Author: Sarah Hermanson Meister
Brand: Museum of Modern Art
Number Of Pages: 160
Release Date: 30-01-2020
Details: Product Description Towards the end of her life, Dorothea Lange (American, 1895–1965) remarked that “all photographs―not only those that are so-called ‘documentary,’ and every photograph really is documentary and belongs in some place, has a place in history―can be fortified by words.” Though Lange’s career is widely heralded, this connection between words and pictures has received scant attention. Published in conjunction with an exhibition at The Museum of Modern Art, this catalogue provides a fresh approach to some of her best-known and beloved photographs, highlighting the ways in which these images first circulated in magazines, government reports, books, etc. An introductory text by curator Sarah Hermanson Meister will be followed by plates organized according to “words” from a variety of sources that expand our understanding of the photographs. The featured photographs will range from Lange’s first engagement with documentary photography in San Francisco in the early-mid 1930s, including her iconic White Angel Breadline (1933), to landmark photographs she made for the Resettlement Administration (later the Farm Security Administration) such as Migrant Mother (1936), powerful photographs made during World War II in California’s internment camps for Japanese-Americans, major photo-essays published in Life magazine on Mormon communities in Utah (in 1954) and County Clare, Ireland (in 1955), and quietly damning photographs made in the Berryessa Valley in 1956-57, before the region was flooded by the construction of a dam intended to address California’s chronic water shortages. Exhibition opens December 2019. Review A complex portrait of American life at its most bleak.--Sara Rosen "Feature Shoot" Lange was a poet of the ordinary but imperious human need, under any conditions, for mutual contact.--Peter Schjeldahl "New Yorker" Underscores the tremendous power that images sustain over time.--Caroline Goldstein "Artnet" Bad as it is, the world is potentially full of good photographs. Dorthea Lange once said. But to be good the photographs have to be full of the world. Lange's images...invariably were.--Ela Bittencourt "Elle" Finding Sympathy And Solidarity In Dorothea Lange.--Colin Dwyer "NPR" In considering the words that provide the politicized context for Lange's work, Meister focuses primarily on what some have called the "afterlife of photographs"--that is, not the decisive moment of capture, but rather the subsequent uses of images, how they circulate and accrue new meanings, often well beyond the photographer's original intentions.--Brian Wallis "Aperture" In Lange's photography, human ingenuity and grace triumph over the unspeakable blows of the Great Depression and other social oppression, even when hope is in short supply.--Ela Bittencourt "Hyperallergic" Dorothea Lange's boldly political photography defined the iconography of WPA and Depression-era America.--Charles Caesar "Galerie" In this publication, the work of groundbreaking photographer Dorothea Lange work is presented in diverse contexts, ranging from photobooks, Depression-era government reports, newspapers, magazines, and poems, alongside writings by contemporary artists, writers and thinkers.--Eileen Kinsella "Artnet" [Dorothea Lange: Words & Pictures] examines the way words -- including Lange's own, which Lange often presented in extended captions, and the words in Lange's photographs -- have guided our understanding of [her] work.--Tyler Green "Modern Art Notes Podcast"
Package Dimensions: 10.7 x 9.3 x 0.8 inches