Woman Holding Pail of Tomatoes, Coachella Valley, March 1935Credit... Dorothea Lange Collection, the Oakland Museum of California. Gift of Paul S. Taylor.
The photograph shows a woman in a patterned dress, hauling a pail of tomatoes in the Coachella Valley. It’s 1935 and her face is shaded from the punishing sun by a straw hat.
Another image shows a man’s bare back as he plows cauliflower fields in Guadalupe, Calif., in 1937. It’s labeled “Filipino Field Worker.”
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Dorothea Lange’s photographs of “Okies” and “Arkies” — the dust-caked Depression-era refugees standing forlorn before their ragged tents or trudging along desolate highways — are familiar to many Americans. They inspired John Steinbeck and have lodged themselves deeply in the country’s psyche.
Filipino Field Worker, Spring Plowing, Cauliflower Fields, Guadalupe, CaliforniaCredit... Dorothea Lange Collection, the Oakland Museum of California. Gift of Paul S. Taylor.
But when I looked at the photographs in the Oakland Museum of California’s new digital archive of Ms. Lange’s work, I found myself seeing not just that history, but also our pandemic-shattered present.
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The digital archive includes a selection of images from a huge trove of Ms. Lange’s work over decades. Her personal archive was gifted to the museum in 1965, the year she died.
Drew Johnson, the archive’s curator, said the artist and her husband had talked about the gift with the museum’s founding curator of photography, Therese Heyman, before the museum had even opened in its current building.
There are portraits of friends and family, photographs of sharecroppers from travels through the Deep South and snapshots from the Bay Area that span several decades.
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California’s waves of immigrant workers have always been essential, said Kent Wong, director of the University of California, Los Angeles Labor Center, but rarely have they been treated as such.
“Immigrant laborers have been a mainstay of the California economy and in the growth of agriculture over the generations, ” he said. “And yet they have always faced extreme poverty, terrible working conditions, and their lives have always been seen as disposable.”
One photograph in the archive shows young girls of Japanese ancestry pledging allegiance at a San Francisco elementary school just before the U.S. government forced thousands of Japanese-Americans into remote camps where they were incarcerated for years.
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One Nation Indivisible, San Francisco (Pledge of Allegiance at Rafael Weill Elementary School a Few Weeks Prior to Evacuation)Credit... Dorothea Lange Collection, the Oakland Museum of California. Gift of Paul S. Taylor.
The image has stuck with me since childhood, when I learned about what had been a largely overlooked injustice that touched my family.
But seeing for the first time her photos of closed or empty Japanese-owned storefronts, like a grocery hastily plastered with a sign declaring, “I AM AN AMERICAN, ” stung in a different way.
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They were pointed depictions of an inability to work, a broken promise of American entrepreneurship that echoes today, as small businesses — many owned by immigrants or their children — struggle to survive a pandemic that abruptly cut off customers. Many have also been hurt by a tide of xenophobia.
Japanese Owned Grocery Store, Oakland, California, March 30, 1942Credit... Dorothea Lange Collection, the Oakland Museum of California. Gift of Paul S. Taylor.
Mr. Johnson said that Ms. Lange’s bosses at the Farm Security Administration in the 1930s told her to focus on white migrants, whom federal officials hoped would elicit the strongest sympathy.
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Ms. Lange’s famed “Migrant Mother” has become a kind of enduring symbol of white motherhood, he said, although the woman, Florence Owens Thompson, was Native American.
But Ms. Lange was clearly attuned to the nation’s deep inequality, Mr. Johnson said. When she photographed sharecroppers in the Jim Crow South, he said, “she instantly recognized that race was at the bottom of the system.”
A combination of factors in Ms. Lange’s personal history — her struggle with polio as a child, her marriages to the painter Maynard Dixon and later, the Berkeley economics professor Paul Taylor — informed an approach that resisted reducing people to their pain.
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“The photographs turn out to be collaborations, ” he said. “She was trying to emphasize the dignity of these people and the labor they were doing.”
One collection in the archive shows some of the first Braceros arriving in Sacramento, in 1942, after a five-day train ride from Mexico. They had arrived in a state rife with anti-immigrant sentiment, but their labor was so desperately needed to grow and harvest food that officials allowed them to be “imported.” The men look weary but not despondent.
In recent years, farms have increasingly relied on newer iterations of seasonal guest worker programs. And this spring, as Californians were told to shelter in their homes, undocumented farmworkers were told to carry letters marking them as essential and allowing them to keep doing their jobs.
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“When we reflect on what Dorothea Lange was documenting in the 1930s, in many ways, very little has changed, ” Mr. Wong, the U.C.L.A. professor, said.
Throughout the pandemic, California’s communities of color have been disproportionately asked to shoulder the risks of “essential” work — including Filipino health care workers caring for residents of nursing homes, and the Latino workers shipping off packages in the Inland Empire.
Still, Mr. Wong said that this Labor Day, it’s worth remembering that California has also been the birthplace of movements for worker protections that we may take for granted — and that more change is possible.
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“The 1930s was a decade of huge change and transformation, including in labor law, ” Mr. Wong said. “I see significant parallels between that era and today.”
Jill Cowan grew up in Orange County, went to school at U.C. Berkeley and has reported all over the state, including the Bay Area, Bakersfield and Los Angeles — but she always wants to see more. Follow along here or on
Jill Cowan is the California Today correspondent, keeping tabs on the most important things happening in her home state every day. More about Jill CowanPhotographer Ernest Lowe documented the lives of Black farmworkers in California's Central Valley in the 1960s, then revisited the region in 2015 to reconnect with his subjects. The resulting photographs are now ondisplay.
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California’s Latinx farmworkers have been the subjects of many documentary projects over the years, but very few people documented the history of Black farmworkers in the state. Now, an exhibition at the Fresno Museum of Art called Black Migrants features never-before-seen photographs by Ernest Lowe that provide a glimpse of a story largely left out of California’s agricultural memory.
The photos’ subjects hailed from Arkansas, Oklahoma, Texas, and Louisiana, fleeing the Jim Crow South and the injustice of slavery disguised as tenant farming. In the 1930s and ’40s, thousands of African American families undertook the long migration, with their sights set on the open land of rural California, higher piece rates for cotton picking, and the promise of freedom. There, they congregated into cotton farm labor camps dispersed across the Central Valley that went on to become communities including Teviston, Pixley, and Dos Palos.
In the early 1960s, Lowe was a young documentary photographer working with Berkeley’s KPFA public radio. He took to the fields capturing the reality of these migrants’ lives: racism, backbreaking labor, and some of the most extreme poverty in the nation. Yet Lowe’s photographs also portray the joy, humanity, and dignity of these forgotten communities, surviving all this time in the state’s margins.
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Civil Eats recently spoke with Lowe, who describes his career as “applying my creativity to the task of changing the world toward a more humane, just, peaceful, and democratic place.” The historic exhibition runs through January 6, 2019.
In the early ’60s, I’d been studying documentary photography and filmmaking at San Francisco Art Institute. Dorothea Lange came in as a guest teacher in one of our classes, and I was very inspired by her work. Then I heard a radio show on KPFA [about] a field worker for American Friends Service Committee [named] Bard McAllister, who was saying, “Someone should come to the fields and take pictures again, the conditions haven’t changed much since the 1930s.” So I committed to do that.
Then I was working for KPFA, and so I started doing field recordings and taking pictures on weekends, holidays, time-off. I traveled up and down the Central Valley and into the Salinas Valley, going out into the fields and orchards, going to the camps along rivers and the settlements. I covered the early unionization effort before Cesar Chavez went public, the Agricultural Workers Organizing Committee. I was one of the few people photographing this effort.
I>american Exodus Dislocation In The 1930's
But I also photographed Black farmworkers. At that time, most people were focusing on the Anglos and Hispanic farm workers and not paying much attention to the African Americans in the Valley. So, in 1964, I spent two months photographing in one of these communities, called Teviston, off Highway 99.
All of that culminated at a major exhibition at the de Young Museum in 1966. It was a multimedia exhibition with hundreds of photographs on the walls, [including] the contents of [an abandoned] farmworker shack. It was a controversial exhibition! The board of the de Young tried to cancel it. I threatened
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