Exhibition dates: 21st July, 2021 – 2nd January, 2022
Marion Palfi (American born Germany, 1907-1978)
Greenwood, Mississippi
1963
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
This is the last posting for 2021, the next being 9th January 2022. This year the website had 1,158,000 views and 769,000 visitors. Wow!
There is no more time
Time is something that photography has so little of – the snap of the shutter – and yet, paradoxically, so much of. Photographs transcend the time in which they were taken, bringing past time to present and future time. Photographs that were important at the time they were taken and have great “exposure” may loose their relevance over time, only to have their presence reignited in the present future, to have their power and insightfulness understood by a new generation.
This applies to the work of Marion Palfi. I had never heard of this woman artist before and I have been studying photography for over 30 years now. That’s the question that keeps buzzing around my head. Why is this courageous artist and human being not better known – this “social researcher photographer” (her term) that fought the good fight and pictured social injustices in America wherever she saw it.
Born in Germany, Palfi rejected Germany’s radical politics and began to use photography and art to effect social change. In 1934 she opened her own portrait studio in Berlin before fleeing the Nazis and opening a successful portrait studio in Amsterdam in 1936. She then fled Europe for the United States in 1940 after marrying an American soldier.
“Marion Palfi’s work centered around equity, opportunity, and justice for all people. In her photo book There is No More Time: An American Tragedy, Palfi documented racism and segregation in Irwinton, GA, the site of the murder of Caleb Hill, the first reported lynching of 1949.
Palfi’s 1952 book Suffer Little Children focused on the living condition of disadvantaged children across the U.S., including the young inmates of the New York Training School for Girls. Palfi was a contributing photographer to Edward Steichen’s landmark Family of Man exhibition in 1955. During her time traveling across the United States she was bothered by the amount of poverty and racial intolerance she was exposed. She also was confused by Americans lack of acknowledgement of these problems within their communities. Palfi decided to use her camera as a way to document these problems and bring attention to them within the public eye. Using her new perspective on the topic of injustice and racial discrimination she was able to draw attention to these issues by documenting them with her camera.
Palfi’s photography explored the concepts of social injustices in America. She created many photographic studies that focus on racial injustice against African Americans, poverty in cities, and racial discrimination against Native Americans. She originally had trouble getting her photographs displayed or show cased because many Americans refused to address these social justice issues within their own society.”1
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Equality, opportunity and justice for all people. What honourable concepts she was investigating using her camera to affect social change. But for Palfi, it was not enough to simply document. She wanted to know the “why” of a situation, how it affected the people involved – hence the classification of herself as a social researcher photographer.
“Her arrival in New York at a time when America was called “the arsenal of democracy” [1940] unexpectedly confronted her with the fact that the United States was not the ideal society many envisioned. Almost immediately, Palfi became involved in the struggles of minorities for social justice, and soon she was launched upon a career that can only be described as a life-long quest to ameliorate the living conditions of abandoned children, the neglected elderly, black both northern and southern, the abused native American of the Southwest, and finally, the broken lives of prisoners in penitentiaries. To the end of her days, Palfi traveled the country lecturing to whatever groups invited her, whooping hundreds of slides documenting injustices. Her involvement was as impassioned as that of Jacob Riis in the slums of New York, and like the works of Riis, her pictures were used to educate the officials about the need for legislative change.”2
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Imagine if you can being a German arriving in America in 1940, being an alien in a foreign land during the Second World War and then, afterwards, confronting racism head on in her 1949 book There is No More Time: An American Tragedy documenting racism and segregation in Irwinton, GA, the site of the murder of Caleb Hill, the first reported “lynching” of 1949 (the victim was actually shot in the head and body). Don’t forget this is years before Robert Frank, another foreigner, travelled across the country to picture this insular and dysfunctional land in his seminal The Americans (1958). What guts it would have taken!
As noted by Maurice Berger, research professor and the chief curator at the Center for Art Design and Visual Culture at the University of Maryland in his 2015 article “A Meditation on Race, in Shades of White,” on The New York Times website:
“The most significant lesson of “Killers of the Dream,” [by Lillian Smith] one echoed in “There Is No More Time,” was that we must alter our expectations about who was responsible for talking about race. By focusing on the social and cultural mores of white Southerners – and by providing a platform for ordinary people to speak honestly about a difficult and controversial subject – both books exposed the attitudes, fears and rationalisations that underwrote racial prejudice.
They challenged the myth that racism was exceptional, perpetrated only by monstrous or evil people. As Ms. Smith argued, few were spared the “grave illness” of prejudice. “The mother who taught me what I know of tenderness and love and compassion taught me also the bleak rituals of keeping Negroes in their ‘place,'” she observed about the banality and ubiquity of racism.
Similarly and with uncompromising honesty, “There Is No More Time” revealed an enduring secret of American race relations: that ostensibly good people – men and women much like our neighbours, our family and ourselves – could also harbour virulent prejudices. For Ms. Palfi, this revelation was necessary and urgent.”3
.
In the photographs from the book in this posting we can see how the banality of evil can fester in a community, for Palfi “was as interested in the discriminator as in the victims of discrimination.” “Obviously, the presence of a photographer in such a community would attract unwanted attention and might have endangered her life. But by a happy stroke of luck, the Vice-President of the Georgia Power Company was interested in her work. Warning her that she must “photograph the South as it really is, not as the North slanders it,” he wanted her to get to meet the “right” people. As it happened, the “right” people turned out to be the very discriminators she wanted to photograph. Left in the protection of the local postmistress, she proceeded to take terms, objective pictures of overseers and white-suited politicians.”4
We only have to look at the countenance of that racist Alexander S. Boone, a certified three-time card carrying member of the Klan with dirty shirt, big fat cigar, painted nails and wig who publishes the local rag, the “official county organ”. Can you imagine him at a lynching? He’d probably be at the front of the queue. Then there is “Baby” Boone, youngest son of “old man” (senior figure, elder statesman) Boone. Behind him on the glass window of his business offering seeds & feeds is a handbill:
Old-fashioned REVIVAL
Mt Pleasant Baptist Church
July 17-22
John L. Mcay
.
Old fashioned (one of the meanings of this phrase is: favouring traditional or conservative ideas or customs), and a REVIVAL – Christian revivalism is increased spiritual interest or renewal in the life of a church congregation or society – a church which probably welcomed the Klan card carrying Representative of Wilkinson County in the Georgia Legislature with open arms. And then there is the sheriff of the small community where a young black man had been walked out of a jail cell and shot by two men… when he was innocent of any crime. Nervously fingering his shirt, looking away from the camera. None of this covert racism. A woman explained: “If a white man buys something from a colored man, the colored man may not hand it to the white man.”
Palfi had trouble finding a publisher in America because of the controversial nature of her photographs. No wonder. 1940s American society was not ready to confront the ugly truth staring back at them in the mirror until decades later, and even today, nothing much has changed.
The wife of the victim said, simply, “Caleb was a good man … he believed in his rights and therefore he died.”
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This is a artist and a human being that I would have very much liked to meet. Her photographs are strong, direct, informed, never flinching from the subject matter she was researching and picturing… yet they are also compassionate and caring. As Elizabeth Lindquist-Cock observes, “She fearlessly placed herself in danger again and again, seeing her work as having the possibility of direct influence on a social revolution.”
She placed herself in dangerous situations time and time again – until that particular time (of photographing) has become universal time, until her force majeure, her force of nature and her will for reform, transcends the very time of the photographs creation, bringing us face to face with hidden realities roiling under the surface.
As the protest placard in her photograph Chicago School Boycott (1963-64, below) says and the title of the exhibition opines, “Freedom Must Be Lived” – YES, but freedom must also be fought for! “The only thing necessary for the triumph of evil is for good humans to do nothing.”
The battles that Marion Palfi fought have not been won. We are still fighting the same battles all these decades later. There is no more time… change must happen now.
Dr Marcus Bunyan
Footnotes
- “Marion Palfi,” on the Wikipedia website [Online] Cited 15/12/2021
- Elizabeth Lindquist-Cock. “Marion Palfi: An Appreciation,” in The Archive Research Series Number 19, September 1983, Center for Creative Photography, University of Arizona, p. 5.
- Maurice Berger. “A Meditation on Race, in Shades of White,” on The New York Times website Sept. 27, 2015 [Online] Cited 27/10/2021
- Elizabeth Lindquist-Cock, Op cit.,
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Many thankx to the Phoenix Art Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Marion Palfi (American born Germany, 1907-1978)
Chicago School Boycott
1963-1964
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
“We talk about the poverty of the Indian, their port health, their substandard of living – we cry – ! Who is responsible for this? The murder of the American Indian has stopped as such. No more Indian wars, but all kinds of schemes are constantly working to take still their last piece of land (we found oil, uranium, and other valuable minerals and there is fish, timer, etc.) and above all to wipe the image away – erase – “to change the Indian” – Into what? Into a middle class personality with all the ambitions and drives of our society. Competition and exploitation are the most important assets, we think. Foreign to all Indian thinking! What do we actually do? We destroy the Indian completely, mentally, psychologically, and spiritually. You might ask – so what? What is so good not to assimilate with the predominant society? Let me tell you what. Our society destroys lives – with our “know how” destroy all living. We polite the air, the water, poison the plants and animal life. The Indian knew no money, but the Indian knew security, happiness – the Indian was a supreme conserver of nature – of life. The Indian worked with nature not against it.”
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Marion Palfi. “Some Thoughts,” preface to the unpublished manuscript, “My Children, First I liked the Whites, I Gave Them Fruits,” in the possession of Martin Magner, pp. 1-2 quoted in Elizabeth Lindquist-Cock. “Marion Palfi: An Appreciation,” in The Archive Research Series Number 19, September 1983, Center for Creative Photography, University of Arizona, p. 9.
“She fearlessly placed herself in danger again and again, seeing her work as having the possibility of direct influence on a social revolution.”
.
Elizabeth Lindquist-Cock. “Marion Palfi: An Appreciation,” in The Archive Research Series Number 19, September 1983, Center for Creative Photography, University of Arizona, p. 8.
Unknown photographers
Portraits of Marion Palfi (at left in 1967)
Installation view and detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Freedom Must Be Lived: Marion Palfi’s America, 1940-1978 will survey the career of Marion Palfi (1907-1978), who produced an important visual document of 20th-century American injustice.
To tell you about my work. I am developing a new approach to photography… I am photographing only after extensive research, never before. I do not photograph for purely emotional reasons, but only after I became an integral part of the situation, have gained full understanding and knowledge, then I try to ‘write down’ my findings with the camera. My photographs are never editorialized, nor ‘accidents,’ nor posed, but always the ultimate results of thorough research. They must tell the story, so that the words are only needed as commentary or explanation. It goes without saying, I wish my photographs to be artistic achievements, other wise they would be simply a dry documentation and not move the onlooker.
~ Marion Palfi
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With these words Marion Hermine Serita Palfi compressed her intentions as a photographer: to tell a story through photography with a minimum of words; to tell it well, that is, through aesthetically strong images; to tell it knowledgable and patiently – to earn the telling; and to tell it “truthfully” by focusing on the subject, not the technique, personality, or identity of the person holding the camera. With the discipline of a trained dancer, the eye of an artist, and the will of a solitary activist, Marion Palfi never wavered in her commitment to untold stories. She lived a life-in-praxis, connecting belief to action.
Janet Zandy. Unfinished Stories: The Narrative Photography of Hansel Mieth and Marion Palfi. RIT Press, 2013, pp. 71.
Installation view and detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
“Her arrival in New York at a time when America was called “the arsenal of democracy” [1940] unexpectedly confronted her with te fact that the United States was not the ideal society many envisioned. Almost immediately, Palfi became involved in the struggles of minorities for social justice, and soon she was launched upon a career that can only be described as a life-long quest to ameliorate the living conditions of abandoned children, the neglected elderly, black both northern and southern, the abused native American of the Southwest, and finally, the broken lives of prisoners in penitentiaries. To the end of her days, Palfi traveled the country lecturing to whatever groups invited her, whooping hundreds of slides documenting injustices. Her involvement was as impassioned as that of Jacob Riis in the slums of New York, and like the works of Riis, her pictures were used to educate the officials about the need for legislative change.
She was a person, in other words, whose life made a difference in the lives of perfect strangers. Appreciated by humanitarians like John Collier and Eleanor Roosevelt, Sr., recognized and encouraged by artists like Edward Steichen and Langston Hughes, applauded by Karl Menninger, she has nevertheless received less attention than she deserved. As James Enyeart observed, she has remained “invisible in America,” like so many of her pathetic and neglected subjects. It would seem that her extraordinary selflessness and devotion did not help to write her name large in the histories of photography, as the same activities ensured the fame of Jacob Riis, Lewis Hine, Dorothea Lange, or W. Eugene Smith. That inattention should be rectified, especially now, where there seems to be, once again, a general callousness toward the less fortunate members of our society and a devastating neglect of racial and ethnic minorities. The battles that Marion Palfi fought have not been won. They continue today, with the startling increase in the numbers of older women in poverty. the increasing withdrawal of government support to the American Indians, the hungry children, and the black youths without employment. Photography continues to be a potent medium that needs to be revitalized by spirits like Palfi.”
Elizabeth Lindquist-Cock. “Marion Palfi: An Appreciation,” in The Archive Research Series Number 19, September 1983, Center for Creative Photography, University of Arizona, p. 5.
Installation view detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing at left, Girl Scouts Troop (30 Girls, 16 Nationalities) 1944; at top right, Sono Osato – Dancing on the Roof 1944; and at bottom right, Dean Dixon as Guest Conductor at the Juilliard School c. 1944
© Center for Creative Photography, Arizona Board of Regents
Sono Osato (American, 1919-2018)
Sono Osato (大里 ソノ, Osato Sono, August 29, 1919 – December 26, 2018) was an American dancer and actress.
In 1927, when she was eight, Osato’s mother took her and her sister to Europe for two years; while in Monte Carlo, they attended a performance of Cléopâtre by Sergei Diaghilev’s famous Ballets Russes company, which inspired Osato to start ballet classes when she returned to Chicago in late 1929. She studied with prominent dancers Berenice Holmes and Adolph Bolm.
She performed with ballet companies Ballets Russe de Monte-Carlo and the American Ballet Theatre. As an actress, she starred alongside Frank Sinatra in the film The Kissing Bandit.
Osato began her career at the age of fourteen with Wassily de Basil’s Ballets Russe de Monte-Carlo, which at the time was the world’s most well known ballet company; she was the youngest member of the troupe, their first American dancer and their first dancer of Japanese descent. De Basil tried to persuade Osato to change her name to a Russian name, but she refused to do so. She spent six years touring the United States, Europe, Australia and South America with the company, leaving in 1941 as she felt her career was stagnating. She went to study at the School of American Ballet in New York City for six months, then joined the American Ballet Theatre as a dancer. While at the ABT, she danced roles in such ballets as Kenneth MacMillan’s Sleeping Beauty, Antony Tudor’s Pillar of Fire, and Bronislava Nijinska’s The Beloved.
As a musical theatre performer, her Broadway credits included principal dancer in One Touch of Venus (a performance for which she received a Donaldson Award in 1943), Ivy Smith in the original On the Town, and Cocaine Lil in Ballet Ballads.
Text from the Wikipedia website
Dean Dixon (American, 1915-1976)
Charles Dean Dixon (January 10, 1915 – November 3, 1976) was an American conductor.
Dixon was born in the upper-Manhattan neighbourhood of Harlem in New York City to parents who had earlier migrated from the Caribbean. He studied conducting with Albert Stoessel at the Juilliard School and Columbia University. When early pursuits of conducting engagements were stifled because of racial bias (he was African American), he formed his own orchestra and choral society in 1931. In 1941, he guest-conducted the NBC Symphony Orchestra, and the New York Philharmonic during its summer season. He later guest-conducted the Philadelphia Orchestra and Boston Symphony Orchestra. In 1948 he won the Ditson Conductor’s Award.
In 1949, he left the United States for the Israel Philharmonic Orchestra, which he directed during its 1950 and 1951 seasons. He was principal conductor of the Gothenburg Symphony in Sweden 1953-60, the Sydney Symphony Orchestra in Australia 1964-67, and the hr-Sinfonieorchester in Frankfurt 1961-74. During his time in Europe, Dixon guest-conducted with the WDR Sinfonieorchester in Cologne and the Symphonieorchester des Bayerischen Rundfunks in Munich. He also made several recordings with the Prague Symphony Orchestra in 1968-73 for Bärenreiter, including works of Beethoven, Brahms, Haydn, Mendelssohn, Mozart, Schumann, Wagner, and Weber. For Westminster Records in the 1950s, his recordings included symphonies and incidental music for Rosamunde by Schubert, symphonic poems of Liszt (in London with the Royal Philharmonic), and symphonies of Schumann (in Vienna with the Volksoper Orchester). Dixon also recorded several American works for the American Recording Society in Vienna. Some of his WDR broadcast recordings were issued on Bertelsmann and other labels. Dean Dixon introduced the works of many American composers, such as William Grant Still, to European audiences.
During the 1968 Olympic Games, Dixon conducted the Mexican National Symphony Orchestra.
Dixon returned to the United States for guest-conducting engagements with the New York Philharmonic, Chicago Symphony Orchestra, Detroit Symphony, Milwaukee Symphony, Pittsburgh Symphony, St. Louis Symphony, and San Francisco Symphony in the 1970s. He also served as the conductor of the Brooklyn Philharmonic, where he gained fame for his children’s concerts. He also conducted most of the major symphony orchestras in Africa, Israel, and South America. Dixon’s last appearance in the US was conducting the Philadelphia Orchestra in April 1975.
Text from the Wikipedia website
Installation view detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing three Untitled 1930s photographs and at bottom right, Dutch Film Director 1937
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Nurse George, Louisville, Georgia
1946-1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
School Patrol, Detroit
1946-1949
Gelatin silver print
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Installation view of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
In 1945, Ebony was founded by Black businessman John H. Johnson as a sleek monthly illustrated magazine from the African-American market in a time when few major media outlets addressed Black readers and consumers. Intended to emulate the glossy look of Life and Look magazines, it featured photo essays and long-form articles chronicling all aspects of Black American life, including current events in race relations, and the successes of Black artists, athletes, scientists, and celebrities. Marion Palfi contributed photographs to the inaugural issue in November 1945, including the cover image of students at a racially integrated elementary school. Over the next five years she was regular contributor to the magazine, covering subjects ranging from National Association for the Advancement of Colored People (NAACP) and cases in the U.S. Supreme Court, to all aspects of the fight against racial segregation, to famous cultural figures like Langston Hughes and Dean Dixon.
Between 1950 and 1951, Marion Palfi embarked on a cross-country trip for a study on housing integrity. Her photographs charted the distressed living conditions of Black Americans, immigrants, and sharecroppers – the result of redlining [refuse (a loan or insurance) to someone because they live in an area deemed to be a poor financial risk], blockbusting [the practice of persuading owners to sell property cheaply because of the fear of people of another race or class moving into the neighbourhood, and then profiting by reselling at a higher price], urban renewal, white flight [the phenomenon of white people moving out of urban areas, particularly those with significant minority populations, and into suburban areas], and the long legacy of racialised federal, state, and local housing policies. In cities as far apart as Charlottesville, Virginia; Phoenix, Arizona; Waterbury, Connecticut; Chicago, Illinois; and Sledge, Mississippi, Palfi interviewed and photographed people living in unsanitary and crowded conditions in parcelled tenements, boarding houses, and other low-income housing settlements. She trained her camera on the crumbling edifices of buildings and the communities experiencing poverty who lived there. The resulting booklet, In These 10 Cities (1951), co-published by the New York State Committee on Discrimination in Housing and the Public Affairs Committee, featured her photographs and research alongside text by the political activist Alexander L. Crosby, as part of a series of “picture pamphlets” meant to edify New Yorkers on national issues of social concern.
Marion Palfi (American born Germany, 1907-1978)
Untitled, Boston
1946-1949
Gelatin silver print
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Somewhere in the South
1946-1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Janet Zandy. Unfinished Stories: The Narrative Photography of Hansel Mieth and Marion Palfi. RIT Press, 2013, pp. 94-95
Installation view and details of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing at top left, Waterbury, Connecticut (from the In These Ten Cities series, 1951) bottom left, In the Shadow of the Capitol, Washington, D.C. 1946-1948; and at bottom right, New York 1946-1949
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Waterbury, Connecticut
1951
From the series In These Ten Cities
Gelatin silver print
26.2 x 34.2cm
Marion Palfi (American born Germany, 1907-1978)
Phoenix
1951
From the series In These Ten Cities
Gelatin silver print
26.3 x 34.6cm
Marion Palfi (American born Germany, 1907-1978)
Chicago
1951
From the series In These Ten Cities
Gelatin silver print
31.8 x 26.5cm
Marion Palfi (American born Germany, 1907-1978)
Hudson School for Girls, the Only New York State Training School for Delinquent Girls, Solitary
1946-49
From the Suffer Little Children series, 1946-1949
Gelatin silver print
24.0 x 20.2cm
Marion Palfi (American born Germany, 1907-1978)
In the Shadow of the Capitol, Washington, D.C.
1946-1948
From the Suffer Little Children series, 1946-1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Los Angeles
1946-1949
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Three children playing behind houses in Boyle Heights
1946
Gelatin silver print
UCLA, Library Special Collections, Charles E. Young Research Library
Marion Palfi (1907-1978), an immigrant photographer and member of the New York Photo League, a pivotal organisation in photography and U.S. history, took photographs of girls at the Training School in Hudson, NY. Though she was one of the most under-recognised of the Photo League photographers, Palfi’s images of girls at the New York State Training School for Girls may be the best-known photographs ever taken at the Hudson prison.
Palfi, who called herself a “social research photographer”, was born in Germany and came to America from Amsterdam in 1940 just ahead of Adolf Hitler’s invasion of Europe. Soon thereafter she launched a ‘study’ on minority artists and met Langston Hughes who became an ardent supporter of her work until his death in 1967. In 1946, Palfi received a Rosenwald Fellowship, the second ever granted by the foundation for photography and the only one ever given for photography on race relations. The grant made possible a nation-wide study of children and youth that resulted in an exhibition, “Children in America” and a book, Suffer Little Children, published in 1952. The exhibition opened in January of 1949 at the New York Public Library and subsequently traveled for three years throughout the United States. The photographs in the exhibition and book showed children and youth suffering from everything from poverty and prejudice to prisons and delinquency.
Though reputedly the first white photojournalist to focus specifically on the linkages between racism and poverty, in Suffer Little Children Palfi focused on the diversity of American society, not isolating one ethnic group and their difficulties. She portrayed poverty as a destructive force affecting African Americans, Asian Americans, whites and Latinos alike. She attacked the suffering of children with a particular fury: “Poverty is like the murdering of little angels”, she wrote.
Many of her images for the project comment on the physical limits of the national vision, exploring the very bars, walls, and gestures that separate outsiders from larger society. Palfi presents photographs of white girls at the Training School in Hudson including a 12-year-old white girl in “solitary confinement”.
Of these images she writes: “At the time (of her visit to the NYS Training School for Girls in 1946), 15 girls were in ‘solitary’ in the ‘discipline’ cottage. The first 10 days the girls received bread and milk for two of their three meals. One girl spent 81 days in solitary confinement, aside from periods when she was let out to scrub the floors in the corridor. One of the girls was talking to herself. The matron was very annoyed and said to her through the door: ‘You know you may not talk now – it is rest period.’ Girls were sent to the discipline cottage for running away, breaking other rules or for being too emotionally disturbed.”
Anonymous text. “Suffer Little Children,” on the Prison Public Memory website, October 28, 2014 [Online] Cited 26/10/2021
Marion Palfi (American born Germany, 1907-1978)
Untitled
1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
About the exhibition
This retrospective exhibition will survey the career of Marion Palfi (1907-1978), who produced an important visual document of 20th-century American injustice. Freedom Must Be Lived: Marion Palfi’s America, 1940-1978 features more than 100 photographic prints and numerous archival materials, including photobooks, magazine spreads, research journals, and grant applications, drawn exclusively from the Center for Creative Photography’s vast Marion Palfi Archive. Many of these prints and materials have never before been exhibited or published and will offer an unprecedented opportunity to draw new insights into the work.
Palfi’s philosophy of using photography to influence social change shaped her vision and distinguished her career. A German immigrant to the United States during World War II, Palfi arrived in Los Angeles to find a reality far from the myth of the American Dream. Outraged at the economic, racial, and social inequalities she encountered, she spent more than three decades traveling throughout the United States documenting various communities to expose the links between racism and poverty. As a self-described “social research photographer,” Palfi aspired for her photographs to live in the world and effect social change. Her work was featured in numerous American periodicals, including Ebony and The New York Times. Sponsors for her work included the Council Against Intolerance in America, the NAACP, and the New York State Committee on Discrimination in Housing.
Each of the photographer’s four major projects are represented in the exhibition, including her piercing nationwide study of children living in poverty; her decades-long civil rights activism documenting the effects of systemic racism against African Americans; her research on the abject conditions of ageing in New York; and her revelatory pictures, funded by a 1967 Guggenheim Fellowship, of the forced relocation of Indigenous off of reservations in the Southwest. Weaving together more than three decades of work, the exhibition elucidates Palfi’s sustained focus on themes of inequity, solitude, and racial victimisation. Taken as a whole, it elucidates the photographer’s crusade for human rights and presents a cumulative photographic record that resonates with many of the social concerns still plaguing the United States today.
Text from the Phoenix Art Museum website
Marion Palfi (American born Germany, 1907-1978)
Los Angeles, Anti Klan Meeting Where Klan Did Strike
1946-1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Installation view of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Installation view detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing at top, Florida 1946-49; and at bottom, Detroit, Paradise Valley 1946-1949
© Center for Creative Photography, Arizona Board of Regents
This summer, Phoenix Art Museum will present Freedom Must Be Lived: Marion Palfi’s America, the first major solo exhibition of the photographer’s incisive work since her death in 1978. A self-described “social-research photographer,” Marion Palfi observed and documented victims of discrimination over three decades, exposing the links between racism and poverty in the United States. Organised by Phoenix Art Museum and the Center for Creative Photography (CCP), University of Arizona, and drawing exclusively from CCP’s vast Marion Palfi Archive, Freedom Must Be Lived features more than 80 prints and extensive archival materials, many of which have never before been exhibited or published. Shedding light on Palfi’s career-long focus on themes of inequity, solitude, and racial victimisation, the exhibition provides unprecedented insight into the work of a photographer who created one of the most powerful visual documentations of 20th-century American injustice. Freedom Must Be Lived will be on view July 21, 2021 through January 2, 2022.
“We are delighted to present this timely exhibition of Marion Palfi’s socially conscious photography with Freedom Must Be Lived: Marion Palfi’s America,” said Gilbert Vicario, Deputy Director for Curatorial Affairs and the Selig Family Chief Curator of Phoenix Art Museum. “This powerful and poignant retrospective highlights an extraordinary photographer whose work has been under-recognised for more than four decades, furthering the Museum’s commitment to showcasing works by diverse artists whose legacies have not yet been fully acknowledged in the canon of art history.”
A German immigrant to the United States who fled during World War II, Palfi arrived in New York to a reality that stood in stark contrast with the myth of the American Dream. Outraged at the economic, racial, and social inequalities she encountered, Palfi spent the next three and a half decades traveling the nation to document various subjects, including the elderly, families of hate-crime victims, abandoned children, residents of the Jim Crow South, Los Angeles-prison inmates, Puerto Rican immigrants in New York, white supremacist groups, and Navajo families who were the victims of government-enforced relocation and “acculturation.” Her work was featured in numerous U.S. periodicals throughout her career, including Ebony and The New York Times, and she received sponsorships from the Council Against Intolerance in America, the NAACP, and the New York State Committee on Discrimination in Housing. Palfi also passed on her political and aesthetic philosophies through her role as an educator, teaching classes on the “social uses of photography” at the Photo League School (1948), The New School for Social Research (1959-1962), UCLA (1965-1966), and other institutions.
“Palfi’s vision and commitment to social justice allowed her to build a visual archive of otherwise ‘invisible’ Americans, reminding us of photography’s ability to influence social change,” said Audrey Sands, PhD, the Norton Family Assistant Curator of Photography at Phoenix Art Museum, a joint appointment with the Center for Creative Photography. “Her trenchant, poetic, and piercing work reflects her compassion behind the lens. She actively confronted the political, racial, and economic injustices that overshadowed her lifetime, so many of which still plague our country today. Given the continued resonance of these topics, now is the perfect moment to rediscover Palfi’s important work.”
Organised to showcase the four major projects of her career, the exhibition presents photographs from Palfi’s piercing nationwide study of disadvantaged children living in poverty, her documentation of systemic racism against Black Americans, her research into the abject living conditions of New York’s ageing population, as well as her revelatory photographs, funded by a 1967 Guggenheim Fellowship, of the forced relocation of Hopi, Navajo, and Papago peoples in the Southwest. The exhibition’s numerous archival materials, including photobooks, magazine spreads, project proposals, and field research notes, provide audiences with additional context about the scope of Palfi’s photographic practice.
Freedom Must Be Lived: Marion Palfi’s America is the most recent collaboration between Phoenix Art Museum and the Center for Creative Photography. Over the past 13 years, the two institutions have organised nearly 40 exhibitions that bring outstanding works spanning the history of photography to wider audiences in Arizona and beyond.
Press release from the Phoenix Art Museum
Marion Palfi (American born Germany, 1907-1978)
Untitled (Woman in a patterned summer suit)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (Black woman with a white child)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
“As a photographer, she was as interested in the discriminator as in the victims of discrimination. Long before what we tend to think of as the crux of the civil rights struggle in the 1960s, Palfi went to Georgia at a particularly dangerous time. In 1949, she was drawn to do an in-depth portrait of Irwinton, a small community where a young black man had been torn out of jail and shot by a lynch mob. The tremendous public outcry over this barbaric incident included front-page coverage and editorials by the New York Times. Obviously, the presence of a photographer in such a community would attract unwanted attention and might have endangered her life. But by a happy stroke of luck, the Vice-President of the Georgia Power Company was interested in her work. Warning her that she must “photograph the South as it really is, not as the North slanders it,” he wanted her to get to meet the “right” people. As it happened, the “right” people turned out to be the very discriminators she wanted to photograph. Left in the protection of the local postmistress, she proceeded to take terms, objective pictures of overseers and white-suited politicians.
Even if the press had not indicted Irwinton for its racism, the extreme conservatism and tension were evident in the faces of its citizens. She found a white supremacist group, “The Columbians,” whose insignia was a thunderbolt, the symbol of Hitler’s elite guard. “Mein Kampf was their bible,” she believed. Meanwhile, the wife of the lunch victim said, simply, “Caleb was a good man … he believed in his rights and therefore he died.”
Elizabeth Lindquist-Cock. “Marion Palfi: An Appreciation,” in The Archive Research Series Number 19, September 1983, Center for Creative Photography, University of Arizona, pp. 7-8.
Marion Palfi (American born Germany, 1907-1978)
Untitled (Alexander S. Boone)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (Mr. Ralph Culpepper)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
z
Marion Palfi (American born Germany, 1907-1978)
Untitled (Baby Boone, youngest son of Old Man Boone)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (I asked, “Are you one of the commissioners?”)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (Portrait of Mrs. Caleb Hill, widow of a lynching victim)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
THE SOUTH: Death of Picky Pie
Monday, June 13, 1949
Time Magazine
The crackers sat in the sun, their backs to the decaying summer house and watched the strangers. Irwinton seemed full of strangers, their cars raising clouds of red Georgia dust. Said one resentfully: “We had a white man lay over in a swamp near Big Sandy Creek till the buzzards ate him up, and they found his bones. We didn’t have a single newspaperman look at the bones. But seein’ as Picky Pie is a nigger he makes headlines.” Irwinton was reacting to 1949’s first lynching.
It all started Sunday night, when Sheriff George C. Hatcher was waked by a Negro. He was bleeding across the chest. “Picky Pie Hill done did me over at the New Harlem Club in Mclntyre,” he said. The sheriff jumped into his car and headed for the tin-roofed Negro juke joint four miles away.
Bare bulbs glared through the smoky, crowded room. Caleb (“Picky Pie”) Hill, a husky, 28-year-old Negro, was drunk, but the sheriff got handcuffs on him, and began to question witnesses. Suddenly, the sheriff felt his pistol pulled from the holster, turned to find Picky Pie aiming at his head. Hatcher ducked and the bullet went into the ceiling. In the scuffle, the sheriff’s pistol got lost. The sheriff took his prisoner back to town and put him in a cell with another Negro in the jail on the second floor of the sheriff’s house. Then he went back to get his pistol. It took him 2½ hours.
The Door Was Open. The sheriff explained later: “The trouble was a report had got around that the Negro had killed me. The men were pretty riled up and when they didn’t find me at home, they thought maybe I was dead.”
While he was gone, two men walked into the sheriff’s house. They had no trouble. The keys to the jail were on a cabinet in the living room, where the sheriff had left them, and the front door was open – “if I lock it the lock sticks,” explained the sheriff. The men calmly picked up the keys and went upstairs to the cell. “Come on, Picky Pie, let’s go,” one said. Without a protest, Picky Pie walked out with them. Mrs. Hatcher, asleep downstairs, heard no commotion.
Next morning two young farmers found Hill’s body, face downward in the sandy Georgia roadside, near Big Sandy Creek. He had been shot through the head and body. Roused, Sheriff Hatcher was amazed: “I thought, could it be they’d come and got my prisoner? I ran upstairs and sure enough, Hill was gone.”
No Memory. At the inquest, Tom Carswell, the Negro who had shared Hill’s cell, shook perceptibly as he was questioned. “They were white and there were two of them,” he said. Did he recognise them? “I know just about everybody around here, but I never saw those two before.” Wispy-haired Coroner C. C. Thompson, who is also Mclntyre’s town butcher, asked: “You probably couldn’t identify the men if you saw them again, could you?” “No, suh,” said Carswell eagerly.
Around the square, the loafers settled back and talked it over: “He was a bad nigger, all bad.” Picky Pie had worked in the chalk mines, but mostly he bootlegged liquor. He had been arrested several times before, once for shooting at a white boy just to make him jump. They snorted at the reports that he supported his crippled father and three sisters besides his wife and three children.
But the reporters and all made the coroner nervous. Leaning on his meat counter, he declared: “I am still making a desperate effort to apprehend the guilty party.” Sheriff Hatcher called in the Georgia Bureau of Investigation, and dug the bullets out of Picky Pie. At week’s end, the G.B.I, arrested two white men on suspicion. They figured there were more, and were still looking for them.
Anonymous text. “THE SOUTH: Death of Picky Pie,” in Time Magazine, Monday, June 13, 1949 on the Time website [Online] Cited 27/10/2021.
Marion Palfi (American born Germany, 1907-1978)
Josie Hill, Wife of a Lynch Victim, Irwinton, Georgia
1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Untitled (And the traveling preacher asked them to pray for: “Salvation…”)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (A woman explained: “If a white man buys something…”)
1949
From the book There Is No More Time: An American Tragedy
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Marion Palfi (American born Germany, 1907-1978)
Untitled (Woman in church holding a fan over her face)
1949
Gelatin silver print
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Ms. Palfi set out to document racism and segregation in Irwinton, Ga., the small town where Caleb Hill, in the first reported lynching of 1949, was murdered.
Later that year, Ms. Palfi spent two weeks in Irwinton documenting its residents, both black and white.
Juxtaposing portraits, Ms. Palfi’s written observations and interview excerpts, “There Is No More Time” chronicles the many faces and viewpoints of white supremacy in Irwinton: the obedience to God and family; the religious and pseudoscientific justifications for believing that black people were inherently inferior; the resentment of outside intervention in the South’s racial affairs; and the determination to protect the legal authority of white people.
The book also demonstrates that white racial attitudes were neither uniform nor without ambivalence. Some qualified their prejudices by also voicing disdain for poor whites. Others unconsciously revealed the insecurity and self-doubt that fuelled their bitterness and, by extension, bigotry. Some discreetly criticised the biases of their neighbours, while others attacked them as traitors for doing so.
The town’s African-American residents appear in the book less frequently but to great dramatic effect. Their images make clear the tragic consequences of racial prejudice, their lives compromised and shattered in innumerable ways. This was no more evident than in the haunting portrait of Mr. Hill’s widow (image below) or in the text of an anonymous letter from black prisoners, unceasingly abused and dehumanised by their white jailers. …
The back story of “There Is No More Time” reveals much about Ms. Palfi’s sophisticated and prescient understanding of American race relations. The manuscript met with considerable resistance from publishers. Contending that the subject matter “in these sticky times would not be very well received,” one rejection letter subtly accused her of overstating the problem of segregation.
In order to make her book more appealing, the photographer offered to collaborate with a well-known author. Although her choice, Lillian Smith, ultimately declined, and Ms. Palfi wrote the text herself, the selection was telling. Five years earlier, Ms. Smith rose to prominence with the publication of her best-selling novel “Strange Fruit,” on the then controversial subject of interracial romance. But it was “Killers of the Dream,” her more recently published analysis of the origins and persistence of racism in the Jim Crow South, that undoubtedly caught Ms. Palfi’s attention.
In contrast to other race books of the period, “Killers of the Dream” examined prejudice not just from the perspective of its victims, but also through the candid autobiographical observations of its Southern white author.
The most significant lesson of “Killers of the Dream,” one echoed in “There Is No More Time,” was that we must alter our expectations about who was responsible for talking about race. By focusing on the social and cultural mores of white Southerners – and by providing a platform for ordinary people to speak honestly about a difficult and controversial subject – both books exposed the attitudes, fears and rationalisations that underwrote racial prejudice.
They challenged the myth that racism was exceptional, perpetrated only by monstrous or evil people. As Ms. Smith argued, few were spared the “grave illness” of prejudice. “The mother who taught me what I know of tenderness and love and compassion taught me also the bleak rituals of keeping Negroes in their ‘place,'” she observed about the banality and ubiquity of racism.
Similarly and with uncompromising honesty, “There Is No More Time” revealed an enduring secret of American race relations: that ostensibly good people – men and women much like our neighbours, our family and ourselves – could also harbour virulent prejudices. For Ms. Palfi, this revelation was necessary and urgent.
“There is no more time, we must act now – the whole world is looking on,” she wrote in the book’s foreword. Sixty-five years later, the problem remains dire and far from resolved as we cling to the belief that it is always, inevitably, the others who hate and discriminate.
Maurice Berger. “A Meditation on Race, in Shades of White,” on The New York Times website Sept. 27, 2015 [Online] Cited 27/10/2021
Maurice Berger is a research professor and the chief curator at the Center for Art Design and Visual Culture at the University of Maryland, Baltimore County, and a consulting curator at the Jewish Museum in New York.
Marion Palfi (American born Germany, 1907-1978)
Saturday, Louisville, Georgia
1949
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Installation view and details of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Case History
1955-1957
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Manhattan State Hospital
c. 1955
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Manhattan State Hospital (detail)
c. 1955
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Born into an aristocratic family in Berlin in 1907, Ms. Palfi began her career as an actress and model. Distressed by Germany’s increasingly reactionary politics, she turned to photography as a form of personal expression and activism. In 1935, she opened a photo studio in Amsterdam. Five years later, having married an American serviceman, she immigrated to New York.
A member of the activist Photo League, Ms. Palfi believed that photographs, beyond merely representing problems, could influence social change.
“A Palfi photograph brings us face to face with hidden realities that its surface only causes us to begin to explore,” wrote the American poet Langston Hughes, a friend and admirer of her work.
Ms. Palfi produced photo essays on a range of pressing social issues, including child abuse and delinquency, the neglect of seniors, Native American displacement, prison inmate rights, and the ways poverty, segregation and racism imperilled democracy. She died in 1978.
Maurice Berger. “A Meditation on Race, in Shades of White,” on The New York Times website Sept. 27, 2015 [Online] Cited 27/10/2021
Marion Palfi (American born Germany, 1907-1978)
Men’s Shelter, New York – Your Fortune Must Be Less Thank $2 To Be Acceptable
1956-58
from the series You Have Never Been Old
Gelatin silver print
23.9 x 34.3cm
Marion Palfi (American born Germany, 1907-1978)
Case History
1956-58
from the series You Have Never Been Old
Gelatin silver print
26.3 x 34.3cm
Installation view of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing at top left, At the Lincoln Memorial, March on Washington 1963; at top right, Chicago School Boycott 1963-1964; at bottom left, Untitled c. 1963; and at bottom right, Cleveland, Ohio 1963-1964
© Center for Creative Photography, Arizona Board of Regents
Installation view of At the Lincoln Memorial, March on Washington 1963 from the exhibition Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021 Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
At the Lincoln Memorial, March on Washington
1963
Gelatin silver print
Marion Palfi/Center for Creative Photography
© All Rights Reserved
Installation view of Chicago School Boycott 1963-1964 from the exhibition Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021 Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Installation view of Untitled c. 1963 from the exhibition Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021 Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Installation view of Cleveland, Ohio 1963-1964 from the exhibition Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021 Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Cleveland, Ohio
1963-1964
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Installation view and detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum
© Center for Creative Photography, Arizona Board of Regents
Installation view and detail of Freedom Must Be Lived: Marion Palfi’s America, 1940-1978, 2021, Phoenix Art Museum showing at top left, Untitled c. 1967; at top right, Untitled c. 1967; at bottom left, A Medicine Man and his Family Live in “Low Cost Housing” 1967-1969; and at bottom right, A Meeting in the Traditional Village of Hotelvilla 1964
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
At Madera, California, the Bureau of Indian Affairs Has a School. “To Change the Indian Is Our Job!” New Arrival
1967-1969
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Navajo, Relocation; Leaving Home
1967-1969
Gelatin silver print
Center for Creative Photography, University of Arizona: Marion Palfi Archive / Gift of the Menninger Foundation and Martin Magner
© Center for Creative Photography, Arizona Board of Regents
Marion Palfi (American born Germany, 1907-1978)
Navajo Family Life, the Blue Lake Family on the Black Mesa
1967-69
From the series First I Liked the Whites, l Gave Them Fruits
Gelatin silver print
23.9 x 34.2cm
Marion Palfi (American born Germany, 1907-1978)
Untitled
1967-69
From the series First I Liked the Whites, l Gave Them Fruits
Gelatin silver print
29.7 x 41.9cm
Biography
Social documentary photographer Marion Palfi (1907-1978) sought equity, opportunity, and justice for all people, using her camera as a tool for that end. Farm Security Administration projects and the Photo League inspired her initial efforts toward reform, but for Palfi, the desire for social change was a lifelong pursuit.
Marion Palfi was born in Berlin in 1907 to a Hungarian father and a Polish mother. Her father, Victor Palfi, came from an aristocratic family and became an important producer-director in the German theatre. Her parents provided her with an upper middle class life that included private schooling in both Berlin and Hamburg, where she learned English. She began studying dance at thirteen and eventually followed her father into a career on the stage. A lucrative modelling career and debut performances in film ensued.
After a short time in the limelight, however, she renounced her status as a privileged member of German society, and left the theater. She acquired a small folding camera and began a two-year apprenticeship at a Berlin portrait studio. By 1932, she opened a commercial portraiture and photojournalism studio. Palfi married a journalist and they traveled across Europe, but by the end of 1935 Palfi had opened a studio in Amsterdam alone. In 1940, just before Hitler’s army entered the Low Countries, she married an American serviceman and emigrated to New York.
Palfi gained employment in 1944, developing and retouching governmental war photographs at Pavelle Laboratories, and devoted evenings and weekends to her own photography. A crucial first project, “Great American Artists of Minority Groups and Democracy at Work,” was sponsored by the Council Against Intolerance in America. Through this assignment, she met Langston Hughes, the American poet, who became an ardent supporter. He would say of her work, “A Palfi photograph brings us face to face with hidden realities that its surface only causes us to begin to explore.” Her close ties with Hughes allowed her to establish a circle of friends that included John Collier, Sr., Eleanor Roosevelt, Edward Steichen, and Lisette Model.
Between 1945 and 1955 Palfi was included in group exhibitions at the Museum of Modern Art, the Los Angeles County Museum of Art, New York’s Photo League, and in a solo exhibition at the New York Public Library. She received four major awards in her lifetime: a Julius Rosenwald Fellowship (1946), a Taconic Foundation grant (1963), a Guggenheim Fellowship (1967), and a National Endowment for the Arts grant ( 1974). In addition to such sources, she supported her photographic investigations at her own expense; the liberal press and African-American picture magazines also championed her views and images.
Throughout her mature career Palfi produced photographic essays on subjects of social concern, always with the intent of building public awareness that would ultimately lead to better living and working conditions. Unfortunately, the social documentary approach came to be associated with liberal political ideas and the New Deal, and therefore in direct opposition to the conservative policies of Harry Truman’s government of the late 1940s. Some of the issues she addressed include racism, Native American living conditions and relocation, juvenile delinquency, elder housing, the infringement of prison inmate rights, the effects of child neglect and abuse, the rise of gangs, and the persistence of poverty and slums. Throughout her years in America, Palfi eschewed a more lucrative career, producing photojournalistic work that conformed to popular expectations, and chose instead to pursue imagery that challenged notions of the American Dream.
Additional biographical information on Marion Palfi can be found in two Center publications – The Archive number 19 (1983) and Guide Series number 10 (1985). The Center is the largest repository of Palfi material, with over 1,100 fine prints. The archive contains materials from major photographic projects from 1945 to 1978, correspondence between Palfi and friends, photographers, scholars, writers, publishers, and governmental and private institutions on subjects including her philosophy of using photography to influence social change, her sales of photographs, and her mostly unsuccessful efforts to publish her work. Of particular research value are her scrapbooks, research notes, draft manuscripts, and book maquettes.
Text from the Center for Creative Photography at the University of Arizona website [Online] Cited 26/10/2021
Marion Palfi (American born Germany, 1907-1978)
Untitled
1975
From the series Ask Me lf l Got Justice
Gelatin silver print
18.7 x 24.2cm
Phoenix Art Museum
McDowell Road & Central Avenue
1625 N. Central Avenue
Phoenix, AZ 85004
Opening hours:
Monday and Tuesday Museum closed
Wednesday: 10am – 7pm
Thursday – Sunday: 10am – 5pm
Exhibition: ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London
Tags: activist, American 1930s photography, American art, american artist, American documentary photographer, american photographer, American photography, American social documentary photography, An American Exodus, An American Exodus: A Record of Human Erosion, An evacuee is shown in the lath house sorting seedlings for transplanting, Barbican Art Gallery, California, camera as a political tool, Cars on the Road, College students of Japanese ancestry who have been evacuated from Sacramento, Damaged Child Shacktown, Death of a Valley, displacement, dorothea lange, Dorothea Lange An evacuee is shown in the lath house sorting seedlings for transplanting, Dorothea Lange Cars on the Road, Dorothea Lange College students of Japanese ancestry who have been evacuated from Sacramento, Dorothea Lange Damaged Child Shacktown, Dorothea Lange Drought Refugees, Dorothea Lange Dust Bowl Grain Elevator, Dorothea Lange Family walking on highway, Dorothea Lange Filipino Field Worker Spring Plowing, Dorothea Lange Flag of allegiance pledge at Raphael Weill Public School, Dorothea Lange in Texas on the Plains, Dorothea Lange Manzanar, Dorothea Lange Manzanar Relocation Center, Dorothea Lange Migrant Mother, Dorothea Lange Migratory Cotton Picker, Dorothea Lange This evacuee stands by her baggage as she waits for evacuation bus, Dorothea Lange White Angel Breadline, Dorothea Lange Woman of the High Plains, Dorothea Lange: Politics of Seeing, Drought Refugees, Dust Bowl Grain Elevator, Dust Bowl refugees, environmentalist, Family walking on highway, farm labour, Farm Security Administration, female photographers, female photographers of the 20th century, feminist, Filipino Field Worker Spring Plowing, Flag of allegiance pledge at Raphael Weill Public School, Fortune magazine, FSA photographs, Great Depression, human suffering, inequality, injustice, internment of Japanese-Americans, John Steinbeck, John Steinbeck The Grapes of Wrath, Lange Death of a Valley, Lange Public Defender, London, Manzanar, Manzanar Relocation Center, Migrant Mother, Migration, Migratory Cotton Picker, New Deal programme, Paul S. Taylor, Paul S. Taylor Dorothea Lange, Paul S. Taylor Dorothea Lange in Texas on the Plains, Paul Schuster Taylor, Politics of Seeing, Public Defender, Second World War, sharecroppers in the Deep South, social and political reform, social documentary, social documentary photography, Texas Panhandle, The Grapes of Wrath, This evacuee stands by her baggage as she waits for evacuation bus, War Relocation Authority, White Angel Breadline, Woman of the High Plains
Exhibition dates: 22nd June – 2nd September 2018
Dorothea Lange
Migratory Cotton Picker, Eloy, Arizona
1940
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
Damaged, desperate and displaced
I am writing this short text on a laptop in Thailand which keeps jumping lines and mispelling words. The experience is almost as disorienting as the photographs of Dorothea Lange, with their anguished angles and portraits of despair. Her humanist, modernist pictures capture the harsh era of The Great Depression and the 1930s in America, allowing a contemporary audience to imagine what it must have been like to walk along blistering roads with five children, not knowing where your next meal or drink of water is coming from.
Like Lewis Hine and Jacob Riis from an earlier era, Lange’s photographs are about the politics of seeing. They are about human beings in distress and how photography can raise awareness of social injustice and disenfranchisement in the name of cultural change.
#dorothealange @barbicancentre
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Many thankx to the Barbican Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Dorothea Lange
Migrant Mother, Nipomo, California
1936
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
Dorothea Lange took this photograph in 1936, while employed by the U.S. government’s Farm Security Administration (FSA) program, formed during the Great Depression to raise awareness of and provide aid to impoverished farmers. In Nipomo, California, Lange came across Florence Owens Thompson and her children in a camp filled with field workers whose livelihoods were devastated by the failure of the pea crops. Recalling her encounter with Thompson years later, she said, “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.”1 One photograph from that shoot, now known as Migrant Mother, was widely circulated to magazines and newspapers and became a symbol of the plight of migrant farm workers during the Great Depression.
As Lange described Thompson’s situation, “She and her children had been living on frozen vegetables from the field and wild birds the children caught. The pea crop had frozen; there was no work. Yet they could not move on, for she had just sold the tires from the car to buy food.”2 However, Thompson later contested Lange’s account. When a reporter interviewed her in the 1970s, she insisted that she and Lange did not speak to each other, nor did she sell the tires of her car. Thompson said that Lange had either confused her for another farmer or embellished what she had understood of her situation in order to make a better story.
Text from the MoMA Learning website
Installation views of the exhibition Dorothea Lange: Politics of Seeing at the Barbican Art Gallery, London showing Dorothea Lange’s photograph Migrant Mother, Nipomo, California 1936
Photos: Ian Gavan/Getty Images for Barbican Art Gallery
“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.” (From: Popular Photography, Feb. 1960).
The images were made using a Graflex camera. The original negatives are 4×5″ film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken.
Text from The Library of Congress website
Florence Owens Thompson: The Story of the “Migrant Mother” 2014
Thompson’s identity was discovered in the late 1970s; in 1978, acting on a tip, Modesto Bee reporter Emmett Corrigan located Thompson at her mobile home in Space 24 of the Modesto Mobile Village and recognized her from the 40-year-old photograph.[10] A letter Thompson wrote was published in The Modesto Bee and the Associated Press distributed a story headlined “Woman Fighting Mad Over Famous Depression Photo.” Florence was quoted as saying “I wish she [Lange] hadn’t taken my picture. I can’t get a penny out of it, she didn’t ask my name. She said she wouldn’t sell the pictures, she said she’d send me a copy. She never did.”[2]
Lange was funded by the federal government when she took the picture, so the image was in the public domain and Lange never directly received any royalties. However, the picture did help make Lange a celebrity and earned her “respect from her colleagues.”[11]
In a 2008 interview with CNN, Thompson’s daughter Katherine McIntosh recalled how her mother was a “very strong lady”, and “the backbone of our family”, she said: “We never had a lot, but she always made sure we had something. She didn’t eat sometimes, but she made sure us children ate. That’s one thing she did do.”
Florence Owens Thompson on the WikiVisually website
Dorothea Lange
White Angel Breadline, San Francisco
1933
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
“There are moments such as these when time stands still and all you do is hold your breath and hope it will wait for you. And you just hope you will have enough time to get it organised in a fraction of a second on that tiny piece of sensitive film. Sometimes you have an inner sense that you have encompassed the thing generally. You know then that you are not taking anything away from anyone: their privacy, their dignity, their wholeness.” ~ Dorothea Lange 1963
Davis K F 1995, The photographs of Dorothea Lange, Hallmark Cards Inc, Missouri p. 20.
White angel breadline, San Francisco is Lange’s first major image that encapsulates both her sense of compassion and ability to structure a photograph according to modernist principles. The diagonals of the fence posts and the massing of hats do not reduce this work to the purely formal – the figure in the front middle of the image acts as a lightening rod for our emotional engagement.
© Art Gallery of New South Wales Photography Collection Handbook, 2007
There was a real “White Angel” behind the breadline that served the needy men photographed by Dorothea Lange. She was a widow named Lois Jordan. Mrs. Jordan, who gave herself the name White Angel, established a soup kitchen during the Great Depression to feed those who were unemployed and destitute. Relying solely on donations, she managed to supply meals to more than one million men over a three-year period.
Jordan’s soup kitchen occupied a junk-filled lot in San Francisco located on the Embarcadero near Filbert Street. This area was known as the White Angel Jungle. The Jungle was not far from Lange’s studio. As she began to change direction from portrait to documentary photography, Lange focused her lens on the poignant scenes just beyond her window. White Angel Breadline is the result of her first day’s work to document Depression-era San Francisco. Decades later, Lange recalled: “[White Angel Breadline] is my most famed photograph. I made that on the first day I ever went out in an area where people said, ‘Oh, don’t go there.’ It was the first day that I ever made a photograph on the street.”
Text from the Arts Edge website
Dorothea Lange
Drought Refugees
c. 1935
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
Dorothea Lange
Family walking on highway – five children. Started from Idabel, Oklahoma, bound for Krebs, Oklahoma
June 1938
Silver gelatin print
Library of Congress
Dorothea Lange
Cars on the Road
August 1936
Silver gelatin print
Library of Congress
Dorothea Lange
Dust Bowl, Grain Elevator, Everett, Texas
June 1938
Silver gelatin print
Library of Congress
This summer, Barbican Art Gallery stages the first ever UK retrospective of one of the most influential female photographers of the 20th century, the American documentary photographer Dorothea Lange (1895-1965). A formidable woman of unparalleled vigour and resilience, the exhibition charts Lange’s outstanding photographic vision from her early studio portraits of San Francisco’s bourgeoisie to her celebrated Farm Security Administration work (1935-1939) that captured the devastating impact of the Great Depression on the American population. Rarely seen photographs of the internment of Japanese-Americans during the Second World War are also presented as well as the later collaborations with fellow photographers Ansel Adams and Pirkle Jones documenting the changing face of the social and physical landscape of 1950s America. Opening 22 June at Barbican Art Gallery, Dorothea Lange: Politics of Seeing is part of the Barbican’s 2018 season, The Art of Change, which explores how the arts respond to, reflect and potentially effect change in the social and political landscape.
Dorothea Lange: Politics of Seeing encompasses over 300 objects from vintage prints and original book publications to ephemera, field notes, letters, and documentary film. Largely chronological, the exhibition presents eight series in Lange’s oeuvre spanning from 1919 to 1957.
Jane Alison, Head of Visual Arts, Barbican, said: “This is an incredible opportunity for our visitors to see the first UK survey of the work of such a significant photographer. Dorothea Lange is undoubtedly one of the great photographers of the twentieth century and the issues raised through her work have powerful resonance with issues we’re facing in society today. Staged alongside contemporary photographer Vanessa Winship as part of The Art of Change, these two shows are unmissable.”
Opening the exhibition are Lange’s little known early portrait photographs taken during her time running a successful portrait studio in San Francisco between 1919 and 1935. Lange was at the heart of San Francisco’s creative community and her studio became a centre in which bohemian and artistic friends gathered after hours, including Edward Weston, Anne Brigman, Alma Lavenson, Imogen Cunningham, and Willard van Dyke. Works from this period include intimate portraits of wealthy West Coast families as well as of Lange’s inner circle, counting amongst others photographer Roi Partridge and painter Maynard Dixon, Lange’s first husband and father of her two sons.
The Great Depression in the early 1930s heralded a shift in her photographic language as she felt increasingly compelled to document the changes visible on the streets of San Francisco. Taking her camera out of the studio, she captured street demonstrations, unemployed workers, and breadline queues. These early explorations of her social documentary work are also on display.
The exhibition charts Lange’s work with the newly established historical division of the Farm Security Administration (FSA), the government agency tasked with the promotion of Roosevelt’s New Deal programme. Alongside Lange, the FSA employed a number of photographers, including Walker Evans, Ben Shahn and Arthur Rothstein, to document living conditions across America during the Great Depression: from urban poverty in San Francisco to tenant farmers driven off the land by dust storms and mechanisation in the states of Oklahoma, Arkansas and Texas; the plight of homeless families on the road in search of better livelihoods in the West; and the tragic conditions of migrant workers and camps across California. Lange used her camera as a political tool to critique themes of injustice, inequality, migration and displacement, and to effect government relief.
Highlights in this section are, among others, a series on sharecroppers in the Deep South that exposes relations of race and power, and the iconic Migrant Mother, a photograph which has become a symbol of the Great Depression, alongside images of vernacular architecture and landscapes, motifs often overlooked within Lange’s oeuvre. Vintage prints in the exhibition are complemented by the display of original publica