Richmond, California / "It Was Never Like This Back Home" (2000.50.17)
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Richmond, California / "It Was Never Like This Back Home"
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Keller, Judith. Dorothea Lange. In Focus: Photographs from the J. Paul Getty Museum. (Los Angeles: J. Paul Getty Museum, 2002), p.59.
Keller, Judith. Dorothea Lange. In Focus: Photographs from the J. Paul Getty Museum. (Los Angeles: J. Paul Getty Museum, 2002)
Citation (Bibliographic Reference) Sequence
© Oakland Museum of California, the City of Oakland
> Katherine Archibald based her *Wartime Shipyard: A Study in Disunity* (1947) on interviews and observations she made during two years of employment with the Moore Dry Dock Company in Oakland. Illustrated with four photographs by Dorothea Lange, this sociological study begins with a description of the factory as a city unto itself: "The shipyard of the war years was a boom town of huddled buildings and long-necked cranes that rose overnight from the mud flats of a bay or river frontage. Through its gates passed twenty or thirty or forty thousand men and women every twenty-four hours." > > Dorothea Lange and her friend of many years, Ansel Adams, were hired by *Fortune* magazine to document this twenty-four hour cycle in the life of a shipyard (in this case, one of four operated by Henry J. Kaiser) in the quintessential boomtown of nearby Richmond. The resulting article, "Richmond Took a Beating: From Civic Chaos Came Ships for War and Some Hope for the Future," pictured the community's crowded streets, inadequate housing, school annexes, and popular bars. However, the "disunity" Archibald referred to was not the squabbling of the local chamber of commerce over how many temporary quarters to build or whether a new jail was needed for the increase in those arrested for drunken and disorderly conduct, but rather the intensified problems of racial and sexual prejudice, union membership, workplace strata, and class consciousness. For instance, Richmond suddenly had thirty-five times as many African American residents as before the war. They received equal pay, but the unions blocked them, the supervisors resisted promoting them, and the Okies had no understanding of them. This discrimination enhanced existing insecurities, but Lange managed to obtain a casual, between-shifts portrait of this recent arrival in a variant of the image that ran in the February 1945 *Fortune* article. Judith Keller, *Dorothea Lange,* In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2002), p. 58. © 2002 J. Paul Getty Trust.
Attribution 4.0 International (CC BY 4.0)
J. Paul Getty Museum, Los Angeles, California
The J. Paul Getty Trust, Los Angeles, California
Text provided by the J. Paul Getty Museum. Licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/).
Katherine Archibald based her Wartime Shipyard: A Study in Disunity (1947) on interviews and observations she made during two years of employment with the Moore Dry Dock Company in Oakland. Illustrated with four photographs by Dorothea Lange, this sociological study begins with a description of the factory as a city unto itself: "The shipyard of the war years was a boom town of huddled buildings and long-necked cranes that rose overnight from the mud flats of a bay or river frontage. Through its gates passed twenty or thirty or forty thousand men and women every twenty-four hours." Dorothea Lange and her friend of many years, Ansel Adams, were hired by Fortune magazine to document this twenty-four hour cycle in the life of a shipyard (in this case, one of four operated by Henry J. Kaiser) in the quintessential boomtown of nearby Richmond. The resulting article, "Richmond Took a Beating: From Civic Chaos Came Ships for War and Some Hope for the Future," pictured the community's crowded streets, inadequate housing, school annexes, and popular bars. However, the "disunity" Archibald referred to was not the squabbling of the local chamber of commerce over how many temporary quarters to build or whether a new jail was needed for the increase in those arrested for drunken and disorderly conduct, but rather the intensified problems of racial and sexual prejudice, union membership, workplace strata, and class consciousness. For instance, Richmond suddenly had thirty-five times as many African American residents as before the war. They received equal pay, but the unions blocked them, the supervisors resisted promoting them, and the Okies had no understanding of them. This discrimination enhanced existing insecurities, but Lange managed to obtain a casual, between-shifts portrait of this recent arrival in a variant of the image that ran in the February 1945 Fortune article. Judith Keller, Dorothea Lange, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2002), p. 58. © 2002 J. Paul Getty Trust.
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Objects Exhibited in About Life: The Photographs of Dorothea Lange at J. Paul Getty Museum at the Getty Center, Los Angeles
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About Life: The Photographs of Dorothea Lange
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Related Media Set for Richmond, California / "It Was Never Like This Back Home" (2000.50.17)
Various graphite pencil inscriptions on the reverse
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Provenance Acquisition for Richmond, California / "It Was Never Like This Back Home" (2000.50.17) associated with Dorothea Lange; subsequently by inheritance to the artist's son, John Dixon, 1965.
Provenance Activity for Richmond, California / "It Was Never Like This Back Home" (2000.50.17) associated with Dorothea Lange
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by inheritance to the artist's son, John Dixon, 1965.
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Provenance Activity for Richmond, California / "It Was Never Like This Back Home" (2000.50.17) associated with John Dixon
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Provenance Acquisition for Richmond, California / "It Was Never Like This Back Home" (2000.50.17) associated with John Dixon; subsequently sold to the J. Paul Getty Musem, 2000.
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Collection metadata provided by the J. Paul Getty Museum. In Copyright (https://rightsstatements.org/vocab/InC/1.0/).