Photograph by Marion Post Wolcott.
Vegetable workers-migrants, waiting to be paid
near Homestead Florida 1939 (photograph/LOC)
Marion Post Wolcott was one of the later Farm Security Farm Security Administration ( FSA) photographers and went on to be one of the Office of War Information photographers (OWI) under the direction of her former boss, at FSA, Roy Stryker. She was unique among FSA photographers, showing the extremes of the country’s rich and poor in the late 30’s, and addressed the issues of race relations with intensity and depth.
Wolcott’s creativity and her unfailing perseverance resulted in powerful documentary images: farmers harvesting the tobacco fields in Lexington, KY; affluent spectators at the races in Florida; coal miners and their families throughout West Virginia and farm laborers in North Carolina and Mississippi.
Blowing horns on Bleeker Street on
New Year’s Day. January 1943,
by Majory Collins/OWI
Text by Bruce Berman
Just about the time you think you’ve seen all there is to see about the Farm Security Administration (FSA) and the photographers from the Historical Section, up pops another one!
Somewhere in mid 1937 Roy Stryker, Director of the “Unit,” made a conscious decision to start showing more than just poverty and the negative affects of the Depression, various natural disasters and the dire conditions of America’s farms and the people who worked them. The Resettlement Administration (RA) was tasked with convincing Americans that the government’s programs were needed, were effective and that it was money well spent. Little wonder that the initial efforts of the Historical Unit, in the beginning, concentrated on what was causing the rural displacement of tens of thousands beleaguered Americans, showing everything from the Dust Bowl of the Midwest and West to the displacement of massive flooding, overuse of the land and changing cultural realities, in the South. This was the FSA’s original mission, started a year earlier. But Stryker knew that the problems of rural America were not limited to rural America and that the great displacement and cultural change of America was affecting all parts of the country. He revisited his mission and expanded it to show more than just problems, but to include a hitherto unseen view of how all Americans lived. He assigned his photographers to the task of broadening their coverage and the “Unit” went from a narrow and propagandistic reportage arm of the government to an overall recorder of “American Life.”