By Catherine Gander
Presents a brand new viewpoint at the documentary range of Muriel Rukeyser's paintings and impacts. This examine of twentieth-century American poet Muriel Rukeyser explores the a number of avenues of her 'poetics of connection' to bare a profound engagement with the both intertextual documentary style. It examines formerly neglected picture narratives, poetry, prose and archival fabric and demonstrates an everlasting discussion among the poet's relational aesthetics and documentary's equally interdisciplinary and inventive method of the realm. by means of contemplating the assets of documentary in Rukeyser's paintings, the research offers perception into her guiding poetic rules, situating her as an important determine within the historical past of twentieth-century American literature and tradition, and as a pioneering character within the improvement of yank reviews.
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Extra info for Muriel Rukeyser and Documentary: The Poetics of Connection
Also in 1970, Rukeyser wrote the foreword to Berenice Abbott’s Photographs. Rukeyser’s admiration for Abbott’s work apparently centred on the photographer’s ability to forge connections between diverse subjects by rendering them in some way ‘human’. 80 At the end of the foreword, Rukeyser summarises Abbott’s ‘science’ pictures as presenting ‘forces like faces’, concluding that the witnesses of this art . . will see that Berenice Abbott has given us the vision of a world in which all things look at us, declaring themselves with a power we recognise.
55. Trachtenberg, ‘From Image to Story’, p. 57. 56. Tagg, Burden, p. 170. 57. , p. 173. 58. ’ was Lange’s initial rule for making a photograph. Lange quoted by her son, Daniel Dixon, in ‘Dorothea Lange’, p. 68. 59. Dixon, ‘Dorothea Lange’, p. 68; Walker Evans in Walker Evans, intro. by Szarkowski, p. 12. 60. Bourke-White, Portrait of Myself, p. 137; Stott, Documentary Expression, pp. 219–23. 61. Rothstein, ‘Direction in the Picture Story’, p. 1357. 62. Stryker, ‘Documentary Photography’, p. 1365.
Captioning the photographs with allegedly direct quotations from the subjects pictured, the authors claimed to ‘so far as possible . . 26 Documentary photography and the human face The majority of the photographs in the photo-books discussed above are portraits, arguably due to their capacity to involve the reader / viewer humanly as witness to the events depicted. 27 This vicarious visual and emotional participation was sought primarily via close attention to the human face. 29 Lange’s ‘Migrant Mother’ image was perhaps the most singularly effective photograph of the era, reproduced numerous times in books, magazines, exhibitions and posters.