We can’t help but marvel at how they escaped our notice – or exposure through wider exhibition – for so long. But other images seem to pack an even heftier punch for their unfamiliarity the fact that they take you by surprise adds to their impact. Gordon Parks’ “American Gothic (Portrait of Ella Watson, Washington, D.C.)” still dares you to call this Black woman with the defiant stare “unequal” or not an American.Īll these subjects emanate the essential quality of the show’s title. Lewis Hine’s “Power House Mechanic” is a paean to both the innate dignity of American laborers and a modern equivalent to Michelangelo’s veneration of male beauty. Dorothea Lange’s “Migrant Mother (Florence Owens Thompson), Nipomo, California” will still break your heart. There is no question that the familiar images are still powerful. Related Portland Museum of Art receives photography collection that ‘puts us at another level’
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