Lange’s iconic portrait of Florence Owens Thompson, revisited
The US was in the midst of the Depression when Dorothea Lange (1895–1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.
PRAISE AND REVIEWS
The New York Times
James Estrin
The history behind Ms. Lange’s photograph of Florence Owens Thompson has intrigued academics and photographers for decades. But a new book sheds fresh light on the portrait’s little-explored details.
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FORMAT: Pbk, 7.25 x 9 in. / 48 pgs / 35 color. LIST PRICE: U.S. $14.95 LIST PRICE: CANADA $21 ISBN: 9781633450660 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 3/19/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Dorothea Lange: Migrant Mother MoMA One on One Series
Published by The Museum of Modern Art, New York. Text by Sarah Hermanson Meister.
Lange’s iconic portrait of Florence Owens Thompson, revisited
The US was in the midst of the Depression when Dorothea Lange (1895–1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.
