By Museum Ludwig Cologne
A desirable perception into the photographic selection of the Museum Ludwig, Cologne whic bargains 860 works by means of round three hundred photographers.
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Extra resources for 20th Century Photography (Klotz)
Camera seemed to be interested only in his pictures of farmers and grain elevators. And if he was down on himself from time to time, he clearly felt under it all an inner conﬁdence that his work was going in the right direction during these years, as when he berated Penny for failing to console him after his own self-criticism: “You could have told me that I do have something to contribute to photography. You could have mentioned what a lasting contribution I have already made” ( June 30, 1941).
Maybe I did say this set up was made for me. It’s a swell job, interesting, travel, I like my salary. Up until the war began, and we became the Ofﬁce of War Information, there was nothing I would rather be doing than working for Stryker. , convincing the country along the old Henry Wallace lines, building up pictures of what kind of future we should make. That is just my idea of what kind of work I would like to be doing, but there isn’t in existence such an OWI, and I’m stuck making pictures of lady bus drivers, nursery schools, the same old shipyard pictures, I don’t see much real value in what I’m doing, so I want to get out of it [ﬁgure 18].
At times emulation became idolatry, as when Vachon arrived in Atlanta and hired a cab to drive around the city in search of the twin houses (with their framed porches looking like two eyes and the Carole Lombard billboard in front of them) Evans had photographed; ﬁnding them at last, he photographed them himself. 29 Another time, in Oklahoma City, Vachon wrote to Penny that he’d been driving around the city, visiting former shack towns photographed by Russell Lee and noting immense stockpiles of used tires and vulgar commercial signs—“the kind of stuff Walker Evans and I used to dream about” (October 24, 1942).