Eyes of Woman Migrant Near Strathmore, California
Near Strathmore, California. From Wyoming and Missouri. Eight years in California. Working in lemons. “It’s easy for us because we haven’t got a bunch of kids to get drug around.”1
Huts and unemployed, West Houston and Mercer St., Manhattan, October 25, 19351
Men sit in front of huts made of salvaged materials, some decorated with pictures, cat plays in front near baby carriage.
Dust Storm in Rolla, Kansas; 05/06/352
“Darkness came when it hit us. Picture taken from water tower one hundred feet high.”
Over this bridge drought refugees are crossing the Colorado River into California. 1935.3
ca. 1915
B.J. Falk, American, 1853–19251
The Faces Out of Time series is being recommenced four years to the day after the last post, Turkish woman, circa 1860-1870.
Note – This image has been digitally adjusted for one or more of the following:
Three from the Road #16 (plus one) – 2010 trip1
Lake McConaughy, August 17, 2007.
The lake had been quite low for many years,
with trees growing in the bay at Lemoyne, Nebraska.
Lemoyne boat ramp on Lake McConaughy. August 17, 2007
Lemoyne, Lake Mcconaughy, Nebraska, July 8, 2010
In later images from Google Street View, all of the trees in the water are dead.
Former Viersen cabin at Lemoyne, Nebraska, July 2010.
I’ve slept many nights in the old, small Viersen family cabin at Lemoyne, Nebraska – the last time in September 1973, when we were on leave before I reported for duty in New London, Connecticut. We stayed again at Lemoyne in the late 80s when we were visiting my grandfather, who had had his mobile home moved to a lot next to the cabin, but we slept in our own tiny travel trailer. After my grandfather’s passing, the property went to the family of a nephew, who later built a large home on the adjacent property. The shop on the right in the picture is about where the old two hole outhouse was located. Though I’ve never seen it, in the early days of the lake, it was filled to the point that water was almost up to the cabin.
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References:
Endnote:
21st Century Digital #7
Middle Bay or Mobile Bay Lighthouse, Mobile Bay, Alabama. 2010.1
Due to high labor costs in the post-Civil-War South, the lighthouse was prefabricated in the North and then shipped to Mobile Point, where it arrived in 1885. The screwpile lighthouse consists of a wooden hexagonal dwelling with a roof that sloped upwards to a centrally located lantern room. The lighthouse is supported by seven legs-one in the middle, and a single leg extending from each corner of the superstructure.2
The light was automated in 1935 and deactivated in 1967. In 2003, a real-time weather station was added to the lighthouse by the Dauphin Island Sea Lab and the Mobile Bay National Estuary Program. Still running, the weather station, one of seven in Mobile Bay, samples precipitation, total and quantum solar radiation, air temperature, relative humidity, wind speed and direction, barometric pressure, water temperature, salinity, water depth, and dissolved oxygen. These data can be seen in real-time at www.mymobilebay.com.3
End Notes:
Art on Sunday #21 and Random Topic #12 (sacrifice)1
Artist: Julian Scott (1846–1901)
1873.
Oil on canvas
Dimensions: 19.5 × 15.5 in (49.5 × 39.4 cm)
Current location: Smithsonian American Art Museum
Gallery Description:
At the age of fifteen, Julian Scott lied about his age to enlist in the Union army. He rose from drummer boy to infantryman, and for his service he earned the Congressional Medal of Honor. After his discharge he became an artist, initially focusing on images of heroic moments of sacrifice during the war. He painted this Confederate soldier with dignity. The raised white flag is simultaneously a surrender of the individual, his family, the Confederate cause, and the Southern way of life. The soldier’s wife cradles their infant child, while the enslaved man with them looks away, perhaps envisioning the changes in his own future. Scott imbued this work with respect for his Confederate counterpart, sounding a hopeful note for the future. (Renwick Gallery, Smithsonian American Art Museum )
Notes:
Source:
21st Century Digital #6
The top image is a digital “sketch” rendered from the digital photograph at the bottom.
1880 South Dakota Windmill detail (Akvis Sketch rendering)1
Windmill detail, 1880 Town, Murdo, South Dakota. 2009.2
Sources:
Highsmith, a distinguished and richly published American photographer, has donated her work to the Library of Congress since 1992. Starting in 2002, Highsmith provided scans or photographs she shot digitally with new donations to allow rapid online access throughout the world. Her generosity in dedicating the rights to the American people for copyright free access also makes this Archive a very special visual resource.
Servicing one of the floodlights that turn night into day at the big construction operations for a new steel plant which will make important additions to the vast amount of steel needed for the war effort, Columbia Steel Co., Geneva, Utah. Nov, 1942.1
The Bitter Years, Wall 3 (Disaster)
Industrialized agriculture. From Texas farmer to migratory worker in California,
Kern County.
Nov, 1938.
Dorothea Lange 18607-C
The Bitter Years, in 1962, was Edward Steichen’s last exhibition as Director of the Department of Photography at New York’s Museum of Modern Art (MoMA). The images in the exhibition were personally selected by Steichen from 270,000 photos taken for the Farm Security Administration by a team of photographers employed between 1935 and 1941 to document (primarily) rural America during the Great Depression.
Image information:
Note – This image has been digitally adjusted for one or more of the following:
– fade correction,
– color, contrast, and/or saturation enhancement
– selected spot and/or scratch removal
– cropped for composition and/or to accentuate subject matter
– straighten image
Three from the Road #15 – 2010 trip1
The cave at Indian Cave State Park, Nebraska
Petroglyph in rock at the cave at Indian Cave State Park, Nebraska
Indian Cave State Park is named for a cave that overlooks the present channel of the Missouri River. Petroglyphs in the cave are evidence that the cave was used by prehistoric native peoples. There is no evidence of any permanent structures. The cave – actually a limestone overhang – was probably used primarily as a temporary shelter for nomadic hunters.
There are 15 or more petroglyphs scattered among the more recent modern graffiti in the cave. They were created by nomadic tribesmen 1500 to 1800 years ago. Many of them are of American bison (buffalo).
Stairs and decking with railings help to limit modern wear and tear on the cave.
We arrived at Indian Cave State Park on July 3rd, 2010, and left on the 5th.
References:
Endnote:
