There’s a lot of vernacular language that accompanies these captions, where she has transcribed, verbatim, what she has been told.” , which presented the work of numerous photographers from the 1950s to today, displaying narratives of counterculture, subcultures and minorities.
Pardo posits photography as a particularly apt medium for bringing marginalized voices to the fore, and the exhibition of Lange’s work is a welcome chapter in this programming.
“She was interested in showing the greater context, working in storyboards.
She understood how to tell the story that needed to be shown.
She explains, “I often think photography is a reflection of the external world, and will therefore comment on and critique historical social discourses.
As a public institution, we have a duty to raise public awareness of these issues.
Regarding Lange’s legacy, associations with such an iconic image have simultaneously been a blessing and a curse.
While the photographer’s name remains a bolded marker in the history of the medium, her career is often overshadowed by the single photograph, leaving far less room for knowledge of her greater oeuvre and impressive pursuits.
She was able to show, disseminate and circulate images of things that people weren’t seeing in their day-to-day lives, and she did everything she could to ensure they got into the media.
The way she saw the world was through the framework of politics, and that visualization is what we are communicating with this exhibition.” —Cat Lachowskyj The exhibition Dorothea Lange: Politics of Seeing is on view at the Barbican Art Gallery in London from June 22 - September 2, 2018 as a double bill alongside an exhibition of photographer Vanessa Winship’s poetic approach to documentary work. This evacuee stands by her baggage as she waits for evacuation bus.