Trauma and Documentary Photography of the FSA

Trauma and Documentary Photography of the FSA

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Overview

Trauma and Documentary Photography of the FSA by Sara Blair, Eric Rosenberg

The latest volume in the Defining Moments in American Photography series, Trauma and Documentary Photography of the FSA proposes that we reconsider the work of the Farm Security Administration and its most beloved photographers in light of various forms of trauma in the 1930s. The authors offer new ways to understand this body of work by exploring a more variable idea of documentary photography than what the New Dealers proposed. Taking a critical look at the FSA photography project, they identify its goals, biases, contradictions, and ambivalences, while discerning strikingly independent directions among its photographers. Blair and Rosenberg discuss how, in the hands of socially minded photographers seeking to address and publicize suffering, photography and trauma mixed.
In the volatility of that mixture, they argue, competing ideas for documentary took shape. Among the key figures studied here are some of the most beloved in American photography, including Walker Evans, Ben Shahn, and Aaron Siskind.

Product Details

ISBN-13: 9780520265660
Publisher: University of California Press
Publication date: 05/01/2012
Series: Defining Moments in American Photography Series
Pages: 121
Product dimensions: 6.00(w) x 8.00(h) x 0.28(d)

About the Author

Sara Blair is Professor and Director of Graduate Studies in English Language and Literature at the University of Michigan and author of Henry James and the Writing of Race and Nation (Cambridge, 2009). Eric Rosenberg is Associate Professor of Art and Art History at Tufts University and author of Trauma and Visuality in Modernity (Dartmouth, 2006).

Table of Contents


Introduction Anthony W. Lee

Against Trauma: Documentary and Modern Times on the Lower East Side Sara Blair

With Trauma: Walker Evans and the Failure to Document Eric Rosenberg

Notes Index

What People are Saying About This

From the Publisher

"An excellent contribution; moving, considered, articulate and painfully relevant."—Metapsychology Online Review

"Farm Security Administration work from the 1930s, so often viewed in political and socioeconomic terms, is here reconsidered in light of new theories on how personal and collective trauma may have affected photographers."—Art
In America

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