In this podcast, we explore Walker Evans’ work with the Farm Security Administration (FSA), specifically his photograph Store with false front. Vicinity of Selma, Alabama. We engage with Roy Stryker’s mission, capturing “America for Americans,” and the politics behind the collection. Simultaneously, we address Evans’ desire to make an artistic product and what this means for the truth value of a documentary image. Engaging in close visual analysis of Store with false front. Vicinity of Selma, Alabama, we discuss the aestheticization of poverty and labor and the role of the human body within the context of Evans' works. We also explore another FSA photograph by Arthur Rothstein, entitled Sign, Birmingham, Alabama, and discuss how it also engages with the politics of the FSA and promotes cultural stereotypes. We end by wrestling with a critical question, do documentary images have any objective truths at all?

Click here for a transcription and bibliography as well as images of the works discussed in today's episode.⁠⁠⁠

This podcast is part of the Crop and Click series featuring student research on documentary photography from our collection. ⁠⁠⁠Click here for a portfolio of all the works discussed in the series.⁠⁠⁠

Hosted and produced by Emma Rudy and Marcos Ruiz. Cover art by Lucy Sherman '23.