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The work she generated during that time, including is situated within the greater context of the Dust Bowl Migration, when 300,000 people migrated from the Midwestern Dust Bowl states to California in search of stable work.
“She was interested in showing the greater context, working in storyboards.
She understood how to tell the story that needed to be shown.
“Dorothea felt that seeing the world was a political act.
Photographing, for her, was always the politics of seeing.
She was principled and defiant and tireless in her pursuit of seeking justice, and I think we have a responsibility to show how that work is still relevant today.
As an art institution, we don’t necessarily have a duty to educate, but we do have a duty to inform.” San Francisco, California.
I think we need to give them a platform from which to represent a plurality of voices, experiences and realities that are sometimes combustible, and that look at the fragility of the world that we live in.
We aren’t only trying to show Dorothea as a pioneering social documentarian - we are also raising awareness about the issues that she was photographing.
The contemplative mother, with her hand grazing her cheek, looks into the distance past Lange’s lens while her three children cling to and crawl up her body, their faces turned from the camera.
Since it was first taken, the image has become a pervasive symbol of the Depression, and in particular represents the mass migration of Americans from the Midwestern states to California that resulted from the catastrophic economic decline.