Bibliography
Brahms, D. (2017) In Search of Jack Delano’s Puerto Rico. Radical History Review 128(1) pp77-89
The source explores Delano’s photographs and Brahms’ revisits into recreating similar scenes in Puerto Rico. Despite the source looking at both 1940s and 2010s I was able to learn about the history behind Puerto Rico and how it influenced his career, this was useful to me to understand why he would revisit the locations 40 years later. I found the source informative as there were more in-depth explanations of Delano’s original photographs. The photograph ‘Bayamon’ coupled with Brahms’ recreation not only describes the subject but also speaks about the values and beliefs of Puerto Rican people which enriched my understanding of the photographs.
Galassi, P. and Museum of Modern Art (New York, N.Y.) (2000) Walker Evans & Company. New York: Museum of Modern Art.
In comparison to the other sources, this one does not read as well and is hard to comprehend as there is an imbalance between the amount of visual references and written information. When locating information on Delano there was only one photograph within the book however the photograph was not commented on; the only information given being that of the year, location and subject. The photograph ‘Hurricane Lumber, Ledyard’ (The Museum of Modern Art, 2000, 225) does appear useful to some extent as it is relevant to the FSA. However, as the source is about Walker Evans it is not relevant to my research.
Howardgreenberg.com. (2018). Jack Delano – Artists – Howard Greenberg Gallery. [online] Available at: http://www.howardgreenberg.com/artists/jack-delano/featured-works?view=slider#4 [Accessed 13 Nov. 2018].
This source introduces Delano’s career and background and contains a collection of both colour and monochrome photographs from 1930-1940s. This is an easy to navigate source that relays basic background information and a selection of photographs to those using it as a resource. I found the source helpful as a thumbnail look into Delano however it does not provide detailed information about his work with the FSA specifically.
International Center of Photography. (2018). Jack Delano. [online] Available at: https://www.icp.org/browse/archive/constituents/jack-delano?all/1940-1949/all/all/1 [Accessed 13 Nov. 2018].
The website has a short biography which includes how Delano became interested in photography ‘while travelling in Europe’ (Lisa Hostetler, 1999, 213) The biography speaks about how ‘Delano’s photographs elevate the ordinary individual to heroic status’ (Lisa Hosetetler, 1999, 213) which portrays their uniqueness. The source is educational about how Delano displayed his photographs, he enlarged his prints so they ‘dramatize the subject’s presence’ (Lisa Hostetler, 1999, 213) these statements show how his photographs differentiated from those already with the FSA ‘Delano documents…not only its people and landscape, but also its cultural and social patterns’ (Lisa Hostetler, 1999, 213) The source provides valuable and relevant information and also has a tool which allows me to select a time period and view photographs, I found this useful as each photograph is labelled with the date, location and a statement about the piece.
Jeffrey, I. and Kozloff, M. (2008) How to read a photograph: understanding, interpreting and enjoying the great photographer. London: Thames & Hudson.
Jeffrey’s comments are informative and useful to understand what Roy Stryker expected from photographers within the Farm Security Administration, Stryker said ‘as the agency grew it was because pictures demand more pictures’ (2008, 204) and he wanted his photographers to ‘inform themselves’ (2008, 205) of the situations they would be in before taking photographs. The source includes an insightful look at Delano’s work, despite using a minimal amount of visual representations when they are used they give detailed accounts and mention methods of communication used by the Delano’s on missions. Stryker wanted photographers to be informed but ‘by 1940 he left Delano to make his own decisions’ and create ‘more positive pictures’. Delano believed that it was ‘really a kind of theatre’ they participated in which shows the graduation of the FSA’s photographers’ involvement in the documentation.
Mora, G. and Brannan, B. W. (2006) FSA: The American Vision. New York: Abrams.
‘The American Vision’ is more focused on Jack Delano and his work ‘Ordinary People’ which shows a vast array of photographs and small descriptions. This is useful as it allows me to see how Delano created poses for the subject in relation to the location. In the summary of Delano’s projects photographing ‘common’ people I am informed of why Delano’s approach to his work was different from those that had previously worked in the FSA. Stryker mentions the ‘sensibility’ (FSA Staff Members, 1952, 188) of ‘Delano’s effort to capture the essence of Vermont in a single photo while his colleagues tried to document as many scenes and activities as they could.’ (FSA Staff Members, 1952, 188) This honest account from Stryker gives a critical understanding into the prowess of Delano’s photographs. Brannan includes a quote from Delano’s son Pablo who says, ‘a look of pure communication passed between them…one human baring its soul to another.’ (Pablo Delano, 2003, 189) This valuable information shows the social connections made between Delano and his subjects were less of a theatrical notion and more intimate.
Phillips, C., Rocco, V. and International Center of Photography (2005) Modernist Photography: selections from the Daniel Cowin collection. New York: International Center of Photography.
‘The Modernization of Rural Life’ by Kristen Lubben gives a detailed history on the photographers within the agency. It gives a more informative depiction of how Delano joined the FSA and what his first assignment for the agency was like. This is useful as it allows me to be more informed of the requirements Stryker had of Delano’s work. The photograph ‘Mr and Mrs Lyman’ was also used in the previous source however it has a much more detailed evaluation of why the photograph was taken and how. The source includes instructions from Stryker ‘Please watch for “Autumn” pictures…I know your damned photographer’s soul writhes, but to hell with it.’ (Stryker, 2005, 48) Lubben says that these instructions ‘indicate another shift underway in the agency’ (2005, 48) which supports the idea that Stryker wanted photographs emphasising patriotism. This factual account of Delano’s first mission within the FSA gives a more informative and critical look into his time at the agency and a brief review of Delano’s career.
Sorene, P. (2018). Women On The Homefront Railroad: Jack Delano's Epic 1943 Portraits – Flashbak. [online] Flashbak. Available at: https://flashbak.com/women-on-the-homefront-railroad-jack-delanos-epic-1943-portraits-361352/ [Accessed 13 Nov. 2018].
In comparison to all the sources looked at this one centres around Delano’s work from 1943, mainly female portraits. The description throughout the post contains quotes by Delano commenting on his photographic style and about his opinion of Roy Stryker which I found informative and useful to help me understand why Delano was appealed by working with the FSA. ‘I respect people like Paul Strand… who make beautiful prints…that kind of photography is one thing and my kind of photography is another thing.’ From this statement alone, you can see how Delano felt about his work and how others recognised his photography as being unusual from other FSA photographers. The visual representations on the website are very eye-catching and embody the elements of Delano’s style, I found these photographs helped to show another side of Delano where he focuses on colour in an unconventional style.