Langa's Art Analysis

Better Essays
In Chapter 3 of her book Langa looks at 1930s prints of labor-related images as part of her larger project of offering a more nuanced reading of 1930s prints as active social documents on which the multiple and contradictory forces shaping America at the time found a visual outlet. She thus places these images within a larger socio-historical context to expand our understanding of what she prefers to call “social viewpoint, ” as opposed to “social realist,” prints by looking at them as multidimensional cultural artifacts. Her analysis is, therefore, informed by extensive research into the lives and/or politics of the artists who created the images included in the chapter, the social, political, and art historical milieu in which they were producing their works, and, ultimately, the reception(s) or potential reception(s) of the works by the different social groups and ideologies shaping the nation during the Depression years. After all, Langa argues, it was the particularity of this moment in American history that brought a working-class consciousness to many of the artists and, therefore, an interest in leftist politics and in labor-related themes previously ignored in mainstream American art. On that note, Langa's project in this chapter is to immerse her selection of labor-related prints in their socio-historical and ideological contexts to both underscore their visual importance and explore their role in the creation and shaping of labor discourses in the 1930s. Throughout the book, Langa is also interested in placing these prints within an art historical context while attempting to provide the reader with a sense of the social dynamics at play in the America of the 1930s. To that end, she offers a short art-historical revie... ... middle of paper ... ...nts of the 1930s. Excluded from the high-testosterone, hyper-masculine depictions that celebrated the male worker as the ultimate icon in labor-related artwork during the Depression, working women were largely ignored in social viewpoint prints. With the exception of garment and textile workers as symbols of exploitation and weakness, few images presented women as active and powerful members of the labor force, even less as revolutionary agents in themselves. Langa's own level of inclusiveness in this chapter offers an important account of what has been popularly known as social realist art in America at a time when the country found itself looking for answers to its economic and social crisis. By carefully linking art to its social and political context, she successfully enriches her narrative and our understanding of the works of art discussed in the chapter.
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