What Haas looked for, and began to find, in his last monochromatic work was what he finally realized most fully in color: a photography that was not dominated by what Richard Kirstel has called "the tyranny of the subject." Like those members of the New York School with whom he had most in common, and like another figure whose explorations must be factored into this equation, the late Aaron Siskind, Haas had grown tired of making pictures of the world and even of making images about it; instead, he'd become desirous of making images that were simply drawn from it. The teacher and theorist Henry Holmes Smith once wrote (in an essay on Siskind), "The question: 'What was really there?' becomes as irrelevant as what Monet's lily pond really looked like to Mme. Monet when she rode by on her bicycle." Haas's mature color images come to that same conclusion.
July, the Senate rejected the bonus 62 to 18. Most of the protesters went home, aided by
Hoover's offer of free passage on the rails. Ten thousand remained behind, among them a
hard core of Communists and other organizers. On the morning of July 28, forty protesters
tried to reclaim an evacuated building in downtown Washington scheduled for demolition.
The city's police chief, Pellham Glassford, sympathetic to the marchers, was knocked down
by a brick. Glassford's assistant suffered a fractured skull. When rushed by a crowd, two
other policemen opened fire. Two of the marchers were killed.
Bud Fields and his family. Alabama. 1935 or 1936. Photographer: Walker Evans.
Squatter's Camp, Route 70, Arkansas, October, 1935.
Photographer: Ben Shahn
Philipinos cutting lettuce, Salinas, California, 1935. Photographer: Dorothea Lange.
In order to maximize their ability to exploit farm workers, California employers recruited from China, Japan, the Philippines, Puerto Rico, Mexico, the American south, and Europe.
Roadside stand near Birmingham, Alabama, 1936. Photographer: Walker Evans.
Farmer and sons, dust storm, Cimarron County, Oklahoma, 1936. Photographer: Arthur Rothstein.
The drought that helped cripple agriculture in the Great Depression was the worst in the climatological history of the country. By 1934 it had dessicated the Great Plains, from North Dakota to Texas, from the Mississippi River Valley to the Rockies. Vast dust storms swept the region.
Migrant pea pickers camp in the rain. California, February, 1936. Photographer: Dorothea Lange.
In one of the largest pea camps in California. February, 1936. Photographer: Dorothea Lange.
The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made in February or March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience: 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. (From: Popular Photography , Feb. 1960).