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도로디 랭(Dorothea Lange 1895-1965)
도로디랭은 1930년대 미국 농업안정국 F. S. A 이 벌인 사진운동을 통해 미국의 다큐멘터리 사진의 전통을 한 단계 발전시킨 여류사진가이다. 그녀는 한 시대의 사건을 단순히 기록하는 데 머물지 않고 인간의 내면적인 진실을 깊이 있게 파고들어 다큐멘터리 사진의 새로운 길은 터 놓았다.
1895년 미국 뉴지 주 호보켄에서 태어난 오로디 랭은 처음에 교사가 되기를 원했으나, 열일곱 살 때부터 사진을 익히기 시작했다. 그녀는 컬럼비아대학의 사진 강사이며, 알프래드 스티글리츠가 이끌었던 사진분리파의 창립멤버였던 클랜런스 화이트에게서 본격적으로 사진수업을 받았다. 그녀의 사진가로서의 생애는 농업안정국 사진운동에 집약되어 나타났다.
랭의 사진적인 특성은 미국의 다큐멘터리 사진의 전통이 라는 맥에서서 볼 때, 리스와 하인이 벌였던 사진운동과 이어지는 것이다. 리스는 일찍이 1870년대 부터 사회를 개혁하려는 입장에서 사진을 사회정의의 실현을 위한 도구로 삼았다. 그는 그 당시 신세계를 찾아서 몰려들었던 이주민들의 비참한 생활상을 세상에 드러내어 정부 당국이나 사회가 서둘러 그들을 위한 대책을 세우게 하였다. 1900년대에 들어와 하인은 사회학자의 입장에서 사회가 안고 있는 문제점들을 사진을 통해 폭로함으로써 사회적인 양심을 일깨워 주었다. 랭이 참여한 농업 안정국의 사진운동도 그 당시 미국 사회가 안고 있는 긴박한 문제 해결을 위한 일의 하나였다. 사회의 그늘 속에 가려져 있는 사건을 파헤쳐서 세상에 드러내는 사진운동은, 리스의 경우에는 폭로와 여론의 환기라는 테두리 안에서 이루어졌고, 하인의 경우에는 인도주의라는 사회적 윤리성을 강조한 것이었다. 랭은 이러한 단계를 딛고 넘어서 고난과 시련을 겪는 인간으로서의 아픔 그 자체에 초점을 맞추었다.
그리하여 사람들로 하여금 직접 사진 속에 담겨 있는 인물의 고통에 직면하게 하였다. 이 아픔은 비참하고 불쌍하다는 동정적인 의미보다는 인간이 누리고 있는 삶의 존엄성을 일깨워 주는 아픔이었다. 다시 말해 그녀의 사진의 주인공들의 아픔은 삶의 깊은 진실을 드러내게 하는 시련으로서의 아픔이었던 것이다.
그렇기 때문에 그녀의 사진은 단순한 기록성에서 벗어나서 내용적으로 한층 깊어지고 무게를 띠게 되었다.
그녀는 1930년대 경제공항과 가뭄으로 시달리고 있는 현실적인 인물들을 하나의 기념비적인 인간상으로 상징화시키고 있다. 또한 심리적인 측면에 있어서도 사진 속의 인물들이 당면하고 있는 가난과 가뭄의 고통을 단순히 육체적인 고통으로 보지 않고, 영혼과 육체를 가지고 있는 인간이 직면한 고통으로 파악함으로써 구체적인 사실성을 근원적인 것으로 상징화시켰다. 이와 같이 양면의 조화로운 모색은 결과적으로 시진에 의한 캠페인을 상징의 차원으로 이끌어 올려 예술로서의 새로운 방향을 제시하는 것이 되었다. 그리하여 1930년대 농업안정국의 사진운동은 사진의 역사에 다큐멘터리 사진의 새로운 변모를 이룬 역사적인 사진운동으로 길이 기록되게 된 것이다
안젤아담스가 담은 도로디 랭의 모습
Dorothea Lange (May 26, 1895 – October 11, 1965) was an American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration (FSA). Lange's photographs influenced the development of documentary photography and humanized the consequences of the Great Depression.
Dorothea Margaretta Nutzhorn was born on May 26, 1895, at 1041 Bloomfield Street, Hoboken, New Jersey to second-generation German immigrants Heinrich Nutzhorn and Johanna Lange. She "grew up on Manhattan’s Lower East Side ... and attended PS 62 on Hester Street, where she was one of the only gentiles — quite possibly the only — in a class of 3000 Jews."
She had a younger brother, Martin.[4] She dropped her middle name and assumed her mother's maiden name after her father abandoned the family when she was twelve years old, one of two traumatic events early in her life. The other trauma was her contraction of polio at age seven, which left her with a weakened right leg and a permanent limp. "It formed me, guided me, instructed me, helped me, and humiliated me," Lange once said of her altered gait. "I've never gotten over it, and I am aware of the force and power of it."
Lange graduated from the Wadleigh High School for Girls, and although she had never operated or owned a camera, she was adamant that she would become a photographer upon graduating from high school. Lange was educated in photography at Columbia University in New York City in a class taught by Clarence H. White.
She was informally apprenticed to several New York photography studios, including that of the famed Arnold Genthe. In 1918, she left New York with a female friend to travel the world, but was forced to end the trip in San Francisco due to a robbery, and settled there, working as a photograph finisher at a photographic supply shop, where she became acquainted with other photographers and met an investor who aided in the establishment of a successful portrait studio. This business supported Lange and her family for the next fifteen years. In 1920, she married the noted western painter Maynard Dixon, with whom she had two sons, Daniel, born in 1925, and John, born in 1930.
Lange's early studio work mostly involved shooting portrait photographs of the social elite in San Francisco. At the onset of the Great Depression, Lange turned her lens from the studio to the street. Her photographs during this period bear kinship with John Steinbeck's The Grapes of Wrath.[14]
In 1933, at the height of the Depression, about fourteen million people were out of work. Many of them drifted aimlessly, with no place to live, many times without food. In addition, the dust storms of the Midwest created economic havoc. About 300,000 men, women and children came to California in the 1930s, hoping to find work. These migrant families were routinely called "Okies" regardless of where they were from. They traveled in beat-up cars, wandering from place to place, following the crops. Lange began to photograph these people from her studio window. Later, she left the studio so she could photograph them in the streets of California. Lange felt she had, at last, found her purpose and direction in photography. She roamed the streets with her camera, portraying the extent of the social and economic upheaval of the Depression. She was no longer a portraitist. Neither was she a photojournalist. She became known as a "documentary" photographer.[15]
Her studies of unemployed and homeless people, starting with White Angel Breadline (1933), which depicted a lone man facing away from the crowd in front of a soup kitchen run by a widow known as the White Angel,[16] captured the attention of local photographers and led to her employment with the federal Resettlement Administration (RA), later called the Farm Security Administration (FSA).
Lange learned to talk to her subjects when photographing them, which helped her to accompany her photographs with pertinent remarks. The titles of her works often were very personal and revealed a lot about her subjects.[15]
In December 1935, Lange and Dixon divorced, and she married economist Paul Schuster Taylor, Professor of Economics at the University of California, Berkeley. Traveling around the California coast as well as the Midwest,[5] for the next five years they documented rural poverty and the exploitation of sharecroppers and migrant laborers. Taylor interviewed subjects and gathered economic data, while Lange took photographs. Lange resided in Berkeley for the rest of her life.
Working for the Resettlement Administration and Farm Security Administration, Lange's images brought the plight of the poor and forgotten—particularly sharecroppers, displaced farm families, and migrant workers—to public attention. Distributed free to newspapers across the country, Lange's poignant images became icons of the era.
One of Lange's most recognized works is Migrant Mother. The woman in the photograph is Florence Owens Thompson. In 1960, Lange spoke about her experience taking the photograph:
I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.
After Lange returned home, she told the editor of a San Francisco newspaper about conditions at the camp and provided him with two of her photographs. The editor informed federal authorities and published an article that included the images. In response, the government rushed aid to the camp to prevent starvation.
According to Thompson's son, Lange got some details of this story wrong, but the impact of the picture was based on the image of the strength and need of migrant workers. Twenty-two of the photographs she took as part of the FSA were included in John Steinbeck's The Harvest Gypsies when it was originally published in The San Francisco News in 1936. According to an essay by photographer Martha Rosler, the photo became the most reproduced photograph in the world.
첫댓글 도로디 랭의 사진도 좋고 내용도 좋지만 가방끈 짧은 사람은 어케 읽어보라고 원문을 올려놓으셨나요.
수고스럽지만 번역본을 같이 올려주심 감사합니다.
또한 저때의 사진은 히나의 예술로 인정받았는데 그리고 사진기도 일부계층 또는 사람들의 전유물이었고 거리스냅이나 포토레이트 같은경우도 초상권 운운하는 경우도없어 사진 작업하기가 용이한점도 있었겠죠 지금이야 언감생심 꿈꾸기도 힘들죠 ㅎㅎ
저분은 이모젠커닝험, 마가렛 버크 화이트 와함께 유명한 여류 작가 였습니다
FSA 미국 농업 안정국 소속으로 활동하신 분이고요.
당시는 초상권도 없고 공무원 신분이니 촬영환경이 지금과는 많이 달랐겠죠 ㅎ
시간 나면 국문으로 대략 설명글 달아놓도록 하겠습니다ㅎ