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One tool the FSA used to defend itself against political attacks was its Photographic Section, under the direction of Roy Stryker.".
The Dust Bowl was a time of hardship and disaster. The worst ecological disaster in our nation's history turned more than 100 million acres of fertile land almost completely to dust. Hundreds of thousands of people were forced to seek new homes and opportunities thousands of miles away, while millions more chose to stay and battle nature to save their land. These terrible repercussions from the Dust Bowl contributed to the Great Depression, which impacted the entire country. FDR's New Deal army of photographers took to the roads during this national crisis to document the human struggle of the proud people of the plains. Their pictures spoke a thousand words, and a new form a storytelling—photojournalism—was born. These talented cameramen and women used photographs to inform the rest of the nation and bring about much-needed change. With the help of iconic images from Dorothea Lange, Walker Evans, Arthur Rothstein, and many more, Martin W. Sandler tells the story of this man-made natural disaster and these troubling economic times, ultimately showing how a nation can endure its darkest days through extraordinary courage and human spirit.
No area of the United States was untouched by the Great Depression, but the severity in which people experienced those significant years depended in large part on where in the nation they lived. While dust choked the life out of Americans in the plains, apples grew in abundance in the Northwest. Unemployment-driven poverty robbed urban dwellers of hearth and home, while Upper-plains farm women traded eggs and chickens like money. This bibliography describes the youth literature and relevant resources written about the Great Depression, all categorized by geographical location. Students, educators, historians, and writers can use this book to find literature specific to their state or region, gaining a greater understanding of what the Great Depression was like in their locale. The Great Depression was a pivotal period in our nation's history. This annotated bibliography guides readers to biographies; oral histories, memoirs, and recollections; photograph collections; fiction and nonfiction books; picture books; international resources; and other reference sources. The Works Progress Administration (WPA) state guides are included, as well as literature about the federal theater, arts, and music projects. A comprehensive listing of museums and state historical societies complement this reference. For readers interested in learning about the Great Depression, this is a must-have resource.
From its eighteenth-century French fur trade origins to post-Cold War business dealings with Latin America and Asia, the city has never neglected nor been ignored by the world outside its borders. In this pioneering study, Henry W. Berger analyzes St. Louis's imperial engagement from its founding in 1764 to the present day, revealing the intersection of local political, cultural, and economic interests in foreign affairs.
Treats the developments in tenant farming communities (black and white) in Missouri's "bootheel" in the 1930s.
For this remarkable volume, Mora and Brannan immersed themselves in the vast archive at the Library of Congress and emerged with unknown treasures. Theirs is a new view of the achievement of the FSA photographers--the most comprehensive in print--that gives them their due as the creators of a new American photographic vision.
This book examines the involvement of African American artists in the New Deal art programs of the 1930s. Emphasizing broader issues informed by the uniqueness of Black experience rather than individual artists’ works, Mary Ann Calo makes the case that the revolutionary vision of these federal art projects is best understood in the context of access to opportunity, mediated by the reality of racial segregation. Focusing primarily on the Federal Art Project (FAP) of the Works Progress Administration (WPA), Calo documents African American artists’ participation in community art centers in Harlem, in St. Louis, and throughout the South. She examines the internal workings of the Harlem Artists’ Guild, the Guild’s activities during the 1930s, and its alliances with other groups, such as the Artists’ Union and the National Negro Congress. Calo also explores African American artists’ representation in the exhibitions sponsored by WPA administrators and the critical reception of their work. In doing so, she elucidates the evolving meanings of the terms race, culture, and community in the interwar era. The book concludes with an essay by Jacqueline Francis on Black artists in the early 1940s, after the end of the FAP program. Presenting essential new archival information and important insights into the experiences of Black New Deal artists, this study expands the factual record and positions the cumulative evidence within the landscape of critical race studies. It will be welcomed by art historians and American studies scholars specializing in early twentieth-century race relations.
While previous studies of the photographic images of the U.S. southern poor produced by the Farm Security Administration (FSA) have been discussed in the context of individual photographers or the general culture of the Great Depression and the New Deal, Kidd (American history, U. of Reading, UK) situates his examination of the photographs in the institutional context of the FSA and the role played in photographic production by FSA administrator Roy Stryker. The photographs emerged, according to Kidd, from the dialogue between Stryker and his field photographers about the proper way to document disadvantaged and oppressed groups within the framework of a progressive, federal government. The resulting productions reveal "an uneasy dimension to the relationship between individual and the liberal state and its cadres" that is partly an outcome of class cleavages between photographer and subject. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).