|TIMELINE FOR SOME SPECIFIC IMAGE CONTEXT (primarily pre 1950)1900W.E.B. Du Bois receives a gold medal at the 1900 Paris Exposition for curating and collaborating on a major exhibit featuring 500 photographs displaying the present conditions of African Americans
Along with an extensive visual archive, the FSA team was extremely versed and/or required to study images. One example: Lewis Hine, a NYC school teacher and sociologist who stirred American consciences with his photos. Margaret Sage, the widow of railroad magnate, Russell Sage, established an endowment to research social sciences still active today. Hine’s Ellis Island photographs landed a staff position with the Foundation. His work for them produced their first influential impact: the Pittsburgh Survey. From there, Hines was hired by the National Child Labor Committee and his photographs over the next decade were instrumental in changing child labor laws. Also Stieglitz, Charles White, Paul Strand, and many others.
Russel Smith’s North America, Its People and the Resources, Development, and Prospects of the Continent as an Agricultural, Industrial and Commercial Area
Tugwell with Stryker and Thomas Munro: American Economic Life
Hines was hired to photograph the construction of the EmpireStateBuilding. Ironically, despite his importance and direct influence on future photographers, the arc of his career ends with hard times. He was not included with the FSA hires.. The reception of Hines work declined so much that he was forced to sell his house. MoMA rejected his archives. George Eastman House took them in 1951.
Paul Robeson. Period–International influence.
The continued influence of Margaret Bourke-White. Her professional career took off in 1927. FORTUNE magazine sent her to cover Russia which published Eyes on Russia in 1931.
Huge audience for Mervyn Leroy’s movie I Am A Fugitive from a Chain Gang
FORTUNE magazine sends Margaret Bourke-White to cover the Dust Bowl
Henri Cartier-Bresson exhibits in the US
The Resettlement Administration Historical Section’s photographic project is tasked with documenting the crisis state of rural poverty. The government hires Roy Stryker. Stryker hires the photographers. Many other Federal creative arts programs.
The government sends Dorothea Lange to photograph migrant farm workers in CA. Lange, Walker Evans and Ben Shahn already established careers when hired for the FSA but not household names.
Berenice Abbott Changing New York
In November, LIFE magazine’s large-scale, photo dominant iteration is first published. LIFE sold more than 13 million copies per week
The Plow that Broke the Plains, Pare Lorentz with Pauls Strand, Steiner, others
The movie adaptation of Rudyard Kipling’s Captain’s Courageous is a huge hit.
FSA/OWI Arthur Rothstein is sent to Gloucester. Depression era movie audiences purchased 60 million tickets per week.
LOOK magazine starts publishing bi-weekly
You Have Seen Their Faces, photo-book collaboration by Erskine Caldwell and Margaret Bourke White is wildly successful so much so that it pushes back the publication of Let Us Now Praise Famous Men by James Agee and Walker Evans (1941)
The Resettlement Administration’s Historic Section folds into the Farm Security Administration (FSA). Stryker expands this photographic survey of Depression Era America, while publicizing the work of the FSA
Steinbeck’s Of Mice and Men is published in 1937. The movie adaptation opens 1939.
FSA group exhibit at the International Photographic Salon, Grand Central Palace, New York featured a selection of bleak but respectful images. Reviews felt that the photographers avoided negative stereotypes.
The tone of the exhibit was so influential that it was oft repeated. Stryker felt that well over ½ the images in the collection were affirmative and positive.
Richard Wright hired for the WPA Writers Project guidebook for New York and wrote the part on Harlem. He received a Guggenheim Fellowship and was able to finish Native Son.
Architectural Forum introduces Frank Lloyd Wright to American audiences. Managing Editor Ruth Goodhue was the first female at the head of any Time Inc publication, and a colleague of Stryker’s. Stryker credits RUTH GOODHUE* for propelling his encyclopedic quest to catalogue every day life with what sounds now like “a distinct sense of place”, 2014 placemaking terms. Her advice to Stryker echoes the later work of Jane Jacobs** “The Death and Life of Great American Cities”, the Main Street movement, and our current cultural district designations. Thirty years later Stryker credited numerous people, but he repeats his credit to Goodhue several times. Looking back, by the time 1940 rolls along, it’s Stryker’s creed. It’s thrilling how one inspirational comment can engender such a unique mobilization!
An American Exodus, photo book collaboration by Dorothea Lange and Taylor
FSA photos exhibited at the 1939 World’s Fair in New York City
Steinbeck’s Grapes of Wrath is published and is phenomenally successful. The 1940 movie adaptation is a blockbuster, too.
Richard Wright and Edwin Rosskam produce Twelve Million Black Voices. Migration coverage went to the city.
Movies Citizen Kane (trailer 1940) and How Green Was My Valley
Artists for Victory
Gordon Parks’ position within Stryker’s department is underwritten with the support of a Julius Rosenwald Fellowship. Rosenwald was a partner in Sears Roebuck. His foundation operated from 1917-1948 with the mandate to focus on the well-being of mankind and with a particular education outreach for African Americans. The endowment was to be spent down completely and it’s estimated that 70 million was given. Of particular note, from 1928-1948 open-ended grants were given to African American writers, researches, and intellectuals and the list is a Who’s Who of 1930s and 1940s. This is precisely the type awarded to Gordon Parks so that he could work at the famous FSA program.
Gordon Parks in Gloucester May and June. Howard Liberman in Gloucester, September.
May Four Freedoms Day; October 20 America in the War exhibits
FSA absorbed by the Office of War Information (OWI), focus shifts to the domestic impact of WWII
Edward Steichen’s Family of Man exhibit at the Museum of Modern Art includes many of the photos
The Bitter Years 1935-1941: Rural America Seen by Photographers of the FSA
Edward Steichen’s last and seminal exhibit as Director of the Museum of Modern Art is dedicated to Stryker and the FSA photographers. As with other FSA themed exhibits, photographs by Gordon Parks– and many other artists–were not included, still aren’t included.
Gees Bend quilts
*Roy Stryker on Ruth Goodhue
“Ruth Goodhue was the managing editor of “Architectural Forum.” Her father designed the very famous Nebraska capitol, a very unusual building. She was another one on my circuit. But I stopped to have breakfast with her, she was over at that time in the Chrysler Building with the Life complex there and I had breakfast with her and I went up to her office. She was the one that said — I’ll tell you this story because it’s how I reacted so often — “Roy Stryker, I wonder if all towns of 5,000 are alike, because they have the same boiler plate, they have the same radio programs, and so on?” Well, I had to go on a trip and when I got back I had an outline on small towns.” Also:
“She was a charming woman and very bright and very proactive. And she said to me, “Are all little towns in America alike because they read the same boiler plate, listen to the same radios on the air, and because they eat the same breakfast food?” Proactive questions, just what I needed. I have a very bad habit of writing memos to myself; I love to put things down, write a page after page and take it home. By the time I got back to Washington, the photographers hadn’t been taking pictures of the little towns they went through. So then there grew an outline — a perfect bombardment of twenty-five pages, I guess. Did you stay overnight? Let’s begin to cover the main street of America, you know, just to see what the heck occurs on it.”
As writer and associate editor of The Iron Age, Jane Jacobs published “30,000 Unemployed and 7000 Empty Houses in Scranton, NeglectedCity”, an article which brought attention to her home town. This led to more freelance work and in 1943 a job writing features for the US Office of War Information (OWI). After 1945 and into the 1950s, Jacobs wrote and was editor for the State Department’s magazine branch, primarily for Amerika Illustrated, a Russian language magazine. In the public sector she went on to Architectural Forum. I wonder if Goodhue was a mentor for Jacobs or if they had any overlap. I certainly consider the FSA/OWI files as formative for her ideas — and Goodhue influenced that program.
In New York City 1937, Charles Olson was hired by the government to work for the American Council of Nationalities Services, an agency that offered support programs for immigrants and refugees. He also wrote for the Office of War Information from 1942 – May of 1944. The timing overlaps with Jane Jacobs somewhat. Gloucester writer, Edward Dahlberg, introduced Olson to Alfred Stieglitz in New York City back in 1937.
Goodhue and Cram
Ruth Goodhue’s father, Bertram Grosvenor Goodhue, was a famous architect. Through his friendships with Ernest Fenollosa of the Boston Museum of Fine Arts and others in the orb of the Boston Society of Arts and Crafts (1897), he met architect Ralph Adams Cram. Goodhue and Cram partnered to form a successful architectural firm, in business together for over twenty years. They had great solo careers, too.
Cram designed the Atwood Home, Gallery-on-the-Moors, in East Gloucester, and preliminary plans for the towers on Hammond Sr’s property, and the inspiration or more for Stillington Hall and others.