The Sunday porch: catching up

A repeat porch from October 2014. . .
Two women, by Michael Francis Blake, Duke University Libraries Commons on flickr“Snapshot, two women sitting on the front porch of a house, unidentified,” ca. 1912-1934, by Michael Francis Blake, via David M. Rubenstein Rare Book & Manuscript Library, Duke University Libraries Commons on flickr.

Blake was one of the first African-American studio photographers in Charleston, South Carolina.  His collection at Duke consists of 117 photos in an album entitled “Portraits of Members.”

. . . our effort to open the gift of the world,
our hope to find years
in this box we tear apart.

Allan Johnston, from “Evening Conversation

The Sunday porch: relay station

Baltimore stoop, J. Vachon, Library of CongressThis photo was among  a set of 1938 photos of Baltimore, Maryland, by John Vachon, via Library of Congress Prints and Photographs Division (all four pictures).

Dover, DE, Library of Congress“Resident of Dover, Delaware,” July 1938, by John Vachon.

Mail, Omaha, NE, Library of Congress“Morning mail, Omaha, Nebraska,” November 1938, by John Vachon.

Store porch conversation, Library of Congress“On the porch of a general store in Hinesville, Georgia,” April 1941, by Jack Delano.

And this.

The Sunday porch: catching up

Two women, by Michael Francis Blake, Duke University Libraries Commons on flickr“Snapshot, two women sitting on the front porch of a house, unidentified,” ca. 1912-1934, by Michael Francis Blake, via David M. Rubenstein Rare Book & Manuscript Library, Duke University Libraries Commons on flickr.

Blake was one of the first African-American studio photographers in Charleston, South Carolina.  His collection at Duke consists of 117 photos in an album entitled “Portraits of Members.”

. . . our effort to open the gift of the world,
our hope to find years
in this box we tear apart.

Allan Johnston, from “Evening Conversation

Life in gardens: conversation

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I like this trio of photos by Louise Rosskam, which capture two men on a town common bench evidently enjoying a funny story or joke.

They were  taken in Vergennes, Vermont, in August 1940.*

New England commons were (and are) community spaces that probably evolved from the lots originally set aside for village meetinghouses or churches.  After the mid 19th century, many began to function like parks.†

Although Rosskam was not employed there, a series of photos that she took in rural Vermont became part of the picture archives of the Farm Security Administration.

In a 1965 oral history interview, she related how she proposed taking these pictures for the FSA, where her husband, Edwin, was a photo editor.

. . . [O]nce I took a vacation in Vermont, and I said to Roy [E. Stryker, head of the Information Division],”Could I take some pictures for you?” you know, “I’ll buy my own film and everything.” And he said, “Oh, here’s some film,” and then he starts rambling along about Vermont and really it didn’t sound as if it had anything to do with what you wanted to do at all. You started talking about hills, farmhouses and how people build a little extension on the house for the old people, and about pickled limes, the sky and how to get to Vermont 50 years ago, you know; by the time you got through listening to him ramble along, you begin to get some sort of formation in your mind of what there was up there so that when you get out there (phone rings)-

LOUISE ROSSKAM: (continues after phone conversation) But I’m sure that everybody sitting around, listening to Roy ramble, as it seemed, began to get his mind turned in the direction to be open to a lot of things that ordinarily he wouldn’t perceive when he got to a place. Don’t you think that’s true?

For many years afterward, her Vermont photos were attributed to her husband.  The records were corrected in 2001.

Laura Katzman, an associate professor of art history at James Madison University, curated two exhibits of Louise Rosskam’s photos and described her work like this:

She was one of those documentary photographers for whom the people and the work were so much more important than her name or her career. . . .  She tried to erase herself as much as possible. It was a pure documentary ideal that was impossible to achieve: let the subject feel comfortable, take yourself out of it and see what happens in the encounter. She did this beautifully because her ego wasn’t invested in it.

You can see four more photos by Rosskam of the Vergennes common by clicking on ‘Continue reading’ below.


*All via the Library of Congress Prints and Photographs Division.

†Vergennes is actually a city — the first chartered in Vermont and currently its smallest (in population). It is approximately 2.5 sq. miles in area.

The Sunday porch: conversation

1941 porch in Mobile, Alabama, by C.W. Cushman“Porch of old house at Monroe St., Mobile[, Alabama],” taken November 4, 1941, by Charles W. Cushman.*

The atmosphere of this porch is still and quiet, but I think there’s something urgent about the conversation.  The expression of the young woman in pink is serious; the woman across from her has stopped on her way (in or to her own house?) from the grocery store.  They all listen intently to the older woman in light blue.

Cushman was an amateur photographer who began documenting his travels in 1938, using expensive, (then) little-used Kodachrome film.  He continued taking color pictures for 32 years, ultimately bequeathing 14,500 slides to his alma mater, Indiana University.

NPR has an interesting audio/slide show on Cushman and his work here, and here is a series of color photos of New York City that he took in the early 1940s.


*Used with the permission of  the Charles W. Cushman Photograph Collection, Indiana University Archives.  I originally posted this image in November 2012.