Picture/story: Representing gender in Montana farm security administration photographs

Frontiers

Volumn 22, Issue 3, 2001, Pages 93-115

  Murphy, Mary ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0035661506     PISSN: 01609009     EISSN: None     Source Type: Journal    
DOI: 10.2307/3347243     Document Type: Review

References (59)

1. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
2. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
3. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
4. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
5. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
6. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
7. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
8. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
9. There is a vast literature on photography, documentary photography, and the many ways of interpreting photographs. Most helpful to me, especially on issues of gender, have been Bonnie Brennen and Hanno Hardt, eds., Picturing the Past: Media, History and Photography (Urbana: University of Illinois Press, 1999); Judith Fryer Davidov, Women's Camera Work: Self/Body/Other in American Visual Culture (Durham NC: Duke University Press, 1998); Andrea Fisher, Let Us Now Praise Famous Women: Women Photographers for the U.S. Government, 1935 to 1944: Esther Bubley, Marjory Collins, Pauline Ehrlich, Dorothea Lange, Martha McMillan Roberts, Marion Post Wolcott, Ann Rosener, Louise Rosskam (New York: Pandora Press, 1987); James Guimond, American Photography and the American Dream (Chapel Hill: University of North Carolina Press, 1991); Melissa A. McEuen, Seeing America: Women Photographers Between the Wars (Lexington: University Press of Kentucky, 2000); Paula Rabinowitz, They Must Be Represented: The Politics of Documentary (New York: Verso, 1994); Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (Minneapolis: University of Minnesota Press, 1991); Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989); and John Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
10. On the FSA photography project, see James C. Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple University Press, 1989); Pete Daniel, et al., Official Images: New Deal Photography (Washington DC: Smithsonian Institution, 1987); Carl Fleischhauer and Beverly W. Brannan, eds., Documenting America, 1935-1943 (Berkeley: University of California Press, 1988); and F. Jack Hurley, Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties (Baton Rouge: Louisiana State University Press, 1972).
11. On the FSA photography project, see James C. Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple University Press, 1989); Pete Daniel, et al., Official Images: New Deal Photography (Washington DC: Smithsonian Institution, 1987); Carl Fleischhauer and Beverly W. Brannan, eds., Documenting America, 1935-1943 (Berkeley: University of California Press, 1988); and F. Jack Hurley, Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties (Baton Rouge: Louisiana State University Press, 1972).
12. On the FSA photography project, see James C. Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple University Press, 1989); Pete Daniel, et al., Official Images: New Deal Photography (Washington DC: Smithsonian Institution, 1987); Carl Fleischhauer and Beverly W. Brannan, eds., Documenting America, 1935-1943 (Berkeley: University of California Press, 1988); and F. Jack Hurley, Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties (Baton Rouge: Louisiana State University Press, 1972).
13. On the FSA photography project, see James C. Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple University Press, 1989); Pete Daniel, et al., Official Images: New Deal Photography (Washington DC: Smithsonian Institution, 1987); Carl Fleischhauer and Beverly W. Brannan, eds., Documenting America, 1935-1943 (Berkeley: University of California Press, 1988); and F. Jack Hurley, Portrait of a Decade: Roy Stryker and the Development of Documentary Photography in the Thirties (Baton Rouge: Louisiana State University Press, 1972).
14. Sam Walker, "Documentary Photography in America: The Political Dimensions of an Art Form," Radical America 11:1 (1977): 57.
15. Edwin Rosskam, "Not Intended for Framing: the FSA Archive," Afterimage, March 1981, 10.
16. Russell Lee to Roy Stryker, September 1937, in Roy Emerson Stryker Papers, 1932-64 correspondence (Washington DC: Libraiy of Congress), microfilm, reel 1. Lee also commented in a field notebook, "No Dakota & Montana: Western 1/2 N.D. & eastern 1/2 Montana no crop. not even forage. N.W. corner N.D. and N.E. corner Montana most serious," n.d., Russell Lee Papers, box 210, Southwest Writers Collection, Special Collections, Albert B. Alkek Library, Southwest Texas State University, San Marcos, Texas.
17. Mark Hufstetler, et al., "Archaeological and Historic Resources of Sheridan County, Montana," National Register of Historic Places Multiple Property Documentation report, 1992, Montana State Historic Preservation Office, Helena, 1, 13-14; and Rex C. Myers, "Homestead on the Range: The Emergence of Community in Eastern Montana, 1900-1925," Great Plains Quarterly 10:4 (1990): 218-27.
18. Mark Hufstetler, et al., "Archaeological and Historic Resources of Sheridan County, Montana," National Register of Historic Places Multiple Property Documentation report, 1992, Montana State Historic Preservation Office, Helena, 1, 13-14; and Rex C. Myers, "Homestead on the Range: The Emergence of Community in Eastern Montana, 1900-1925," Great Plains Quarterly 10:4 (1990): 218-27.
19. Hufstetler, et al., "Archaeological and Historic Resources of Sheridan County," 20-21; and N.a., Plentywood Golden Years, 1911-1962 (Plentywood, Montana: s.n., 1962), 62.
20. Hufstetler, et al., "Archaeological and Historic Resources of Sheridan County," 20-21; and N.a., Plentywood Golden Years, 1911-1962 (Plentywood, Montana: s.n., 1962), 62.
21. U.S. Department of Commerce, Bureau of the Census, Fourteenth Census of the United States Taken in the Year 1920, Population, Composition and Characteristics of the Population by States, Vol. III (Washington DC: GPO, 1922), 583, 586.
22. Emil Ferdinand Madsen, "Dagmar: A New Danish Colony Established in Valley County, Montana," WPA Records, 1939, box no, file 11, pg. 1, Merrill G. Burlingame Special Collections, Renne Library, Montana State University, Bozeman, Montana.
23. Emil Ferdinand Madsen, "On the Pioneer Trails of the Northwest: The Dagmar Colony in Eastern Montana," WPA Records, 1939, box no, file 11, pg. 9.
24. Michael P. Malone, Richard B. Roeder, and William L. Lang, Montana: A History of Two Centuries, rev. ed. (Seattle: University of Washington Press, 1991), 252.
25. Madsen, "On the Pioneer Trails of the Northwest," 9.
26. Madsen, "On the Pioneer Trails of the Northwest," 10-11; and Jorgen Jorgensen, "Autobiography," n.d., trans. by Henry W. Jorgensen, 1958, Montana Historical Society Archives, Helena, 51-52.
27. Madsen, "On the Pioneer Trails of the Northwest," 10-11; and Jorgen Jorgensen, "Autobiography," n.d., trans. by Henry W. Jorgensen, 1958, Montana Historical Society Archives, Helena, 51-52.
28. Malone, Roeder, and Lang, Montana, 283.
29. Stanley W. Voelker, "Preliminary Report on Local Public Finance Situation in Sheridan County, Montana," Montana State College Agricultural Experiment Station, Bozeman, April 1940, 4.
30. Carl Peterson, "Sheridan County Annual Report," Montana Cooperative Extension Service Records, University Archives, Renne Library, Montana State University, Bozeman, 1934, 2.
31. Voelker, "Preliminary Report," 5, 12. The average state rate for delinquent taxes on farmland was 31.3 percent. Also see R. Renne, "Montana Farm Bankruptcies," Bulletin No. 360, June 1938, Montana State College Agricultural Extension Station, Bozeman.
32. Voelker, "Preliminary Report," 5, 12. The average state rate for delinquent taxes on farmland was 31.3 percent. Also see R. Renne, "Montana Farm Bankruptcies," Bulletin No. 360, June 1938, Montana State College Agricultural Extension Station, Bozeman.
33. John Stahlberg, "Sheridan County," WPA State Guide, ca. 1939, WPA Records, box 123, file "State Guide, field copy, Sheridan County," 600-7. On rabbit drives, see Mark Fiege, Irrigated Eden: The Making of an Agricultural Landscape in the American West (Seattle: University of Washington Press, 1999), 71-2, 174-76.
34. John Stahlberg, "Sheridan County," WPA State Guide, ca. 1939, WPA Records, box 123, file "State Guide, field copy, Sheridan County," 600-7. On rabbit drives, see Mark Fiege, Irrigated Eden: The Making of an Agricultural Landscape in the American West (Seattle: University of Washington Press, 1999), 71-2, 174-76.
35. F. Jack Hurley, Russell Lee, Photographer (Dobbs Ferry NY: Morgan & Morgan, 1978), 13. Doris Lee's work was in the American Scene school of Thomas Hart Benton, Grant Wood, and John Steuart Curry. The Lees divorced in the mid-1930s. On Doris Lee, see Mary Francey, American Women at Work: Prints by Women Artists of the Nineteen Thirties (Salt Lake City: Utah Museum of Fine Arts, 1991); Doris Lee: Images of Delight, 1930-1950, (New York: D. Wigmore Fine Art exhibit catalog, 1996); and N.a., "Biographical Sketch of Doris Lee," Doris Lee vertical file, National Museum of Women in the Arts, Washington DC.
36. F. Jack Hurley, Russell Lee, Photographer (Dobbs Ferry NY: Morgan & Morgan, 1978), 13. Doris Lee's work was in the American Scene school of Thomas Hart Benton, Grant Wood, and John Steuart Curry. The Lees divorced in the mid-1930s. On Doris Lee, see Mary Francey, American Women at Work: Prints by Women Artists of the Nineteen Thirties (Salt Lake City: Utah Museum of Fine Arts, 1991); Doris Lee: Images of Delight, 1930-1950, (New York: D. Wigmore Fine Art exhibit catalog, 1996); and N.a., "Biographical Sketch of Doris Lee," Doris Lee vertical file, National Museum of Women in the Arts, Washington DC.
37. F. Jack Hurley, Russell Lee, Photographer (Dobbs Ferry NY: Morgan & Morgan, 1978), 13. Doris Lee's work was in the American Scene school of Thomas Hart Benton, Grant Wood, and John Steuart Curry. The Lees divorced in the mid-1930s. On Doris Lee, see Mary Francey, American Women at Work: Prints by Women Artists of the Nineteen Thirties (Salt Lake City: Utah Museum of Fine Arts, 1991); Doris Lee: Images of Delight, 1930-1950, (New York: D. Wigmore Fine Art exhibit catalog, 1996); and N.a., "Biographical Sketch of Doris Lee," Doris Lee vertical file, National Museum of Women in the Arts, Washington DC.
38. F. Jack Hurley, Russell Lee, Photographer (Dobbs Ferry NY: Morgan & Morgan, 1978), 13. Doris Lee's work was in the American Scene school of Thomas Hart Benton, Grant Wood, and John Steuart Curry. The Lees divorced in the mid-1930s. On Doris Lee, see Mary Francey, American Women at Work: Prints by Women Artists of the Nineteen Thirties (Salt Lake City: Utah Museum of Fine Arts, 1991); Doris Lee: Images of Delight, 1930-1950, (New York: D. Wigmore Fine Art exhibit catalog, 1996); and N.a., "Biographical Sketch of Doris Lee," Doris Lee vertical file, National Museum of Women in the Arts, Washington DC.
39. Some of Stryker's shooting scripts are reprinted in Roy Emerson Stryker and Nancy Wood, In This Proud Land: America 1935-1943 As Seen in the FSA Photographs (Greenwich, Conn.: New York Graphic Society Ltd., 1973), 187-88.
40. In Lee's field notebook, he listed names of possible contacts and made a notation to work through the Farmers' Union, but there is no indication of whom he actually contacted (Russell Lee Papers, box 210). Stryker also sent Lee the names of potential contacts in Montana (Stryker to Lee, Sept. 24, 1937, Stryker Papers, correspondence, microfilm, reel 1).
41. While Stryker wanted the photographers to write as full captions as possible, the conditions under which they worked made that extremely difficult. Usually their film was shipped back to Washington DC, for development and it could be weeks or sometimes months before they saw prints of the work they had shot. Unless they had been taking very good field notes, it was inevitable that captions would get confused and abbreviated, and, considering the number of strangers they met and photo-graphed and the miles of new territory they covered, it was remarkable they recorded as much information as they did. The Washington office also provided guidelines on what should and should not be included in captions ("Suggestions to Photographers Regarding Captions," n.d., Arthur Rothstein Papers, box 1, file "Writings," Archives of American Art, Washington DC).
42. Magnus Aasheim, comp., Sheridan's Daybreak: A Story of Sheridan County and Its Pioneers (Sheridan County Historical Association, 1970), 604-5; and N.a., Plentywood Portrait: Toil, Soil, Oil (Plentywood, Mont.: Herald Printing, 1987), 19-23.
43. Magnus Aasheim, comp., Sheridan's Daybreak: A Story of Sheridan County and Its Pioneers (Sheridan County Historical Association, 1970), 604-5; and N.a., Plentywood Portrait: Toil, Soil, Oil (Plentywood, Mont.: Herald Printing, 1987), 19-23.
44. Stahlberg, "Sheridan County," 200-21.
45. Hank O'Neal, A Vision Shared: A Classic Portrait of America and Its People, 1935-1943 (New York: St. Martin's Press, 1976), 138.
46. John Carter, Solomon D. Butcher: Photographing the American Dream (Lincoln: University of Nebraska Press, 1985).
47. Wilbur Goodale, "Biographical sketch of Elmer Thompson" and "Montana Writers' Project Livestock Study Questionnaire," WPA Records, 1935-42, box 63, file 6;
48. Aasheim, Sheridan's Daybreak, 483-84; and newspaper clippings, Hominy Thompson vertical file, Montana Historical Society Library, Helena.
49. Aasheim, Sheridan's Daybreak, 110, 117; Plentywood Herald, June 27, 1963; and conversations with Elmer Lee, son of Fred Lee, and Shorty Timmerman, Aug. 16, 2000, Plentywood, Montana.
50. Aasheim, Sheridan's Daybreak, 110, 117; Plentywood Herald, June 27, 1963; and conversations with Elmer Lee, son of Fred Lee, and Shorty Timmerman, Aug. 16, 2000, Plentywood, Montana.
51. Russell Lee, "Pie Town, New Mexico: Life on the American Frontier, 1941 Version," U.S. Camera, October 1941, 39-54, plus photographic portfolio. For an analysis of Lee's work on Pie Town, see Curtis, Mind's Eye, Mind's Truth, 110-22.
52. Russell Lee, "Pie Town, New Mexico: Life on the American Frontier, 1941 Version," U.S. Camera, October 1941, 39-54, plus photographic portfolio. For an analysis of Lee's work on Pie Town, see Curtis, Mind's Eye, Mind's Truth, 110-22.
53. The photograph in figure 1 appeared in a hook produced by the Federal Writers' Project - Montana: A State Guide Book (New York: Hastings House, 1939), 225.
54. The FSA file has at least seven photographs of the Harshbarger family, which Lee spelled "Harshenberger."
55. Minnie Richardson, interview by the author, Antelope, Montana, Aug. 17, 2000; and Magnus Aasheim, comp., Sheridan's Daybreak II (Aberdeen SD: North Plains Press, 1984), 44.
56. Minnie Richardson, interview by the author, Antelope, Montana, Aug. 17, 2000; and Magnus Aasheim, comp., Sheridan's Daybreak II (Aberdeen SD: North Plains Press, 1984), 44.
57. Wendy Kozol, "Madonnas of the Fields: Photography, Gender, and 1930s Farm Relief," Genders 2:2 (1988): 1-23.
58. On madonna iconography, see Marina Warner, Alone of All Her Sex: The Myth and the Cult of the Virgin Mary (New York: Alfred A. Knopf, 1976).
59. Minnie Richardson interview.