Arthur Rothstein
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Arthur Rothstein (b. 1915 in New York City – d.1985 in New Rochelle, New York) was an American photographer.
During the Depression Rothstein was invited by Roy Stryker to join the federally sponsored Farm Security Administration. This small group of photographers, including Esther Bubley, Marjory Collins, Mary Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, Charlotte Brooks, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the conditions of the rural poor in the United States.
Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, he prepared a set of copy photographs for a picture source book on American agriculture that Stryker was assembling. The book was never completed, but before the year was out, Stryker had hired Rothstein at the Resettlement Administration.
The photographs made during Rothstein's five-year stint with the photographic section form a catalog of the agency's initiatives. His first assignment was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana.
The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead, a moderate Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration.
[edit] Gee's Bend
On February 18, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, "the most primitive set-up he has ever heard of. Their houses are of mud and stakes which they hew themselves." Smith was preparing an article on tenancy for the July issue of the American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that LIFE will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip and Rothstein went to Gee's Bend alone.
The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture partook of an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs.
Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured.
There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of 27 August 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian — and African — values.
