In Dorothea Lange’s photograph on page 401 of the New Deal Photography, it is apparent that there are two kids on the center right of the photograph. They seem to be amicably play fighting or wrestling along the side of the road next to an abandoned tire. The little boy whose face is visible in the photo looks around 6-7 years old and has a wide grin on his face showing complete and utter joy with a carefree attitude for the world. His facial expression serves as a juxtaposition to the entire era of the Great Depression. To the little boy, it is merely an another ordinary day where he gets to be nothing besides being a kid. But, to the rest of the nation as well as other parts of the world is the worst economic downturns that turned millions of American lives upside down leaving them with nothing but the need for survival.
At first glance, it is very apparent that the picture is black and white but at a second glance, the viewer can see that the little boy whose face is visible is black and the kid below him is white. Not only does this lead to the thought of polarizing economic status but it also leads the viewers with more information about the background of the subjects of the photograph. Lange’s description of the picture states “…We used our hunches, we lived, and it was hard, hard living. It wasn’t easy, rather rough…” Her statement reiterates the idea that during the Great depression, there was nothing else on everyone’s minds except: survival. After straying away from the facial expression viewers can also see that the black kid is also barefoot while the white kid clearly has sneakers with socks and trousers. The grin on the black kid’s face immediately captures the viewers’ attention yet distracts the viewer from the subtle differences in tones of the photograph.
Your response regarding the subtle yet paramount differences between the portrayed socioeconomic backgrounds of the two young boys in the photograph reveals an endless stream of unanswered questions. Despite the very real and unfortunate circumstances of their era, the photograph pretty much shouts at me that where, when, or what you are born into does not define the path that you venture upon. I am pleased with your ability to connect the piece back to the photographer’s own intention, by referring to the caption itself. I, too, find the juxtaposition of the boys’ facial expressions and the nation’s situation at the time to be something worthy of pondering.