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.

Klappentext

"Dorothea Lange (American, 1895-1965) conveyed the stories of everyday life with sharp and compassionate attention to the human condition. Her career is widely heralded, yet the connection she cultivated between words and pictures has received scant attention. In conjunction with a major exhibition at The Museum of Modern Art, this catalogue provides a fresh approach to some of her most iconic images, such as White Angel Breadline (1933) and Migrant Mother (1936), as well as rarely seen works. These photographs, some reproduced in their original published form, are accompanied by contributions from a distinguished group of contemporary writers, artists, and critical thinkers who respond to the images with observations both personal and scholarly. By viewing the breadth of Lange's career and the diverse contexts in which her work appeared, we gain a more nuanced understanding of her achievement and her belief that "all photographs can be fortified by words." Includes contributions by Julie Ault, Kimberly Juanita Brown, River Encalada Bullock, Sam Contis, Jennifer A. Greenhill, Lauren Kroiz, Sally Mann, Sandra S. Phillips, Wendy Red Star, Christina Sharpe, Robert Slifkin, Rebecca Solnit, and Tess Taylor."--Publisher description

Zusammenfassung
Towards the end of her life, Dorothea Lange (American, 18951965) remarked that all photographsnot only those that are so-called 'documentary,' and every photograph really is documentary and belongs in some place, has a place in historycan 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.