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[null,null,"Esther Bubley","Pittsburgh，Pennsylvania.",{"$nulls":4},"摄影","照片","Woman cleaner at the Greyhound garage，1943<br>Esther Bubley<br>Born in 1921 in Phillips，Wisconsin； died in 1998 in New York<br>Age 20，just out of art school and finishing a short stint at Vogue，Esther Bubley wanted to work for the Farm Security Administration，whose photographers she had been following in various magazines. Starting in 1942，she began work as a darkroom assistant for Roy Stryker. With his encouragement，she soon went on to take photographs documenting the home front during World War II.<br>The simple fact that Bubley did not have a driver’s license led her to work locally，mostly around Washington DC. She photographed boarding houses in which single women were living，and she took some now-famous pictures of Arlington National Cemetery on Memorial Day. Bubley specialized in documenting the lives of ordinary Americans，and she preferred to focus on people and faces：“Put me down with people，and it’s just overwhelming.”<br>Bubley is best known for the pictures she took on Greyhound buses. Starting in 1943，she took hundreds of them while traveling on the Southeastern（Memphis–Chattanooga and Louisville）routes as well as the lines through Indiana，Ohio，and Pennsylvania. Pittsburgh，Pennsylvania.<br>Woman cleaner at the Greyhound garage（1943）captures not so much feelings of monotony or continual migration as a sense of a country in transition. Because of the war，the United States was mobilizing its female population. This image of a newly liberated professional environment，with women working outside the home in positions traditionally occupied by men，documents a moment on the cusp of monumental social upheaval，a culture just beginning to question old attitudes and hierarchies. Bubley herself was，of course，operating as a successful female professional in the very male-dominated world of photojournalism，which contributed to her engagement with the emerging women’s movement.",{"$nulls":3},"CMYK","3600*3600px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400001.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Marjory Collins","Washington，D.C.",{"$nulls":4},"摄影","照片","Reading lesson in a Negro elementary school，1942<br>Marjory Collins<br>Born in 1912 in New York； died in 1985 in San Francisco<br>Marjory Collins is one of the lesser-known photographers who worked for Roy Stryker. She came from a wealthy background. She grew up in Scarsdale，New York，attended the elite Brearley School and Sweet Briar College，made her social debut，and married an equally well-connected Yale University graduate. After a year in Europe，some time at the University of Munich，and a divorce in 1935，Collins changed the course of her life，moving to New York’s bohemian Greenwich Village and studying photography. She was keen，she said，to“break out of her middle-class cocoon.”Such was her commitment that she sold all her wedding silver to buy a camera. Her work was soon represented by a number of photography agencies and published in magazines. While her personal life was often turbulent，her dedication to photojournalism and political action remained constant.<br>Collins came to Stryker by a circuitous route，first joining the New York branch of the Office of War Information，then transferring in 1942 to the Washington DC team. Their political sentiments aligned well. For one assignment，Stryker asked her，together with John Vachon and Gordon Parks，to document the lives of African Americans.（The year before，President Franklin D. Roosevelt had issued an executive order supporting the full participation in the national defense program of people of every race，creed，color，and national origin.）In Washington，D.C. Reading lesson in a Negro elementary school（1942），Collins depicts the massive overcrowding caused by segregation in schools. By showing a white teacher with black students，she also draws attention to the color lines that dominated the educational system in the 1940s，perpetuating racial inequities.<br>Collins was keen to expose the often-harsh realities of America during World War II. From March 1942 through June 1943（when the agency closed）she created more than 3，000 photographs. She came into some conflict with her colleagues for documenting“the seamy side of life，”an attitude not always in keeping with the propaganda-driven agenda of the OWI，and also somewhat at odds with Stryker’s own agenda to make“pictures of life as it is.”Later she would refer to her work for the OWI as“wartime profiteering.”",{"$nulls":3},"CMYK","4500*4050px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400002.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Jack Delano","In the cafe at a truck drivers’service station on U.S. 1 ",{"$nulls":4},"摄影","照片","（New York Avenue），Washington，D.C.，1940<br>Jack Delano<br>Born in 1914 in Voroshilovka，Ukraine； died in 1997 in San Juan，Puerto Rico<br>An artist and musician by training，Jack Delano came to the Farm Security Administration from the Federal Art Project，where he had just completed a photographic study of the horrific conditions of coal miners in Schuylkill County，Pennsylvania. When he first heard about the FSA photography program he called it a dream come true，as it meant that the government valued the genre of documentary photography.<br>During his years with the FSA，Delano photographed the whole gamut of the American experience，from a Jewish community in Colchester，Connecticut，to farm workers migrating up the Eastern shore and Independence Day celebrations in New England. His diverse experiences affected him profoundly. He said that he“got to love the United States more than I could have in any other way，”and that he felt like part of an organization that“was basically interested in the cultural values of America，which had nothing to do with politics but had to do with the American tradition，with the bad things，the good things，the difficulties，the problems，the joys and inspirations and everything that went with it.”<br>Delano took In the cafe at a truck drivers’service station on U.S. 1（New York Avenue），Washington，D.C.（1940）soon after he joined the FSA. He was interested in the essential humanity of his subjects，and here he captures an intimate，somewhat ordinary，picture of truck drivers at rest. By attracting the gaze of one of the men at the coffee counter，he disrupts their solitariness，and reminds us of his own presence in the scene. Also apparent here is Delano’s interest in the deliberate composition of documentary photographs，an idea that was much debated among his FSA peers. He believed that if he had to move a person to improve a composition，it in no way detracted from the documentary value of the picture.<br>In 1942 the FSA assigned Delano to photograph a federal housing project in Puerto Rico. He was the only FSA photographer to work overseas. He became so taken by the culture that he eventually settled there. Four decades later，he embarked on a series of works that documented Puerto Rico in the 1980s，a comparative study related to his earlier work from the 1940s.",{"$nulls":3},"CMYK","3600*2388px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400003.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Walker Evans","Floyd Burroughs，cotton sharecropper.",{"$nulls":4},"摄影","照片","Hale County，Alabama，ca. 1935–36<br>Walker Evans<br>Born in 1903 in Saint Louis； died in 1975 in New Haven，Connecticut<br>Walker Evans was among the first photographers to work for the Farm Security Administration（he joined in 1935），and Roy Stryker would credit him as contributing much to Stryker’s early education around the medium of photography and his vision for the project. Evans had a deep capacity for attention to technical detail and composition. His insistence on the autonomy of the artist，however，and his rejection of what he felt were the constricting social aims of the FSA in favor of a“purer”form of photography，led to significant tensions. Stryker found Evans’s desire for total artistic freedom problematic for the project’s working structure.<br>Yet Evans was，and still is，the photographer most identified with the FSA，and the author of some of its most enduring images. What sets his pictures apart is their lyrical treatment of the vernacular. Evans aestheticized the Depression，creating intimate and evocative portrayals of the small towns and people that it devastated. He used an eight-by-ten-inch view camera（some other FSA photographers used large-format cameras，but not of this size）. It was bulky and slow to set up，and thus not entirely suitable for on-the-move fieldwork and street scenes. But the great degree of control it offered over perspective and depth of focus allowed Evans to create exacting compositions.<br>Among Evans’s best-known images are depictions of tenant farmers in the South. He called the South the country’s“most haunting region，”his favorite place to photograph because of its small towns and signs. Floyd Burroughs，cotton sharecropper. Hale County，Alabama（ca. 1935–36）appeared in Evans’s 1936 book，made with the writer James Agee，Let Us Now Praise Famous Men. The unsentimental picture shows a sharecropper’s quiet dignity in the face of abject poverty. It also shows that Evans could work with，and had a sensitivity for，people，despite his resistance to what he saw as the politicization of his images.“You have to have a gift with people，”he said.“You must have a talent with people as well as with your eye. The wrong kind of man can’t get the truth out of anyone.”<br>Evans was let go from the FSA in 1937 due to budget constraints. In September 1938 he became the first photographer ever to have a solo exhibition at the Museum of Modern Art，New York. The exhibition was American Photographs.",{"$nulls":3},"CMYK","2240*2872px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400004.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Dorothea Lange","Family between Dallas and Austin，Texas","Dated 1936",{"$nulls":3},"摄影","照片","Dorothea Lange<br>Born in 1895 in Hoboken，New Jersey； died in 1965 in San Francisco<br>Dorothea Lange studied photography in New York before moving to the San Francisco Bay Area in 1919. Based in Berkeley，she initially trained her lens on her immediate surroundings. When the Depression hit，she captured poignant images of social inequities. During an exhibition of her work at UC Berkeley in 1934，Lange met the economist and professor Paul Taylor. They married the following year and embarked on a collaborative five-year project documenting the brutal realities of migrant labor and poverty in California and beyond. Lange intended her strongly political photographs to educate the public about the extreme plight of the poor and the desperation of the more than 300，000 migrant laborers journeying to the“golden”land of California. While Lange took pictures，Taylor took pen in hand to conduct interviews and gather data. He wrote at one point that the Dust Bowl migrants had“been scattered like the shavings from a clean-cutting plane.”The couple’s work exposed unsung stories of migrants，laborers，sharecroppers，and the destitute. Their efforts were emblazoned on the front pages of newspapers across the country and appeared in magazines and in museum and gallery exhibitions. Lange and Taylor compiled what they felt to be their most powerful images and stories in the seminal 1939 book An American Exodus： A Record of Human Erosion.<br>The picture Family between Dallas and Austin，Texas（1936）captures one family’s migratory journey. A mother，father，and three small children are en route from their former home in southern Texas to the cotton fields of the Arkansas Delta. Their car has been outfitted with a platform and a mattress，where the whole family sleeps. They have no money，no food，and only three gallons of gas in the tank of their car，which has a flat tire. As the father tries to repair the tire，the mother and children stare forlornly at the camera. Their hardened gazes speak to a desperate life of waiting. The barren fields surrounding them indicate that food is scarce，and they must press on to survive. Lange recounts the father’s words：“It’s tough，but life’s tough any way you take it.”",{"$nulls":3},"CMYK","4854*3834px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400005.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Russell Lee","Christmas dinner in home of Earl Pauley","Dated 1936",{"$nulls":3},"摄影","照片","Russell Lee<br>Born in 1903 in Ottowa，Illinois； died in 1986 in Austin<br>Russell Lee was described by Roy Stryker as“a very remarkable man in photography.”Stryker hired him when Carl Mydans left the Farm Security Administration to work at Life magazine. Lee was a relative newcomer to the medium（he was a chemical engineer by training）but soon became one of the most prolific FSA contributors and（along with John Vachon）remained with the organization longer than any of the other photographers. From 1936 to 1942 he traveled through nearly 30 states，spent 90 percent of his time on the road，and produced tens of thousands of photographs. Lee often worked in series，and operated without any obvious social，political，or personal agendas. He was essentially a spectator and an objective documentarian，a perfect facilitator of Stryker’s mission to document every aspect of life in America at that time. His interest in minutiae was unsurpassed. A radiator cap，a medicine sign，a phonograph，a fortune-teller at a state fair： all received equal attention when they passed under his gaze. As he once said，“I’m taking pictures of the history of today.”<br>Good-natured and socially conscious，Lee managed to make his subjects feel at ease，candidly telling them，“You’re having a tough time here，and the rest of the country needs to see pictures of it so they can appreciate what you’re going through.”He captured people going about their lives，whether attending church，sitting in a saloon，entering a movie theater，or watching a wrestling match. He took many pictures in small towns on the weekends，when rural residents would come in to do business.<br>Of all the FSA photographers，Lee had a special knack for getting invited into people’s homes，where he documented for wider public consumption their personal stories within the context of their living places. His photograph Christmas dinner in home of Earl Pauley（1936）shows the children of a poverty-stricken tenant farmer eating while standing around a table； the implication is that they are unable to afford chairs. The picture contrasts startlingly with popular depictions of seasonal festivities. Lee was aware that“There was a job to do.”Images like this one did the job with devastating effectiveness.",{"$nulls":3},"CMYK","4397*3294px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400006.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Carl Mydans","“Damned if we’ll work for what they pay folks hereabouts.”",{"$nulls":4},"摄影","照片","Crittenden County，Arkansas. Cotton workers on the road，carrying all they possess in the world，1936<br>Carl Mydans<br>Born in 1907 in Boston； died in 2004 in Larchmont，New York<br>Carl Mydans was one of the Farm Security Administration’s first photographers，and one of the few who arrived with a background specifically in photojournalism. He had worked as a reporter previously and was adept at telling stories with a 35-millimeter camera. He joined the FSA in 1935 and spent a little more than a year there before moving to the newly created Life magazine as one of its first staff members.<br>For the FSA，Mydans photographed cotton farmers and laborers in the South and small-town life in New England. His departure for the first of his two assignments—to go to the South and“do cotton”—was postponed for a day when Roy Stryker realized he didn’t know anything about his assigned subject. Stryker spent the next day educating Mydans about cotton，its place in Southern agriculture，and its people. Mydans traveled through Tennessee，Missouri，Louisiana，Alabama，Arkansas，Georgia，and South Carolina，finding the South“romantic and absorbing”but also“a difficult area to photograph”because of its racial tensions and depressed economy.<br>“Damned if we’ll work for what they pay folks hereabouts”（1936）depicts poverty-stricken Arkansas cotton workers migrating in the hope of finding better-paying work. It shows，despite the racial segregation of the time，a white woman walking with a black man，and suggests that the economic situation is a leveler of racial inequalities. The pride in their expressions and the title of the photograph suggest a sense of self-worth，a hope for something better even in the worst of times.<br>Mydans viewed his photographs not merely as historical documents，but as engaging narratives with emotional resonance. They show communities in turmoil，but they never lack compassion. This was the moral attitude that he took with him to Life magazine，where he would work for most of his career，traveling widely in Europe and Asia.（As part of this work he suffered a two-year internment as a prisoner of war in Japan，together with his wife，the journalist Shelley Smith，during World War II.）He photographed many world leaders and authors，including Harry S. Truman，Ezra Pound，Gertrude Stein，and Thomas Mann. ",{"$nulls":3},"CMYK","3600*2568px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400007.jpg",{"$nulls":3}," ",null,null,"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Gordon Parks","Washington，D.C.",{"$nulls":4},"摄影","照片","Government charwoman，1942<br>Gordon Parks<br>Born in 1912 in Fort Scott，Kansas； died in 2006 in New York<br>Gordon Parks began his career in fashion and society portraiture，and he continued to work intermittently for magazines such as Vogue throughout his career，moving back and forth between the rarified world of evening gowns and gritty urban ghettos. He was the first African American photographer employed at the Farm Security Administration，and then later one of the first at Life magazine，where he worked from 1948 until 1972. His initial interest in photography was sparked when he was working as a waiter on a railway line. He picked up a copy of a magazine that featured images of migrant workers by Jack Delano，Dorothea Lange，Arthur Rothstein，and Ben Shahn.“I saw that the camera could be a weapon against poverty，against racism，against all sorts of social wrongs. I knew at that point I had to have a camera.”<br>He is best known for his photographic essays that appeared in Life，but he also produced one of the FSA’s most iconic images. Nicknamed“American Gothic，”Washington，D.C. Government charwoman（1942）was among the first photographs he took for the agency. A forceful criticism of racism in 1940s America，it depicts Ella Watson，a cleaner in the FSA building，holding a mop and broom and standing in front of an American flag. With this image，Parks aimed to articulate the prejudice he had experienced as an African American man in Washington DC and expose existing restrictions on the social mobility of black people. The day that he took the picture，Parks later said，was his first day in the city，and he was angry because he had been refused service at a clothing store，a movie theater，and a restaurant. Although Roy Stryker believed the picture was incendiary enough to get all his photographers fired，he encouraged Parks to continue with a series documenting Ella Watson’s daily life.<br>Parks always spoke modestly about his time with the FSA：“I got a lot more out of it than I contributed.”He eventually resigned in 1944 in protest against the prejudice he felt he encountered in the organization. He went on to become the first black artist to produce and direct a major Hollywood film，The Learning Tree，in 1969. In 1971 he directed Shaft，the classic blaxploitation detective film.",{"$nulls":3},"CMYK","2800*3600px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400008.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Arthur Rothstein","Sign，Birmingham，Alabama","Dated 1937",{"$nulls":3},"摄影","照片","Arthur Rothstein<br>Born in 1915 in New York； died in 1985 in New Rochelle，New York<br>Arthur Rothstein was the first photographer hired by Roy Stryker. It was 1935，and he had just graduated from Columbia University. Stryker had been in Columbia’s economics department serving as an assistant on an agriculture-related photography project，so the two of them had already worked together. Rothstein had planned to go to medical school，but after being convinced by Stryker to spend a year as a photographer for the Farm Security Administration，this was“something he forgot.”He worked for the FSA for five years，and then in 1940 joined the staff of Look，where he eventually became head photographer.<br>Of all the FSA photographers，Rothstein traveled the most，to places as diverse as the Oklahoma panhandle，the Midwest，New England，Montana，California，Florida，the South，and the South Dakota Badlands. In the Badlands he took one of the FSA’s most controversial pictures，The Skull（1936），showing a steer skull lying in a parched landscape. In the summer of that year，the Great Plains experienced a terrible drought，and this was the picture selected and distributed by the FSA to illustrate its severity. It almost brought down the agency. There were charges that Rothstein had faked or staged the picture，and political accusations that the FSA was advocating government intervention and overstating the destitution of the land. This backlash indicates the authority and power with which the FSA images were consumed by the government，the press，and the public.<br>Rothstein took to heart his job as an FSA photographer： to document all aspects of American life. Sign，Birmingham，Alabama（1937）was part of an assignment to photograph the conditions around Birmingham. Against a backdrop of run-down houses，it shows a sign with a smiling white family in a car. The text reads，“World’s highest standard of living”and“There’s no way like the American way.”Colliding the hopeful with the hopeless，the picture is bitterly ironic. It vividly highlights the extremity of the divides between rich and poor in 1930s America and the absurdity of the ideal of an American arcadia.",{"$nulls":3},"CMYK","3588*2400px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400009.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Ben Shahn","One of few remaining inhabitants of Zinc，Arkansas","Dated 1935",{"$nulls":3},"摄影","照片","Ben Shahn<br>Born in 1898 in Kaunas，Lithuania； died in 1969 in New York<br>Ben Shahn’s family emigrated from Lithuania to New York in 1906. Early in his life he trained as an artist，and felt increasingly frustrated by what he saw as a lack of originality among modern painters such as Henri Matisse，Pablo Picasso，and Paul Klee. Shahn ultimately found his aesthetic voice in social realism，which aligned more comfortably with his left-wing politics. His first acclaimed body of paintings，done in 1932，chronicled the politically charged Sacco-Vanzetti trial. This series led to Shahn’s work for Franklin D. Roosevelt’s Public Works of Art Project，and as an assistant to Diego Rivera on his controversial Rockefeller Center mural. Shahn then joined the Resettlement Administration and finally left New York. The city represented the only America he had known until his time working for the government，and he called his first experiences with other parts of the country a“revelation.”<br>In the early 1930s Shahn took to photography，using a Leica to sketch out and experiment with ideas for his paintings when he felt his drawn sketches were insufficient. His only instruction came from his studio partner，Walker Evans，whom he pestered for a lesson in how to use a camera：“Well，look，Ben，there’s nothing to it. F9 on the shady side and F45 on the sunny side，twentieth of a second，hold your camera steady.”Unlike Evans，who prized technical virtuosity，Shahn delved into the details of the lives of ordinary Americans，navigating through social and political laws and policies to reach the individuals actually affected by them. He is reported to have once said to Roy Stryker：“Roy，you’re not going to move anybody with this eroded soil. But the effect that eroded soil has on a kid，who looked starved，this is going to move people.”He had a great effect on the direction of the Farm Security Administration.<br>One of few remaining inhabitants of Zinc，Arkansas（1935）gives a face to the human devastation of Dust Bowl migration. It has the casualness and spontaneity associated with so many of Shahn’s images—a sense that he has stumbled upon this laborer and caught him in a moment of isolation. Shahn’s presence is always unobtrusive，even while he is telling the personal and political stories that he found most compelling.",{"$nulls":3},"CMYK","3600*2400px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400010.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"John Vachon","National Association of Manufacturers sign，Dubuque，Iowa","Dated 1940",{"$nulls":3},"摄影","照片","John Vachon<br>Born in 1914 in Saint Paul； died in 1975 in New York<br>A student of Elizabethan poetry，John Vachon initially began working for the Farm Security Administration as a“messenger”for Roy Stryker，a position that involved writing captions on the backs of pictures. A developing interest in the file，and a realization that there were few images of Washington DC in it，led to a promotion of sorts. He borrowed a camera from his boss and spent a summer documenting street corners and buildings in the capital，some of which“turned out”and made their way into the file. Vachon was soon accompanying Arthur Rothstein on assignments，though he would later cite Walker Evans in particular（for his“uncompromising view”），Ben Shahn（for his“insight”），and Dorothea Lange（for her“faces”）as most influential on his approach during his time with the agency.<br>Vachon’s first real assignment came in 1938，when he spent a month traveling alone through Nebraska. He specialized in capturing aspects of America that most people might consider unimportant，but that he knew to be gaps in the file： billboards，roadsides，gas stations，diners，cemeteries. By 1940 he was a full-fledged FSA photographer and had hit his stride. Dorothea Lange summed up his style：“The exact imprint of what made it a John Vachon I can’t tell you，but I can tell you it’s sensitivity. Sometimes it gets to the place where it hurts a little. John can do that.”One such image，National Association of Manufacturers sign，Dubuque，Iowa（1940），contrasts an idealistic advertising slogan with an underprivileged passerby.<br>The seven years of Vachon’s involvement in the FSA（he spent more time there than anyone but Stryker and fellow photographer Russell Lee）gave him a keen sense of its priorities and philosophy. When the agency disbanded，Vachon took his FSA training—“this idea that photographs should never be fake，and that we only take the real thing，we don’t doctor things up，make people do what they’re really not doing”—with him to Look and Life magazines，where he continued his successful photographic career.",{"$nulls":3},"CMYK","4143*2739px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400011.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Marion Post Wolcott","Why open the door，coal miner’s child uses“cat hole，”Bertha Hill，West Virginia","Dated 1938",{"$nulls":3},"摄影","照片","Marion Post Wolcott<br>Born in 1910 in Montclair，New Jersey； died in 1990 in Santa Barbara，California<br>Marion Post Wolcott was already politically minded when she came to the Farm Security Administration. After witnessing the rise of Nazism while studying in Vienna，she returned to America and campaigned against Fascism. What ultimately led her to the agency，however，was more her frustration over being assigned to“ladies’stories”at the Philadelphia Evening Bulletin，where she was working as the newspaper’s first full-time female photographer，and what she called her“battle scars”from the paper’s pervasive sexism.<br>When she joined the FSA in 1938，Roy Stryker gave her a different agenda than the photographers who had come before： to produce images that recorded the triumphs of New Deal policies. So many images in the file already captured the hardest aspects of the Depression，and now Wolcott’s instructions were to point her camera in a new direction—as she put it，“to get more photographs of the positive side of the FSA program and something different for the exhibits that could be used in contrast to the other photographs； to show something other than the ‘lower third’of the country.”For a little more than three years，Wolcott photographed for the FSA all aspects of society： the affluent and the poverty stricken，children and families，black people and white people，race-goers and tobacco harvesters，coal miners and farm laborers. She traveled through New England，Kentucky，North Carolina，Louisiana，and Mississippi.<br>Why open the door，coal miner’s child uses“cat hole，”Bertha Hill，West Virginia（1938）was taken on Wolcott’s first assignment beyond Washington DC，documenting coal mining in West Virginia. Rather than showing an overtly political subject，she chooses an intimate domestic moment—a small child entering a miner’s basic home though a pet door—to get at wider issues of poverty，abandonment，and humanity. The child grasps a gun in one hand and a pipe in the other. In this context，these two objects become shocking symbols of innocence lost. Wolcott is identified in Stryker’s file as being particularly sensitive to the conditions of children，and this image also attests to the humor that she could sometimes discern even in the most difficult circumstances. Obvious social injustices are conveyed here，but with a wry eye and keen awareness.",{"$nulls":3},"CMYK","2542*2195px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400012.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
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[{"$nulls":3},"作品018",{"$nulls":4},"摄影","照片",{"$nulls":4},"CMYK","2831*1982px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400018.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[{"$nulls":3},"作品019",{"$nulls":4},"摄影","照片",{"$nulls":4},"CMYK","3089*2059px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400019.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
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[{"$nulls":3},"作品022",{"$nulls":4},"摄影","照片",{"$nulls":4},"CMYK","3005*2031px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400022.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[{"$nulls":3},"作品023",{"$nulls":4},"摄影","照片",{"$nulls":4},"CMYK","2046*1732px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400023.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[{"$nulls":3},"作品024",{"$nulls":4},"摄影","照片",{"$nulls":4},"CMYK","2317*1544px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400024.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Walead Beshty","Transparency（Positive）[Fujichrome RDPIII Provia 100F Em. No. 05182： July 30–August 2，2011 LAX/DEN/RAP RAP/DEN/LAX]，2011（left）； Transparency（Negative）[Kodak Portra 400NC Em. No. 2031： July 30–August 2，2011 LAX/DEN/RAP RAP/DEN/LAX]，2011（right）",{"$nulls":4},"摄影","照片","Walead Beshty<br>Born in 1976 in London； lives and works in Los Angeles<br>Walead Beshty uses photography as a means of exploring social and political issues，as well as our understanding of place. For More American Photographs he investigated two very different American communities. Fisher Island，a Florida resort community off the coast of Miami，is one of the most exclusive residential enclaves in the United States. It has the nation’s highest per capita income and is home to 420 permanent and seasonal residents，including Oprah Winfrey and Andre Agassi. The island is only accessible via a ferry，which is how students from Miami Beach and nearby islands get to the exclusive Fisher Island Day School. The school occupies a one-acre campus and has a state-of-the art playground and water park. Thanks to private donations，it has a substantial endowment and is permanently financially secure.<br>The American Horse School is located in Allen，South Dakota，in the Oglala Lakota Nation. It was founded at the height of the Depression，in 1934，with support from the Dawes Act. Allen’s population is identical in size to that of Fisher Island，and the median annual income is less than $8，000—the lowest in the nation. Allen falls directly on the North American“continental pole of inaccessibility，”meaning that it is the point farthest from any ocean. Thus，Fisher Island and Allen are opposites in numerous respects.<br>Beshty spent several days in both municipalities，observing their stark geographic and economic contrasts. He took a series of photographs at each location and kept a travel diary. At each stage of his journeys he deliberately sent his exposed film unprotected through the airport X-ray machine，introducing a unique—and also，in its own way，place-specific—noise into his visual documentation. The damaged film stands as a kind of unbiased witness to the sites he visited. By presenting all of the images as large-scale transparencies，he levels some of the monumental differences between the two locations.",{"$nulls":3},"CMYK","2221*1473px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400025.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Larry Clark","Adam，Marfa，Texas","Dated 2011",{"$nulls":3},"摄影","照片","Larry Clark<br>Born in 1943 in Tulsa，Oklahoma； lives and works in New York<br>Larry Clark’s lurid films and photographs are candid forays into American subcultures. Teenage drug use，underage sex，dysfunctional families，skateboarders，hustlers，and surfers are all subjects to which he has turned his lens. His films consistently garner NC-17 ratings and have often been censored for their explicit content. Clark’s controversial 1995 film Kids，which follows an HIV-positive teenager who is unaware of his condition as he deflowers a series of virgins，captured the dangerous ennui of a generation. His iconic 1971 photo documentary book Tulsa is a collection of his own photographs from his turbulent youth，including gritty black-and-white images of his friends using drugs. Clark’s artworks challenge us to realize that what appears to be fiction—and what we may indeed wish was fiction—is actually reality.<br>For this project Clark traveled to the rural art center of Marfa，Texas. But this was no nostalgic American road trip； the resultant pictures are intimate gazes at the representatives of today’s youth counterculture. He trained his camera on two skateboarders，Adam and Eric，who appear consistently stoned and skeptical. In Adam，Marfa，Texas（2011），Adam gazes forlornly at the camera，his apathy almost tangible in his disenchanted stare. In Adam’s Room，Marfa，Texas（2011），we see a messy floor and unmade mattress strewn with papers，pairs of sneakers，and a half-eaten plate of food. Clark also includes in the series an image titled Moses，Marfa，Texas（2011），showing a cherubic little boy standing on concrete，his hand poised to pet a drowsy cat sprawling on a picnic bench. The child is the very picture of innocence，and we wonder what the trajectory of his life will be. If this is the new generation，what is in store for their—and our—future? ",{"$nulls":3},"CMYK","1697*2550px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400026.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Roe Ethridge","Marina，Pahokee，Florida","Dated 2011",{"$nulls":3},"摄影","照片","Roe Ethridge<br>Born in 1969 in Miami； lives and works in New York<br>Belle Glade，Florida，is also known as“Muck City.”Here in this rural and swampy region of Palm Beach County，close to Lake Okeechobee，sugarcane grows abundantly. Belle Glade produces about half of America’s annual crop of this sweet stalk，but the situation in this small town of fewer than 20，000 residents is anything but saccharine. It has one of the highest violent crime rates in the country and once had the nation’s highest rate of AIDS infection per capita. The town slogan announces that“Her Soil Is Her Fortune，”yet this currency has clearly dwindled in value.<br>Ethridge’s parents both hail from Belle Glade，a place that the artist describes as being stricken by“seemingly never-ending hard luck.”His pictures of the area for More American Photographs are beautiful，but tinged with gritty reality. In one，the Bank of Belle Glade dominates the composition，its brick facade flanked by neatly trimmed shrubbery while its tall glass doors stand open to the public. A woman is leaving，talking on her cell phone. It looks like a stage set，a bit too perfect. But this is just one story in Ethridge’s wry narrative of the town. He juxtaposes pictures of the bank and a smiling bank teller with others showing a white car sinking into a muddy canal，or a Coca-Cola can crushed into the gravel. An idyllic marina at sunset contrasts with a Styrofoam takeout box in someone’s room at a Holiday Inn Express. Through Ethridge’s wry mapping，we gather a sense of the place and its emotional resonance.<br>In addition to his art practice，Ethridge maintains a successful career as a commercial photographer. His work in advertising informs his personal work，perhaps most notably in his profound ability to capture the poignant in the mundane. He often undertakes a considered sequencing of his images，which nods to glossy magazine spreads but probes deeper，insistently demanding the viewer’s attention. Returning to his roots for this project，Ethridge offers us a series of moments that are both brutal and sentimental. His vibrant and polished pictures investigate the hopes and the fallen dreams that are cultivated in the sugar and the muck of Belle Glade.",{"$nulls":3},"CMYK","3328*4622px",240,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400027.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Katy Grannan","Untitled，Bakersfield，California","Dated 2011",{"$nulls":3},"摄影","照片","Katy Grannan<br>Born in 1969 in Arlington，Massachusetts； lives and works in Berkeley<br>While attending graduate school at Yale University，Katy Grannan placed an ad in a local newspaper：“Artist/photographer（female）seeks people for portraits. No experience necessary.”Grannan’s working methods have since changed，but she remains deeply interested in paying close attention to people and places that are overlooked，marginalized，and ignored.<br>Her work has been compared to that of Diane Arbus in part for its candor and unapologetic provocation of feelings of discomfort. It forges a symbiotic relationship between artist and subject： Grannan gets her image，and the model gets an exhilarating，monotony-disrupting experience—something to make today different than yesterday，a recognition and affirmation of individual existence. Grannan’s portraits manifest a kind of poignancy and timelessness.<br>For More American Photographs，she traveled along California’s Highway 99，following Dorothea Lange’s path through towns such as Tulare，Modesto，Merced，Delano，Bakersfield，and Stockton，which seem surprisingly unaltered since Lange shot her iconic images there more than 80 years ago. The striking color portraits include a beautiful homeless woman in Fresno whose tortured expression describes a bleak uncertainty that both she and countless others face. A disabled man holding a newborn kitten seems perhaps a distant cousin of Lenny from John Steinbeck’s Depression-era Central Valley novella Of Mice and Men（1937）. A father holds his young daughter on his knee，his hardened face contrasting with her simultaneous look of hope and desperation，conjuring a contemporary rendition of Dorothea Lange’s iconic Migrant Mother（1936）.<br>The portraits are accompanied by stark black-and-white pictures taken along Highway 99，in which the landscape and economic circumstances appear remarkably similar to their Depression-era counterparts. Kern River，Rosedale Highway，Bakersfield，CA（2011）shows a dry riverbed that has filled with water for the first time in years and has become a local oasis. Despite its unenticing location near a highway overpass，people swim and enjoy a brief respite from the intense summer heat.  ",{"$nulls":3},"CMYK","1890*2520px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400028.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"William E. Jones","Restaurant，Canton，Ohio","Dated 2011",{"$nulls":3},"摄影","照片","William E. Jones<br>Born in 1962 in Canton，Ohio； lives and works in Los Angeles<br>Twenty years ago，William E. Jones created an autobiographical 16-millimeter film titled Massillon（1991）that details his hometown’s monuments，both personal and historical，through imagery and anecdotes. The town earned notoriety in 1937 when a union steelworkers’strike ended with many casualties，and it is known today for its winning high school football team. For More American Photographs Jones revisited Massillon and the adjacent city of Canton，Ohio，which is an industrial and agricultural hub，one of America’s fastest-dying cities，and home to the Pro Football Hall of Fame. Jones’s desolate images focus on landscapes and buildings that seem straight out of Walker Evans’s American Photographs，but still reflect present-day reality. One might call the pictures cinematic； Jones is both a filmmaker and a photographer，and in his practice，discursive vignettes created from re-sequencing found footage or photographs evoke feelings of desire，loss，and identity. Movement of bodies and investigations of identity often characterize Jones’s work，yet in this new series there is a pervasive sense of absence. Working-class cities become empty stages with no actors.<br>In Restaurant，Canton，Ohio（2011），a rosy-colored main street shows a marked lack of activity. At first glance it seems to be a placid streetscape，but the details create a strong sense of foreboding. While the neon beer signs of the Wheel Café blaze through barred windows on the ground floor of one building，the windows on the upper floors are covered in plywood. Paint peels from neglected walls. A lonely parking meter isn’t getting any business. The only visible life form in this stark photograph is ivy climbing up the side of a brick building. In other pictures，abandoned steel mills and an open field for sale are landscapes that have been abandoned by their former human occupants，presumably because they have become economic liabilities. The specter of bygone productivity haunts this sequence of photographs. Scenarios of former use invite speculation as to what these scenes looked like before they fell out of circulation in the human economy.",{"$nulls":3},"CMYK","2923*1945px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400029.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Sharon Lockhart","Visalia Livestock Market，Visalia，California","Dated 2011",{"$nulls":3},"摄影","照片","Sharon Lockhart<br>Born in 1964 in Norwood，Massachusetts； lives and works in Los Angeles<br>Sharon Lockhart is both a filmmaker and a photographer，and she moves seamlessly between the two. Her photographs are often staged and evoke the cinematic，while her films may emphasize frozen moments. All of her work，regardless of medium，offers a prolonged investigation of the subject at hand. The artist’s almost anthropological sensibility leads her to spend months，even years，working with the same community，whether in Bath，Maine，or Lodz，Poland，resulting in provocative and thorough studies of people and places.<br>For More American Photographs Lockhart went to California’s Central Valley to the town of Visalia，a large agricultural center in the San Joaquin Valley. Cotton，olives，grapes，citrus，and livestock are the most important economic commodities here. Cows，in particular，are a major source of revenue； milk is a billion-dollar industry. Lockhart spent time with cattle ranchers on their properties and attended livestock auctions with them，getting a sense of the rhythm of their lives. To most people，the idea of a cattle rancher conjures an iconic American vision of a cowboy on horseback，herding steer on a vast Western landscape. In Visalia Livestock Market，Visalia，California（2011），Lockhart records a more mundane and candid moment in a contemporary rancher’s reality. On bright blue bleachers inside a livestock market，ranchers and their families watch as cattle enter the stadium and the auctioneer starts the bidding process. The mix of faces and expressions reveals this place to be more complex than one might have previously thought. It is a social space，a place of business，and an entertaining spectacle. It is a center of both commerce and culture for a community tied to the system of food production and distribution，which is vast but mostly unseen by those who are not participants in it.",{"$nulls":3},"CMYK","2310*1525px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400030.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Catherine Opie","Bravo（Plumbing）","Dated 2011",{"$nulls":3},"摄影","照片","Catherine Opie<br>Born in 1961 in Sandusky，Ohio； lives and works in Los Angeles<br>In one of the scripts provided to the FSA photographers，Roy Stryker wrote the instruction，“Looking down my street.”Catherine Opie adapted this assignment for More American Photographs by taking portraits of the owners of small shops in South Los Angeles，where she lives. It is a low-income community with a predominantly Hispanic and African American population.<br>Opie has investigated her neighborhood before. Her series of portraits In and Around Home（2005）captures the diverse personal and political identities to be found there. She has photographed many different cultural and subcultural communities，including LGBT fringe groups，surfers，and high school football players. She always attempts to represent what she believes to be the whole person，as both an individual and part of a community.<br>In this new series，Opie focuses on shopkeepers who are persevering in today’s challenging economy. Their identities seem intimately bound to their professions，as they are presented in their commercial establishments，surrounded by their wares and the tools of their trade. As in all of her work，Opie seeks to cultivate feelings of both connection and disconnection. The shop interiors are familiar，but the interactions feel unusual. These are intimate portraits，the subjects gazing directly at us. There are no transactions taking place other than our attempt to comprehend the situation from an unfamiliar vantage point.<br>In each portrait，personality is projected through expression，body language，and milieu. The five images are titled after the first name of the shopkeeper depicted. Bravo，the owner of a plumbing store，wears a stern expression and his clenched hand rests firmly on the wooden counter. Signs in English and Spanish，pipes，key rings，flashlights，and doorknobs are but a small selection of the vast array of objects surrounding him. For security reasons，Tavir sits behind bulletproof glass in his gas station convenience store，the wary expression on his face contrasting with the colorful displays of medicines，gum，and incense sticks surrounding him. Rita smiles tiredly through the window of her kitchen while customers in the dining room eat the food she has prepared. The entrepreneur and the enterprise are inextricably linked in these photographs，whose protagonists manifest the unflagging pursuit of the American Dream.",{"$nulls":3},"CMYK","3600*2692px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400031.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Martha Rosler","Diptych： Storefronts（Left）（detail）","Dated 2011",{"$nulls":3},"摄影","照片","Martha Rosler<br>Born in Brooklyn； lives and works in Brooklyn<br>Martha Rosler’s practice embodies the slogan“the personal is political”； her artworks explore and query our social lives. For the past 40-plus years she has worked across media，integrating video，photography，text，and criticism into her practice，often using the tactics of the mass media to address hypocrisy. Blurring the lines between the personal and the fictional，Rosler’s discursive narratives ask us to question our accepted image of reality. The artist is well known for her series of photomontages Bringing the War Home： House Beautiful（1967–72），which mix images of the Vietnam War with images of domesticity cut from interior design magazines. She reprised this series in 2004 and 2008，creating new bodies of work related to the wars in Iraq and Afghanistan. With deadpan humor she explores social，economic，and political issues，bringing war quite literally into the domain of the middle class. She has also worked on issues of housing，urbanism，and architecture，and has produced photographic series concerning transient spaces： airports，roads，subways，and city streets.<br>For More American Photographs，Rosler chose the place in which she has lived for the past 25 years—the Greenpoint neighborhood of Brooklyn—as her subject. She created a series of photographic collages，presenting the social，political，and economic issues that overlay Greenpoint’s geography. Her photographs and texts sketch out the stories of longtime residents，recent transplants，and local businesses，reflecting on recession，gentrification，and changing demographics. She writes about the shift：“Greenpoint is a case study of gentrification in dilapidated working-class neighborhoods. It illustrates the urban-planning hope that ‘creatives’and creative industries will be the longed-for engine of revitalization.”Diptych： Storefronts（2011）is a pair of photogra-phic collages showing long-standing stores，bars，and restaurants in Greenpoint that serve mostly working-class residents，and newly opened ones serving the incoming middle-class creatives.<br>Rather than an impersonal document，it is an intimate rendering of the artist’s own community and the challenges it faces.",{"$nulls":3},"CMYK","2453*1635px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400032.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Collier Schorr","Americans #1","Dated 2011",{"$nulls":3},"摄影","照片","Collier Schorr<br>Born in 1963 in New York； lives and works in Brooklyn<br>Over the course of her 25-year career，Collier Schorr has voluntarily adopted the roles of a traveling portraitist，a historian，a sports documentarian，an anthropologist，and a war photographer. Unlike artists who present what they know and have experienced，Schorr goes out of her way to create unfamiliar assignments for herself，which result in images of experiences that are foreign to her. No matter what the setting，however—whether she is working with high school wrestlers or young German soldiers—Schorr consistently captures images that balance masculinity with tenderness and fragility.<br>For More American Photographs Schorr produced three collaged artworks that juxtapose her own recent black-and-white photographs of young cowboys with excerpts from the Danish photographer Jacob Holdt’s haunting 1977 book American Pictures. Holdt spent four years traveling across America documenting the class struggles，disparities，and prejudices that he witnessed in everyday life. Images of sex，incarceration，homelessness，and rural America were all subjects he thoroughly covered in his extensive body of work. Schorr is likewise interested in how nationality，class，and sexuality come together to form identity.<br>In Americans #1（2011），an adolescent，acne-scarred cowboy attempts an iconic cowboy pose，but through Schorr’s sensitive approach and surgical cropping，he comes across as an apprehensive and vulnerable youth. Four hopeless gazes peer out from behind him—the faces of elderly，homeless African American men. Each collage has this same format，with an innocent visage surrounded by excerpts of grim reality. All show a young cowboy—a fragile but vigorous athlete eager to convey a sense of his own manhood and visibility—in the foreground，and in the background Holdt’s images of crime scenes，bars，and the American underclass. These works present two sides of America that exist simultaneously： the privileged desire for fame and fortune，and the basic drive for survival.",{"$nulls":3},"CMYK","1627*1935px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400033.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Stephen Shore","Lower East Side，New York City，July 2011","Dated 2011",{"$nulls":3},"摄影","照片","Stephen Shore<br>Born in 1947 in New York； lives and works in Tivoli，New York<br>Stephen Shore has been photographing America since the 1970s. He was an early adopter of color photography，captivated by the medium’s ability to document both subtle and vivid hues of ordinary life. Shore was deeply influenced by the Farm Security Administration photographer Walker Evans，in particular Evans’s approach to the nuances of everyday reality.<br>In 1972 he began a series of road trips across America，which opened his eyes to the rest of the country beyond his hometown of New York. Documenting every element of his exploration—the food he ate，the people he met，gas stations，prairies，campsites，and landscapes framed through the car window—his photographs capture the extraordinary in the banal. Many photographers，such as Evans and Robert Frank，have gone on the road to document America，but Shore brought to bear a more positive emotional premise： an eager and earnest wish to portray what he called“travels through looking”in a full spectrum of color.<br>For More American Photographs Shore photographed the changing face of the Lower East Side and the East Village in New York. Once working-class neighborhoods with a significant immigrant population，they are becoming gentrified，with boutiques eclipsing the older mom-and-pop stores. Instead of focusing on the disparity between the past and the present，however，Shore draws attention to elements of history and community that still persist. The Lower East Side is one of the oldest neighborhoods in New York and has a large Puerto Rican and Dominican population，and Shore shows us a stack of El Diario，the most widely read Spanish newspaper in the city and the oldest in the country. Another photograph，taken through the window of a Korean restaurant，shows faded images of food spattered with grime and graffiti，mirroring the local layers of diverse cultural accumulation. In another，a folding chair on the sidewalk has a can of 7UP in the cup holder and a bag of chips resting on the arm. It is possible to imagine a group of such chairs set up in the shade with people relaxing and talking in the summer heat. In yet another picture，a tree growing through a crack in the sidewalk represents the persistence of community despite changing demographics. In an increasingly alienated time，these details point to solidarity.",{"$nulls":3},"CMYK","2400*1914px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400034.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Alec Soth","Maria，Owatonna，Minnesota","Dated 2011",{"$nulls":3},"摄影","照片","Alec Soth<br>Born in 1969 in Minneapolis； lives and works in Minneapolis<br>Alec Soth once said that he is not a photographer on a mission. His work does not make concrete statements. Rather，it is open to interpretation，like poetry. His pictures—terrifyingly beautiful illustrations of the mundane and banal—recall the writings of Raymond Carver. From Sleeping by the Mississippi，Soth’s 2002 exploration of the mighty Mississippi River and the lives of those who inhabit its banks，to Broken Manual（2006–10），his series investigating monks，hermits，and others who have chosen a life of solitude，Soth has documented some quotidian moments with an acute sensitivity and generosity.<br>Soth discovers many of these moments from the seat of his car.“Beards，birdwatchers，mushroom hunters，men’s retreats，after the rain，figures from behind，suitcases，tall people（especially skinny），targets，tents，tree houses，and tree lines”reads a list taped to the steering wheel of his car，recalling the instructional scripts handed out by Roy Stryker to the Farm Security Administration photographers.<br>For More American Photographs，Soth visited a historic migrant camp in southern Minnesota，formerly a World War II–era prisoner of war camp，which is now home to numerous Hispanic women who work in a nearby food production facility. Many of the women have left their homes in Texas with their children at their sides to seek seasonal work； most came originally from other countries and moved to the United States in the hope of finding a better life for themselves and for their families. Soth’s arresting portraits of these migrant mothers and their children strongly recall the work of the FSA photographers. In Maria，Owatonna，Minnesota（2011），a woman sitting on the edge of a rusty iron prison-style bed stares blankly，exhausted but still strong，her expression comparable to that of Dorothea Lange’s iconic Migrant Mother（1936）.<br>The prisoners of war who were brought here in the 1940s filled a need for agricultural laborers，and these modern-day migrant mothers are likewise here not so much by choice as because of economic structures that are outside their control. Soth’s images remind us of the contemporary relevance of a history that sometimes seems very distant. He reminds us not with the bluntness and condemnation of news footage or a late-night public service announcement，but with quietly lyrical images that are both warm embraces and slaps on the wrist.",{"$nulls":3},"CMYK","2250*3000px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400035.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]
[null,null,"Hank Willis Thomas ","Strawberry Mansion（detail）","Dated 2011",{"$nulls":3},"摄影","照片","Hank Willis Thomas<br>Born in 1976 in Plainfield，New Jersey； lives and works in New York<br>Hank Willis Thomas is a conceptual photographer，sculptor，printmaker，and filmmaker. He employs the language of advertising to create thoughtful，charged works in a wide range of media that elucidate difficult truths of the American psyche related to race，identity，history，and popular culture. Willis Thomas’s personal history also often influences his art practice. In the series Strawberry Mansion made for More American Photographs，he documented every house on a particular city block in north Philadelphia. The neighborhood is named after the historic home of one of 18th-century Philadelphia’s wealthiest residents. It is a place that Thomas knows intimately，as his grandparents lived at 2531 North 26th Street. When they arrived in 1944 they were the third African American family on the block，and they owned a store across the street from their house. By the 1960s the neighborhood was predominantly black and economically thriving. In the 1970s，it started to decline. In 2000，bullets broke the artist’s grandmother’s bedroom windows，and in 2008，after someone was killed outside her front door，she moved away. The family still owns the house，retaining their connection to the community and memories of a better time.<br>A co-captain of the block，Diane White，said to the artist，“With the old neighbors，we would eat，drink，and party，and all the kids played together.”The block captains，whose role is to voluntarily organize events and serve as liaisons for neighborhood politics，are becoming a relic of the past. Their lasting presence in Strawberry Mansion reveals a lingering desire on the part of some residents to restore the old spirit of the neighborhood.<br>Thomas presents a sequence of portraits of each house，with the members of the household assembled on the sidewalk in front. The bright brick facades of the row houses provide a backdrop for  the multigenerational residents. A candid narrative unfolds； we see a neighborhood in flux and an important testament to change—wanted or otherwise. In one picture，a woman walks her toddler past a boarded-up home in disrepair. Two doors down，a man with a skateboard leans against a tree，a grill in the background suggesting a well-cared-for residence.",{"$nulls":3},"CMYK","2394*3600px",300,"《MORE AMERICAN PHOTOGRAPHS》","crt10559400036.jpg",null,null," ",{"$nulls":3},"CB00000068","--",105594,"MORE AMERICAN PHOTOGRAPHS"]