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Mast Irham / EPA
Left - Survivors waiting for a medical checkup by the Indonesian Red Cross at Bulasat Village, South Pagai Island, part of Mentawai islands, Indonesia, Nov. 1, 2010. Rescue workers were trying to reach remote areas in the tsunami-ravaged Mentawai islands as the bad weather eased, officials said. The confirmed death toll from the tidal wave and magnitude-7.7 earthquake stands at 431, down from a previous estimate of 449, while 88 people were listed as missing, said Agus Prayitno from the Regional Disaster Management Agency in West Sumatra‘s capital Padang. More than 400 people are reported injured.
An interesting thing happened yesterday during “The Week in Pictures” edit. Carissa Ray, Meredith Birkett and I were doing the final edit when Mast Irham’s picture came on the screen. Almost in unison the three of us said, “Lange”. I quickly yelled, “Jinx!” and punched both of them in the arm, just kidding.
In that shared moment of recognition the three of us were referring to Dorothea Lange’s famous “Migrant Mother” photograph. Lange’s picture of Florence Thompson and her children, who were living in a migrant worker camp and existing on frozen, rotting field vegetables and birds that the children could kill, became an iconic image that represents the Great Depression.
Icons have a funny way of becoming templates for later work. It’s not that people are copying each other’s work. I think it has something to do with how a culture comes to share recognizable symbols. It’s a visual short-hand that helps people communicate efficiently. Lange’s picture has become that, at least for photographers.
Over the years, I’ve thought a lot about Dorothea’s picture, and I’ve wondered about the moment when she saw Florence and her kids in that California field. Lange must have recognized something iconic. I’ve come to believe that her photograph refers back to a deeply rooted cultural icon. Think of all the “Madonna and Child” religious paintings that have been created over the centuries. I’ve come to see those images as the iconic source material for Dorothea Lange’s photograph, and by extension Mast Irham’s recent picture.
What do all three images communicate to you?
Click here to look for icons and cultural symbols in this week's episide of "The Week in Pictures".
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Perhaps we should reflect on how comfortable our lives are versus those less fortunate, and initiate a political movement to assist the less fortunate in our country......Maybe use the funds used to finance two useless wars designed to support the Corporate Industrial War Complex
Common Sense,
I think the message of all three images has more to do with the value that societies place on Motherhood.
The Eyes Have It.
A common technique in painting, having three subjects with eyes looking different places, creates a subtle, yet disturbing thing to view. It's purpose may be to keep the eyes of the viewer moving, and wondering what each is thinking or looking towards.
I agree with Robert, that in these examples, Motherhood plays a role, but I might add, the future of The Brood might also play a part. I can see in the first on left, The Indonesian children seem bewildered, and The Mother appears secure with her children. In Dorothea's Photo, The Children seem ashamed, and Mother pensive. In the Iconic Painting, there seems to be a celebration, or jubulation in Mother and Child, as an Angel watches over.
For the record, I could be wrong, as these are Phrog's remarks on his observation.
I think all three images show the weight of motherhood. The father is noticably absent. Where he is is not important in this context. Simply, the mother is the one responsible for the care of the children and for the future of humanity in tragedy. It is her sole responsiblity. I see the grief of responsibility, the fear of loss, the weight of humanity.