credited for their artwork, and were not portrayed in guilds unless they were married or came from a wealthy family. Barbara Kruger’s photography portrayed many feminist prints. Throughout this course, we have discussed the meaning of being a feminist and the issues feminist face
"The Image and Reality of Women Who Worked During World War II." National Parks Service.
...wler-Salamini and Mary Kay Vaughan, eds Creating Spaces, Shaping Transitions: Women of the Mexican Countryside, 1850-1990 Tucson: University of Arizona Press, 1994.
My mother is an outspoken woman. In her tiny appearance lies an extraordinary fortitude story. Bravery is a virtue that not a lot of people possess, but my mother has proven her courageousness. Before my mother gave birth to me, she lived in San Luis Potosí, Mexico. Her family lived in poverty, and every bit of food was valued and cherished at their table. It’s hard to tell whether my mother’s decision to migrate to the United States was an act of courage or impatience. She certainly had no bright future at home, her parents could barely afford used clothes from the town’s thrift shop. She certainly wanted to find a way to turn her life around and provide the needs for her family, so she decided to come to “The land of opportunities.”
The California experience of the East Bay African-Americans and the Los Angeles Native-American Indians were similar in terms of opportunity, but culturally unique. This paper will compare and contrast the experiences of Africa-Americans in the East Bay during WWII, based upon the readings of Gretchen Lemke Santangelo’s “Abiding Courage: African American Migrant Women and the East Bay Community”, and American Indians in Los Angeles, as described in the Nicholas G. Rosenthal’s work, “Reimaging Indian Country, Native American Migration and Identity in the Twentieth-Century Los Angeles.”
The image of the Migrant Mother is both a news photo and a documentary photo. Using the genre, news photography, allowed the photo to be seen throughout the country by politicians, and everyday people alike. It could also be classified as a documentary photo because the image has the ability to capture a significant event almost a century later. The memories that this photograph produces, allows us to sum up in a single image of the entire history of 1936.
Social realist art, which dominated in the US during the Depression, communicates the concerns of the masses: artists question the treatment of the poor and praise American values embodied in ordinary people. In painting, Thomas Hart Benton’s murals depict an extravagance juxtaposed alongside honest, hardworking people, calling into question the actions and greed leading up to the Great Depression. Benton’s murals in both subject and medium penetrate the American political landscape, purporting such ideal values as hardworking and honesty. In photography, Dorothea Lange captures in the flesh the realities of the working poor. In her photograph Migrant Mother (1936) Lange portrays simultaneously the oppression and resilience of the working
Williams, Bruce. "The Reflection of a Blind Gaze: Maria Luisa Bemberg, Filmmaker." A Woman's Gaze: Latin American Women Artists. Ed. Marjorie Agosin. New York; White Pine Press, 1998. 171-90.