Review
Art
Attention
Culture
5 min read

The very image of kindness

Photography risks cruelty in search of sensation. Andrew Davison contrasts such works with Dorothea Lange’s compassionate gaze.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A black and white close up of a mothers cradling her jaw in worry as children cuddle into her.
'Migrant Mother', Lange's best known image.
Public Domain, The J. Paul Getty Museum, Los Angeles.

Do you like your photography cruel or kind? I’m generally an enthusiast for kindness – an unsung virtue – but I was mesmerised by a 2019 show of photography by Diane Arbus (1923–71) at the Heyward Gallery, London, and she’s the cruellest of the lot. Her photographs are a study in the awkward, the disturbing, and the unusual: a pair of brothers with extraordinarily large ears, a child with a grimace and a toy hand grenade, a boy from a pro-war parade, wearing with straw boater and “Bomb Hanoi” badge. 

Arbus’s photographs have an undeniable charge. They hold your view. I’m glad, however, that I stand in front of her prints, not in front of her lens. She was not out to show you at your best. Here is Germaine Greer, describing a photoshoot with Arbus in the Chelsea Hotel in Manhattan. 

'Clutching the camera she climbed on to the bed and straddled me, moving up until she was kneeling with a knee on both sides of my chest. She held the Rolleiflex at waist height with the lens right in my face. She bent her head to look through the viewfinder on top of the camera, and waited… as soon as I exhibited any signs of distress, she would have her picture… Nothing would happen for minutes on end, until I sighed, or frowned, and then the flash would pop. After an eternity she climbed off me, put the camera back in her bag and buggered off. A few weeks later she took an overdose of barbiturates and slit her wrists.' 

Reviewing the Aperture monograph that would secure Arbus’s fame, Susan Sontag described her work as ‘a hymn to the isolation and atomization of the individual’. I am not sure that’s entirely fair. There was undeniable cruelty to Arbus. “You see someone on the street,” she wrote, “and essentially what you notice about them is the flaw.” Perhaps all photography risks cruelty, depicting us warts and all (at least before the advent of the Instagram filter, although I’m inclined to call Instagram filters the worst indignity of all). Yet, even in Arbus, just in portraying the human as human, compassion lurks at least just round the corner. 

But sometimes compassion is nearer at hand, even centre stage. For that, I turn to Dorothea Lange (1895–1965), and to a recently-opened show of her work at the National Gallery of Art in Washington, DC, entitled Seeing People. It holds Lange before us as the archetype of compassionate photography.  

Lange could not have produced the photographs she did, however compassionate she might have been, without time, care, and attention. 

Lange trained as a portrait photographer, establishing a successful studio in San Francisco in the 1920s. Her approach to photography as a humane act developed during her work documenting rural poverty in the decade that followed. With it, she drew public attention to the effects of the Great Depression and the dust bowl, and helped to shift the public mood. From 1935, she did that under the auspices of what would soon become the Farm Security Administration. A photograph taken in March 1936 – “Human Erosion in California” (eventually known as “Migrant Mother”) – proved to be her career-defining shot. It shows Florence Owens, mother of ten children, photographed in the pea pickers’ camp in Nipomo, California. She and her family were in a dire situation, constantly moving to find new, transitory work.  

In the 1940s, Lange documented the suffering of Japanese Americans during the Second World War (“Japanese American-Owned Grocery Store, March 1942”), not least once Japanese Americans began to be moved into internment camps (“Grandfather and Grandson of Japanese Ancestry at a War Relocation Authority Center, July 1942”). For the rest of her career, Lange would travel to places in the United States that rarely, if ever, feature in genteel conversation, to photograph people scraping through on very little, never failing to capture a sense of their dignity. 

So, Lange was a compassionate photographer. I knew that before this show opened, and kindness is there in print after print. I was expecting that. What struck me for the first time is that Lange’s compassion was no light, easily achieved affair. She was careful, prepared, painstaking. She spent extended periods in deprived parts of her country, sometimes travelling for months at a time. She immersed herself in the life of a community, not least in its religious life, rather as an anthropologist would. She took detailed notes, and laboured over how to describe her subjects in captions and accompanying prose. 

It is too easy to say that Lange was compassionate in way in which Arbus was not: too easy, if that implies that the fruits of her compassion were easily achieved. Lange could not have produced the photographs she did, however compassionate she might have been, without time, care, and attention.  

She ‘saw people’, as the name of this exhibition reminds us. She saw people is because she took time to look. Before she clicked her shutter, she looked, she saw, she listened. 

In contrast to Lange’s deliberate intent, Arbus was a wanderer. She had a remarkable eye, and she took what she wanted. She is among the greatest of opportunist photographers. Sontag got to the heart of that, remarking that Arbus treated human beings like the “found objects” that Surrealists elevated to the status of art: 

What may seem journalistic (read “sensational”) in Arbus’s photographs places them, rather, in the main tradition of Surrealist art—with their taste for the grotesque, the proclaimed innocence with respect to their subjects, their claim that all subjects are merely objets trouvés.  

Therein lies the difference from Lange. 

The world could do with more compassion. Who would deny that? The message of the Washington exhibition, and of Lange’s work as a whole, is that compassion is not the work of a moment. Posting outrage to social media, or posting solidarity for that matter, is not going to change very much at all. It may make things worse. Lange’s lesson for this hour is that compassion requires us to take time. Her message is in her anthropological attention to people, communities, stories. She ‘saw people’, as the name of this exhibition reminds us. She saw people is because she took time to look. Before she clicked her shutter, she looked, she saw, she listened. 

  

Dorothea Lange: Seeing People runs from 5 November 2023 to 31 March 2024 in the West Building of the National Gallery of Art, Washington, DC. Entry is free. 

Review
America
Books
Culture
Politics
8 min read

James Davison Hunter: diagnosing America’s health

A great experiment is depleted, and nihilism slips into the void.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

Riot police stand guard outside a White House fence line.
The White House, June 2020.
Angela N., CC BY 2.0, via Wikimedia Commons.

It was unsettling. Disturbing. And in the months since, it has proven to be a powerful and haunting image, etched in my memory. Thinking about it now has exactly the same chilling effect. 

So, it was earlier this year. I was at the cinema with a friend, sitting comfortably and waiting for our movie to start. Our shared love of Sci-Fi had taken us there that afternoon. Not unexpectedly, up pops the reel of trailers. Fast paced, dramatic and with loads of loud music, they’re either enticingly engaging or mercifully short. 

On this occasion the climax of the reel saw America engulfed in a modern-day civil war. And the image?  

A man is pleading, ‘There’s some kind of misunderstanding here, we’re Americans, okay?’  

There’s a pause. The music stops. Silence. It’s a long pause. 

Then the camera pans to a man in military fatigues, with sunglasses and a rifle sitting ominously on his hip, cocks his head and responds: 

‘Okay … [another pause] what kind of American are you?’ 

Guns cocked, the trailer explodes back into life. 

Our movie was really good. My friend’s company, as usual, was delightfully affable. But the image that remains echoes with that question, ‘what kind of American are you?’ 

I have to confess, I love America. I studied there. I have good friends there. I gorge on American food. I watch American football with my son, every week, on a pay-per-view live stream with real US TV ad breaks (‘Go, Pack, Go!’). In my personal experience Americans are some of the kindest, most thoughtful and most generous of people.  

Maybe that’s why I’ve found the image so troubling. Not that it was some kind of fantastical dystopian depiction, but rather that it portrayed something altogether more plausible. Especially in the light of the ‘storming of the Capitol’ on January 6, 2021, the epidemic of mass shootings and the ongoing violent rhetoric on both sides of the political divide. 

How do you square the circle of America? How do kindness and generosity sit alongside gun violence? Is the country on the brink of civil war? 

Back in 1991 the University of Virginia sociologist James Davison Hunter’s book, Culture Wars: the Struggle to Define America suggested that cultural controversies would be increasingly significant in American politics. At the time not everyone agreed and some even pushed back against such an overblown prediction. Time, however, has vindicated Hunter’s reading of the runes. The ubiquity of his ‘culture wars’ epithet is the proof of his pudding. 

Hunter’s latest offering picks up the story once more. Using the present situation in America as a case study, his reflections ‘bookend’ his earlier thinking. However, Democracy and Solidarity is not an extended commentary exploring the rise of populism and the radical right, or the snowflake, woke elitism of the socialist left. Rather, it seeks to understand why the sentence that opens his preface is true: ‘Democracy in America is in crisis.’ 

Grievance and hurt issue in rage, the unchallengeable moral authority of ‘my personal experience!'

For Hunter, understanding what is going on in a culture requires diving deep into the sources it draws on. What forms it? What drives it? All too easily we focus on the observable and what we can see. The stuff that happens and the values, beliefs and institutions that comprise our common life.  

But that is to miss the deeper structures of culture that are formed by our tacit assumptions and the latent frameworks of meaning that nestle unseen and form the cultural architecture that surrounds us. The power of culture is demonstrated by how far it is taken for granted’. 

In an interview Hunter likened his approach to be the difference between weather forecasts and climate studies. Or, to put it another way, moving from ‘the politics of culture’ to ‘the culture of politics.’ 

Beginning at the beginning, Hunter goes to the origin story of the nation. Deeply influenced by the principles of the enlightenment the Founding Fathers of the United States set about their task of nation building. Proposed by John Adams, Benjamin Franklin and Thomas Jefferson in 1776, the national motto on the Great Seal of the United States, E Pluribus Unum (Out of many, one), summed up their political objective. The creation of solidarity. The glue that binds a society together. 

The genius of the Enlightenment in America was that it facilitated this solidarity. What was created was a ‘Hybrid-Enlightenment’, fusing the insights of French and British intellectuals in a context deeply influenced by the faith of religious dissenters, with the Puritans chief among them. The blending of the secular and faith insights from the Enlightenment was what provided its robust inclusivity and durability. For Hunter, this proved key because: 

“In the end, the hybrid-Enlightenment in America was a broad enough and opaque enough amalgamation to encompass substantial diversity and the tensions that diversity implied.” 

This opacity enabled different groups to see themselves in the enterprise and gave wider American society an ability to absorb a plurality of views, opinions, and traditions. A commitment to Enlightenment rationality also then provided the tools whereby differences could be ‘worked through’ in reasoned debate. Thus, the culture was a living thing, growing, evolving and developing. All the time maintaining the wider solidarity, the ‘buy-in’ from the different communities and constituencies that comprise America. 

Opacity also meant that tensions and contradictions were part and parcel of the endeavour from the start. There may have been a promise of freedom, equality and universal justice for all, yet historically these have been denied to large tracts of the American population. But still the centre held, and solidarity was maintained. As Abraham Lincoln presciently reflected in his Second Inaugural Address, given on March 4 1865, shortly before his assassination and the end of the Civil War: 

“[We] read the same Bible and pray to the same God, and each invokes His aid against the other. … [Yet] the prayers of both could not be answered—that of neither has been answered fully.” 

The problem today, as Hunter discerns it, is that the elements of the hybrid-Enlightenment are unravelling.  He sees a number of contributory causes to this escalating collapse.  

Right at the centre is an amoral, materialistic and individualistic neoliberalism which reduces everything to economics and the market. This is deeply corrosive of community and solidarity.  

Then there is the fruit of postmodern scepticism that has filtered down from the intellectuals into the general population. Truth is deconstructed, experts are distrusted and misinformation, disinformation and fake news abound. 

Widespread immigration also plays a part. It intensifies American pluralism and brings into the country those who are unfamiliar with the legacy of the hybrid-Enlightenment and for whom the national mythos of America is either strange or incomprehensible. Far from being taken for granted, their worldview does not fit. 

The growth of identity politics further complicates the unravelling. Solidarity, rather than being found in the national vision, is achieved by defining ‘us’ over and against ‘them’. It doesn’t foster cohesion, it seeds division. Grievance and hurt issue in rage, the unchallengeable moral authority of ‘my personal experience!’ As with Nietzsche, this acts as a narcotic against the hurt, an anaesthetic for the pain.  

Of course, identity politics has no room for reasoned debate and mutual resolution. All that matters is the outcome of the zero-sum game where the justice of my position is both acknowledged and acted upon, and you lose. Whether that identity falls on the political right or left, it doesn’t matter. Family, sexuality, public education, the news media, the arts, the law, electoral politics, you name the issue the game play is the same. 

Solidarity always involves drawing boundaries. Even the hybrid-Enlightenment drew the line between what was acceptable and what was unacceptable. Who was a part of us, and who was not. Without boundaries there is no identity. It is just that now, identity politics require the boundaries to be much more tightly drawn. “What kind of American are you?” 

In all of this, America’s cultural resources for ‘working through’ these issues have been seriously depleted as the hybrid-Enlightenment has unravelled. Into the void, observes Hunter, a form of cultural nihilism slips in. It is far from being all-pervasive, and he maintains that few Americans are nihilists. Yet as a cultural reality he sees it in the prevailing tendencies towards ‘epistemological failure’, ‘ethical incoherence’ and ‘existential despair’. Then, deriving from these he adds a fourth, ‘political annihilation’ and the will to obliterate everything that obstructs acquiring power by destroying enemies completely. 

Does it all seem rather depressing? 

Hunter admits that he has neither proposals nor a plan to address the crisis he so eloquently describes and accounts for. Yet he concludes: 

“… truth be told, I myself am very hopeful – not because I don’t see the seriousness of the problem and its dangerous implications, but because I believe that the times are full of real opportunity if one has the eyes to see them. Sadly, my eyesight is not very good. … [but] without real images of a better world, without myths of a completion of the past in the future, without a world ordered towards goodness, truth, and beauty … We become something like Nietzsche’s ‘last men’.” 

I’m grateful to Hunter. I think I understand my American friends, their country and their present challenges better for his insights. As for the possibility of a civil war, he thinks it’s unlikely as the ‘red and blue’ are too intermingled and economically interdependent across the country. In the meantime, political violence will continue to be a very real threat. 

As for the future he hopes for, it requires a paradigm shift to imagine and articulate a new vision of public life. It needs the cultural resources of a reconstituted humanism, drawing on the rich insights available in a genuinely pluralist society. Resources that embrace the faith wisdom of exemplars like Martin Luther King, Mohandas Ghandi and Thích Nhất Hạnh. Resources that include a retrieval of the fundamental principle of forgiveness. Without the realism to accept that none of us are perfect, we’ll never be able to live together. As the influential political theorist Hannah Arendt wrote in The Human Condition (1958): 

“Without being forgiven, released from the consequences of what we have done, our capacity to act would, as it were, be confined to one single deed from which we could never recover; we would remain the victims of its consequences forever.” 

Arendt’s insight is altogether more telling when seen in the light of her experience as a German Jew under the Nazis. And if forgiveness is too high a bar, at the very least we have to somehow learn to let things go and move on. 

Hunter is under no illusions, such a paradigm shift remains a long haul away.  

But he is hopeful.