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. 

Article
Culture
Generosity
Virtues
6 min read

We need to rescue volunteering

Our use of the word now reflects unwanted obligations, rather than a deep desire to serve.

Juila is a writer and social justice advocate. 

Two small lifeboats raft together on a river rescue.
Lifeboats on the River Thames.
x.com/rnli_teddington

It’s a hot summer evening and there are 30 of us sweating in our dry suits. Tuesdays usually mean lifeboat training, but this night is a little different. An intermission from the usual intensity of a team-building exercise: racing two lifeboats across the river Thames. Allocated into teams of two rowing in a knockout tournament, we are going to be here for a while. Our cheers provide the soundtrack for the BBC radio crew recording a programme on volunteering. The mood is convivial; the competition is fierce. None of us have to be here; all of us choose to be. We are a lifeboat crew, and we are all volunteers.  

Around 25 million people in the UK do some form of volunteering. And they are celebrated during Volunteers’ Week, which has been running for 41 years. The benefits are well documented these days. The mental and physical health boost. A sense of purpose. The chance to learn new skills. A route to forging connections with other people. 

Despite this, though, the number of people volunteering has been on a twenty-year decline. One in three organisations are struggling to retain volunteers, in part due to the cost-of-living crisis making people’s time and capacity more precious than ever.  

Beyond that, our use of the word seems to have shifted to reflect unwanted obligations, rather than a deeply held desire to serve. ‘I suppose I better volunteer to put out the chairs’ we might pronounce with the deathly weight of Katniss Everdeen’s ‘I volunteer as tribute,’ glancing to the left and the right in case anyone saves us from the undesirable task. It seems the very idea of volunteering needs rescue.  

It wasn’t on my radar to be lifeboat crew, but an unexpected new job in an unfamiliar London suburb unlocked this possibility. When I considered ‘Why wouldn’t I?’, I couldn’t find a strong reason. So, one autumn evening I trekked down for my first Tuesday night at Teddington lifeboat station. It was time to fill in the paperwork: I was officially a volunteer. 

Over the months that followed, I found myself wondering why other people gave their time, energy and skills to complete the nearly 50 training modules and to be available 24/7 when someone on the water was in need. I hungered for people’s stories, to know why they kept answering the call when their beds were warm and the night was unknown. So, over the four years that I was on the crew, I asked them. I spoke with teachers and students, company directors and full-time parents. I heard stories of multiple generations on a crew, their family’s blood running orange and blue. One woman spoke of overcoming her fear of heights to scale the side of a boat; another had an unexpected tale of a dolphin attack. Each time, I had the same question: why do you do it? 

And I was struck by the fact that none of them gave an answer that fully added up. They could name parts of it: care for people, teamwork, a love of the sea. Sometimes of the reasons they started (‘Dad did it’) were not why they stayed on (‘I could make a palpable difference’). I didn’t meet anyone who didn’t enjoy being on the water. Play and peril can co-exist – and we need to have moments of joy along the way if we’re going to be in it for the long haul. But in each case, the answers always seemed to come up a little short. If I was looking for something neat and complete, I wasn’t finding it.  

This is, perhaps, the difference between volunteering and having a hobby. At some point, volunteering will cost you something. 

Back on the river, the knockout races are suddenly interrupted. A call from the coastguard: there’s a person in difficulty in the river. The mood switch is instantaneous; the action swings from contesting to collaborating to get a boat headed upstream as fast as possible. Somewhere, someone is having a very bad day. This is what we exist for.  

The RNLI was born out of a need. In the early nineteenth century, nearly 2,000 ships – and their crews – were being wrecked on British and Irish coasts every year. Sir William Hillary saw this loss firsthand from his home on the Isle of Man, joining with others to rescue as many as possible – but it wasn’t enough. People continued to perish. So, he rallied other activists and philanthropists, and in a London pub, the charity now called the Royal National Lifeboat Institution was formed. Hillary’s motto, 'with courage, nothing is impossible’, can still be found adorning lifeboat stations around the country. 

None of the lifeboat crew members that I met seemed to think of themselves as anything but ordinary. They were full of admiration in the stories of fellow crew mates, but saw themselves as entirely human, naming everyday needs and familiar comforts. Writing about courage, Andrew Davison recognised that, 

 ‘The willingness of a courageous person to forgo ease, safety, the comforts of home, and even to risk life and limb, does not spring from hatred of any of those things’.  

This is, perhaps, the difference between volunteering and having a hobby (also commendable for its health benefits, sense of purpose, opportunities for connection). At some point, volunteering will cost you something. That sacrifice is needed demonstrates the level of care; otherwise, it’s simply another act of self-actualisation in the service of the volunteer themselves. 

It’s dark on the river and the boat crew is still out. The BBC’s team has packed up for the evening. We have tidied the station, no evidence of the antics of hours earlier. We depart. Close to midnight, those of us who can, return. We bring the boat in from the water, and make it ready for the next call, which will inevitably come. One less job for those who’ve been on duty all evening. It’s the least we can do.  

In the origins of the term is a spirit of offering. The Latin voluntaries carries a sense of ‘to give of one’s free will’. This, perhaps, is where we’ve lost our way with the whole idea. For there to be a sense of duress in volunteering is to strip the generous act of its power. Where there is obligation on one side and self-interest on the other, we can find the middle ground marked by devotion, by having chosen to serve and therefore having the commitment to see it through. This is the invitation that volunteering can offer us, and that I glimpsed from people who had been volunteering on the lifeboats for decades.   

Writing to the sea-faring city of Ephesus in ancient Greece, the church leader Paul encouraged people to ‘submit to one another’, which is another way of saying sacrificially help each other. In smaller coastal communities, a lifeboat crew might be called out to save a family member. In London, a city of millions, it will always be a stranger. But either way the decision was the same: to show up. The reasons why we do it don’t always add up. There are flavours of compassion, of wanting to be useful, to be part of something bigger. But there seems to be something else as well. A dedication to meeting a need. Put another way, we might call it love. 

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