Post by Sir Ped of Ro on Oct 22, 2006 13:35:46 GMT
To everyone
the other day talking and discussing with another friend about the impact/mark left in all art form by women, we've come to a very itneresting point.
We've agreed that not only there's a clear and visible richness on their approach/style on all art forms, but that the caracteristics that we can be sensible to are also at the same time differences and similarities with the "so called opposite sex".
so, i'm using this post as an invitation to each one of you to present your preferences of the legacy that each women/artist has left us, human kind.
from my side i'll cover a little bit of the photography ground.
I'll chose 3 women/photographs that imho have left us a rich/deep view of the human being as a social actor.
- Dorothea Lange (May 26, 1895 – October 11, 1965) was an influential documentary photographer. Lange is best known for her Depression-era work for the Farm Security Administration (FSA). Lange's photographs humanized the tragic consequences of the Great Depression and profoundly influenced the development of documentary photography.
Lange learned photography in New York City in a class taught by Clarence H. White and informally apprenticed herself to several New York photography studios, including that of the famed Arnold Genthe. In 1918, she moved to San Francisco, where she opened an extremely successful portrait studio. She lived in the Bay Area for the rest of her life. She married the noted western painter Maynard Dixon with whom she had two sons, Daniel Dixon, born 1925, and John Dixon, born 1928. With the onset of the Great Depression, Lange turned her camera lens from the studio to the street.
From 1935 to 1939, Lange's work for the RA and FSA brought the plight of the poor and forgotten, particularly sharecroppers, displaced farm families, and migrant workers, to public attention. Distributed free of charge to newspapers across the country, her poignant images quickly became icons of the era.
In 1960, Lange spoke about her experience taking the photograph:
"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."
In 1941, Lange was awarded a Guggenheim Fellowship for excellence in photography. After the attack on Pearl Harbor, she gave up the prestigious award to record the forced evacuation of Japanese-Americans (Nisei) to relocation camps in the American West, on assignment for the War Relocation Authority (WRA). She covered the round-up of Japanese Americans, their evacuation into temporary assembly centers, and Manzanar, the first of the permanent internment camps. Her photograph of young Japanese American girls pledging allegiance to the flag shortly before she was abducted to the camps [3] is a haunting reminder of this policy of detaining people without charging them with any crime or affording them any appeal.
Her images were so obviously critical that the Army impounded them.[2] Today her approximately 800 photographs of the internment are available in the National Archives. These photographs are available on the website of the Still Photographs Division of the National Archives, and duplicate set of prints exists at the Bancroft Library of the University of California, Berkeley.
In 1952 Lange was one of the founders of the distinguished photographic magazine Aperture.
In the last two decades of her life, Lange's health was poor. She suffered from bleeding ulcers and from post-polio syndrome--although this renewal of the pain and weakness of polio was not yet recognized by most physicians. She died on October 11, 1965, at the age of seventy.
Here are some pics:
Japanese American Relocation Camps
[imghttp://upload.wikimedia.org/wikipedia/commons/thumb/5/54/Lange-MigrantMother02.jpg/461px-Lange-[/img]
the other day talking and discussing with another friend about the impact/mark left in all art form by women, we've come to a very itneresting point.
We've agreed that not only there's a clear and visible richness on their approach/style on all art forms, but that the caracteristics that we can be sensible to are also at the same time differences and similarities with the "so called opposite sex".
so, i'm using this post as an invitation to each one of you to present your preferences of the legacy that each women/artist has left us, human kind.
from my side i'll cover a little bit of the photography ground.
I'll chose 3 women/photographs that imho have left us a rich/deep view of the human being as a social actor.
- Dorothea Lange (May 26, 1895 – October 11, 1965) was an influential documentary photographer. Lange is best known for her Depression-era work for the Farm Security Administration (FSA). Lange's photographs humanized the tragic consequences of the Great Depression and profoundly influenced the development of documentary photography.
Lange learned photography in New York City in a class taught by Clarence H. White and informally apprenticed herself to several New York photography studios, including that of the famed Arnold Genthe. In 1918, she moved to San Francisco, where she opened an extremely successful portrait studio. She lived in the Bay Area for the rest of her life. She married the noted western painter Maynard Dixon with whom she had two sons, Daniel Dixon, born 1925, and John Dixon, born 1928. With the onset of the Great Depression, Lange turned her camera lens from the studio to the street.
From 1935 to 1939, Lange's work for the RA and FSA brought the plight of the poor and forgotten, particularly sharecroppers, displaced farm families, and migrant workers, to public attention. Distributed free of charge to newspapers across the country, her poignant images quickly became icons of the era.
In 1960, Lange spoke about her experience taking the photograph:
"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."
In 1941, Lange was awarded a Guggenheim Fellowship for excellence in photography. After the attack on Pearl Harbor, she gave up the prestigious award to record the forced evacuation of Japanese-Americans (Nisei) to relocation camps in the American West, on assignment for the War Relocation Authority (WRA). She covered the round-up of Japanese Americans, their evacuation into temporary assembly centers, and Manzanar, the first of the permanent internment camps. Her photograph of young Japanese American girls pledging allegiance to the flag shortly before she was abducted to the camps [3] is a haunting reminder of this policy of detaining people without charging them with any crime or affording them any appeal.
Her images were so obviously critical that the Army impounded them.[2] Today her approximately 800 photographs of the internment are available in the National Archives. These photographs are available on the website of the Still Photographs Division of the National Archives, and duplicate set of prints exists at the Bancroft Library of the University of California, Berkeley.
In 1952 Lange was one of the founders of the distinguished photographic magazine Aperture.
In the last two decades of her life, Lange's health was poor. She suffered from bleeding ulcers and from post-polio syndrome--although this renewal of the pain and weakness of polio was not yet recognized by most physicians. She died on October 11, 1965, at the age of seventy.
Here are some pics:
Japanese American Relocation Camps
[imghttp://upload.wikimedia.org/wikipedia/commons/thumb/5/54/Lange-MigrantMother02.jpg/461px-Lange-[/img]
