My dad, Arthur Rothstein (1915-1985) was the first photographer hired by the Farm Security Administration, the New Deal agency that pioneered the use of photographs and “photo stories” to build public and political support for federal relief programs.
Starting in 1935, the Resettlement Administration, later renamed the Farm Security Administration– “FSA,” for short–compiled an unprecedented, nationwide photographic survey of life in Depression-wracked America.
During Dad’s nearly seven years working for the FSA he refined the art of visual storytelling, producing hundreds of in-depth photo essays documenting the need for government assistance and the successful New Deal relief programs created in response.
Dad was fiercely patriotic. His parents, Jews displaced from Eastern Europe by pogroms, had found both refuge and opportunity in America. He was drawn to stories of migrants and the dispossessed that, through no fault of their own, needed government help. He brought a powerful sense of purpose to his New Deal assignments.
Dad’s boss at the FSA, Roy Stryker, shared Dad’s sense of purpose. Stryker believed that photography could serve as a tool to advance social justice. He thought that words with pictures provided irrefutable evidence of the need for federal assistance to struggling Americans. More than a dozen FSA photographers would eventually contribute images to Stryker’s extensive visual record of American life during the Depression and the early years of World War II. That collection, preserved at the Library of Congress, includes iconic images my Dad took as a young FSA photographer. His photographs of the devastation wrought by the drought and Dust Bowl remain the most famous of his career.
The values my father inherited from his immigrant parents, reinforced by his New Deal tenure under Roy Stryker, can be seen in the work Dad created throughout his 50-year career as a photojournalist and documentary photographer.
After serving as a photographer in the US Army Signal Corps during WW II, and as chief photographer for a United Nations relief agency in China after the war, Dad spent 35 years as director of photography at the popular Look and Parade magazines. One of Dad’s first and most memorable stories for Look depicted the daily indignities of a young black man living in the segregated South.
Dad’s New Deal portfolio still stands out as surprisingly relevant. My father’s images from nearly 80 years past remind us that we still live among the dispossessed—those denied justice and made vulnerable by forces beyond their control—and that government has a responsibility to shield and support those who need a leg up.
Dear Dr. Segan, My late husband Herbert J. Carlin (Professor of Electrical Engineering at Cornell University) was two years younger then your father, but they were undergraduets at Columbia at the same time. They both belonged to the Photography Club and with your father’s inspiration Herbert became a passionate lifelong amateur photographer. He often talked about “Artie” and was very proud of his connection to him. Couldn’t resist writing you.
With best regards, Mariann Carlin
Such a beautifully written and meaningful essay. With your permission, I would like to use this with my high school students.
Thank you for sharing, Mariann!
Dad was very enthusiastic when it came to promoting photography as a hobby. He mentored many younger photographers including Stan Kubrick, Doug Kirkland, Charlotte Brooks, Tony Vaccaro, Chester Higgins and John Shearer. He taught throughout his career and wrote nine books on photography including two textbooks–one on photojournalism and the other on documentary photography, He loved sharing his knowledge.
Photos are classic.
He was so special.
I was excited to discover that you were one of his mentees, Dick! He loved nurturing talented young photographers!