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Nanci Milton
Nanci Milton
Nanci Milton

Nanci Milton

Country: United States
Birth: 1957

Nanci Milton is a primarily self-taught photographic artist. Her experience with the camera, film and image making began at an early age with the gift f an Instamatic from her father for whom photography was his passion though not his profession. Subsequent Christmas gifts of cameras followed, as well as access to his own various cameras. She was smitten.

As the only child of artistic parents, both teachers as well, she was continually exposed to writing, image making, art viewing and inquiring into the creative process. As an only child of older parents, she also was included in many adult events, dinners, lectures, visits with artists of many arenas and backgrounds and absorbed the many layers of inspiration and process they possessed. She found it a gift to be an only child as it allowed her the access to a larger world early on and also left her to her own devices to imagine and make without the comparison or competition with a sibling. Everything was available and potent.

The ''legacy'' of artists can be heavy though, and even as she continued to make images and write, she struggled to find a form that was her own. That form led to a detour into the performing arts, modern dance and theater which were her university studies. Ultimately, these fell short of what she had been immured in all her life, and the turn back o the photographic arts and writing was undeniable. The detour however undeniably informs her work with a sense of narrative and staging, in addition to a conceptual approach that pushes the images beyond the static.

In a world that is in such flux, Milton is attracted to empty, vacated or in some way, disrupted spaces and how our intimately personal or common and archetypal experience layer on and stain that space, be it exterior or interior; she finds a landscape of both body and mind to reveal. There is redemption in that effort and the rescuing of the lost, and in both the symmetry and the chaos found there. Methodology and materials are less important and she utilizes any and all that will support the idea.

Milton has been included in domestic and international exhibits at Praxis gallery, LA Noble Gallery, A Smith Gallery, The 9th Annual Koblenzanalog portfolio and exhibit, and was an Honorable Mention in the Fine Art category for the 17th Julia Margaret Cameron Awards.
 

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Laura Pannack
United Kingdom
1985
Laura Pannack is a London-based, award-winning photographer. Renowned for her recognizable portraiture and social documentary artwork, she often seeks to explore the complex relationship between subject and photographer. Her work heavily focuses on the youth. She was educated at the University of Brighton, Central Saint Martins College of Art and LCP. Pannack's work has been extensively exhibited throughout the UK and abroad, including at The National Portrait Gallery, Somerset House, the Royal Festival Hall and the Houses of Parliament. Driven by research-led, self-initiated projects, Pannack seeks to fully understand the lives of those she captures on film in order to portray them as truthfully as possible. Perceiving “time, trust and understanding” to be the key elements to achieving this, many of her projects develop over several years, helping her achieve a genuine connection between herself and her sitter and allowing her to capture the intimacy, shared ideas and shared experiences of this relationship. Pannack chooses to shoot with analogue film on her personal projects. By using traditional methods of working from negatives, as well as shooting with Polaroid, she finds beauty in the mistakes that come from working with unpredictable material. Her artwork has received much acclaim and won numerous awards, among which are the John Kobal Award , Vic Odden prize,World Photo Press Awards and the HSBC Prix de la Photographie prize In addition to her own practice, Pannack lectures, critiques and teaches at universities, workshops and festivals around the world, and in 2015, judged the portrait category in World Photo Press Awards in Amsterdam. Pannack has also been widely published, both commercially and as a photographic artist, with work appearing in The British Journal of Photography, Hotshoe International, TIME, The Guardian Weekend, The Telegraph, The Sunday Times, Creative Review. Her monograph 'Against the dying of the light' was published by Acts de Suds in 2016 and YOUTH Vol 1 was released in 2018 by Polite company
Miles Aldridge
United KIngdom
1964
Miles Aldridge rose to prominence in the mid-nineties with his arresting, highly stylised photographs with references to film noir, art history and pop culture. An acclaimed colourist, he renders elaborate mise-en-scènes in a palette of vibrant acidic hues. These glamorous, frequently eroticised images probe society's idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface. Aldridge has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. His creative output encompasses large-scale c-type prints, Polaroids, screenprints, photogravures and drawings. Born in London in 1964, the son of famed art director and illustrator Alan Aldridge, his interest in photography began at an early age when he was given a Nikon F camera by his father. He went on to study graphic design at Central Saint Martins, graduating with a BA in 1987. 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Morris Engel
United States
1918 | † 2005
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He completed two feature-length documentaries: A Little Bit Pregnant in 1994 and Camellia in 1998, each revolving around a different child in the Hartman family. First, in A Little Bit Pregnant Engel focused on the 8-year-old Leon's reactions, anxiety and wonderment to the impending birth of his baby sister Camellia. For the second film, two years later, Engel returned to the same family, who gave him a year of access to the now 2-year-old daughter Camellia, capturing her daily life and routines, and her relationships with her family and others. Both films were shown in private screenings, but never had a public release due likely to the Hartman family presumably holding the rights. Engel died of cancer in 2005.Source: Wikipedia Morris Engel was born in Brooklyn to immigrant parents from Lithuania. An early interest in photography led him to enroll in a class at New York’s Photo League, a group dedicated to raising social consciousness through modern photography. Some of the most influential photographers of the time were associated with the Photo League; Engel worked closely with Aaron Siskind on the project Harlem Document from 1936-40 and later assisted Paul Strand in filming Native Land. Like many Photo League photographers, Engel documented life in New York City, producing and exhibiting photo essays on Coney Island, the Lower East Side and Harlem. In 1939 he had his first exhibition at New York’s New School. In 1940 he joined the staff of the newspaper PM, but he left the publication one year later to sign on with the U.S. Navy as a member of a combat photo unit. He participated in the D-Day invasion of Normandy. In 1951 Engel momentarily quit still photography to pursue a career in filmmaking. He made a series of low-budget films with a custom 35 mm camera. His first feature film, Little Fugitive (made with his wife, the renowned photographer Ruth Orkin), earned an Academy Award nomination in 1953 for Best Original Screenplay and was screened in more than 5,000 theaters across the United States. Engel’s photographs are widely exhibited and found in the collections of the International Center of Photography (New York), the Museum of the City of New York, the Museum of Modern Art (New York) and the National Portrait Gallery (Washington, D.C.). His films continue to be screened at venues such as the Whitney Museum of Art (New York), the Brooklyn Museum and the American Museum of the Moving Image (New York).Source: American Photography Archives Group
Kevin Kinner
United States
1953
I realized that the term ''emerging photographer'' applies to where I am at this stage. As a young man perhaps better to say teenager, I had the opportunity to work at Hiro Studios here in New York City as a summer intern. It was there that I learned my way around the dark room and was able to experience the glamor and excitement of a shoot. However, during l my free time I took to the streets with my Pentax. Walking through Central Park photographing people, their surroundings, anything that caught my eye. Little did I know at the time that what I was practicing was street photography. Later on my professional career was advertising production. Particularly print production. Although not photography, I worked in tandem with photographers and retouchers to create the best final images that were to appear on the page. When digital phased out print, I decided to get back to my true passion....photography. Here I am again on the streets of New York City. Enjoying the independence, the discovery and the people. Hopefully continuing to “emerge” as a photographer. Recently, I have shown at the Treviso Photography Festival, as well as the ArtBoxy exhibit in Soho. I received a Single Image Award in Black & White magazine’s special 2022 issue. I was an integral part and exhibitor with Art on the Ave NYC. An initiative conceived to display art and photography in the vast amount of vacant store fronts. Street facing windows on The Upper West Side of Manhattan, Greenwich Village and Downtown Manhattan were transformed into galleries that rejuvenated their respective neighborhoods.
Lisette Model
Austria/United States
1901 | † 1983
Lisette Model was an Austrian-born American photographer. She began her creative life as a student of music. Through avant-garde composer Arnold Schönberg, with whom she studied piano, she became exposed to the Expressionist painters of early twentieth-century Vienna. She never formally studied photography but took it up in the 1930s while living in Paris. An early piece of advice received from a colleague "Never photograph anything you are not passionately interested in", became her motto. Model's images can be categorized as "street photography," a style which developed after the invention of the hand-held camera, which made quick, candid shots possible. Through her own complicated personal history, she found intensely empathetic connections with her disparate subjects. Model eventually settled in New York, where she met with quick success as a commercial photographer for Harper's Bazaar magazine and as an artist with her work exhibited at the Museum of Modern Art. For thirty years she taught photography in New York, where she instructed and befriended Diane Arbus.Source: J.Paul Getty Museum Lisette Model was born Elise Amelie Felicie Stern in the family home in the 8th district of Vienna, Austria-Hungary. Her father, Victor, was an Italian/Austrian doctor of Jewish descent attached to the Austro-Hungarian Imperial and Royal Army and, later, to the International Red Cross; her mother Felicie was French and Catholic, and Model was baptized into her mother's faith. She had a brother, Salvatór, who was older by one year. Due to growing anti-Semitism in Austria and her father's struggle with his Jewish-Austrian identity, he had their last name changed to Seybert in February 1903, and six years later, her younger sister Olga was born. According to interview testimony from her older brother, she was sexually molested by her father, though the full extent of his abuse remains unclear. She had a bourgeois upbringing, was primarily educated by a series of private tutors, achieving fluency in Italian, German, and French. Her private education even when the family suffered financial strain after WWI. Despite her privileged upbringing, she frequently recalled her childhood as difficult. At age 19, she began studying music with composer (and father of her childhood friend Gertrude Arnold Schönberg, and was familiar to members of his circle. "If ever in my life I had one teacher and one great influence, it was Schönberg", she said. There is little known about her art education, but her connection with Schönberg exposed her to the contemporary art scene and leading avant-garde artists such as Gustav Klimt. Early exposure to Expressionism was what perhaps influenced her interest in observing people, and subsequently, photography. Model left Vienna with Olga and Felicie for Paris after her father died of cancer in 1924 to study voice with Polish soprano Marya Freund in 1926. Felicie and Olga moved on to Nice, but Lisette stayed in Paris, the new cultural hub after WWI, to continue studying music. It was during this period that she met her future husband, the Jewish, Russian-born painter Evsa Model (1901-1976), whom she went on to marry in September 1937. In 1933, she gave up music and recommitted herself to studying visual art, at first taking up painting as a student of Andre Lhote (whose other students included Henri Cartier-Bresson and George Hoyningen-Huene). From 1926 to 1933 she underwent psychoanalysis for childhood trauma, but little is known about what exact issues to she went for other than that it is believed she was molested by her father in her childhood. These years were referred to as her lonely period, as she frequented cafés alone and struggled to immerse herself into a radically different social group than the bourgeoisie class she had grown up surrounded by. Model bought her first enlarger and camera when she went to Italy. She had little training or interest in photography initially; it was Olga who taught her the basics of photographic technique. Model was most interested in the darkroom process, and wanted to become a darkroom technician. She used her sister as a subject to start her photography. Model claimed that "I just picked up a camera without any kind of ambition to be good or bad", but her friends from Vienna and Paris would go on to say that she had high standards for herself and a strong desire to excel at whatever she did. She also stated that the only lesson she ever got in photography, other than from her sister, was from Rogi André, who told her "Never photograph anything you are not passionately interested in", a quote she would rework later and become well-known for in her teaching career: "Shoot from the gut". André showed Model how to use the Rolleiflex, expanding her practice. Her decision to become a professional photographer came from a conversation in late 1933 or early 1934 with a fellow Viennese émigré and former student of Schönberg, Hanns Eisler (who had previously fled Germany once Hitler came into power). He warned her about the need to survive during a time of high political tension, pushing her to earn a living by photographing. Visiting her mother in Nice in 1934, Model took her camera out on the Promenade des Anglais and made a series of portraits - published in 1935 in the leftist magazine Regards - which are still among her most widely reproduced and exhibited images. These close-cropped, often clandestine portraits of the local privileged class already bore what would become her signature style: close-up, unsentimental and unretouched expositions of vanity, insecurity and loneliness. Model's compositions and closeness to her subjects were achieved by enlarging and cropping her negatives in the darkroom. Additionally, her use of a 2+1⁄4 inch square negative and larger print size were stylistic choices considered unique at a time when a proliferation of street photographers were embracing what was called the minicam. Later examination of her negatives by archivists reveals that the uncropped images include much of the subjects' physical surroundings. Model's edits in the darkroom eliminate those distractions, tightening the focus on the person and excluding extraneous background information. After the publication of the Promenade des Anglais images, or the Riviera series, Model resumed her Paris street photography practice, this time focusing on the poor. Neither Evsa nor Lisette was in possession of French citizenship, and they were well aware of building political tension in Europe, so they emigrated to Manhattan in 1938. Their first home was the Art Deco Master Apartments, but it soon became too expensive and they moved several times in their first few years in New York. The couple, especially Evsa, were known to be very social, frequenting cafés, and especially places with performers that Lisette liked to photograph. Model claimed that she did not take any photographs in the first 18 months she lived in New York, but an envelope dated 1939 contained many negatives of Battery Park, Wall Street, Delancey Street, and the Lower East Side depicting ordinary American people. She quickly became a prominent photographer, and by 1941, she had published her work in Cue, PM's Weekly, and U.S. Camera. She was captivated by the energy of New York City, which she expressed through her separate series Reflections and Running Legs. Interested in American consumerism and a culture very different from her own, Model began photographing Reflections, a series that explored manufactured images, and products or consumers in window reflections. She was recognized for her radical deviation from traditional viewpoint, and preoccupation with notions of glamour and anti-glamour. This series along with her work Running Legs attracted the attention of editors Carmel Snow and Alexey Brodovitch from Harper's Bazaar, a magazine she went on to work for from 1941 through 1955. One of her first assignments was to photograph Coney Island, in which she took some of her most recognized works such as Coney Island Bather". Her vision was of great interest to the editors at Harper's Bazaar, but by the 1950s, her involvement decreased dramatically, and she only published two assignments: A Note on Blindness and Pagan Rome. In 1944, she and Evsa became naturalized U.S citizens. Letters dated that same year revealed Model's family was financially struggling in Europe, and that her mother had died of cancer on October 21. Model eventually became a prominent member of the New York Photo League and studied with Sid Grossman. Despite the League's effort to maintain that it was a cultural, photographic organization, political pressure led to the League's demise in 1951. During its existence, Model was an active League member and served as a judge in membership print competitions. In 1941, the League hosted her first solo exhibition. From 1941 to 1953, she was a freelance photographer and contributed to many publications including Harper's Bazaar, Look, and Ladies' Home Journal. Model's involvement with the New York Photo League became the cause of much strife for her during the McCarthy Era of the 1950s, when the organization came under scrutiny by the House Un-American Activities Committee for suspected connections to the Communist Party. Though the League was not officially a political organization, many of its members used photography as a means for social awareness and change, but Model did not identify herself as a political or documentary photographer. The League was eventually classified as a communist organization by the FBI, who interviewed Model personally in 1954 and attempted to recruit her as an informant. She refused to cooperate with the Bureau, leading to her name being placed on the National Security Watchlist. Because many clients were reluctant to hire somebody who was under FBI suspicion, Model encountered increased difficulty finding opportunities to work, which played a role in her focus shift towards teaching. In 1949, she taught photography at the San Francisco Institute of Fine Arts. She left for California to teach in part for economic reasons and due to her friendship with Ansel Adams, who extended an informal invitation to a teaching position. She stayed from August until at least November of that year as a "Special instructor in documentary photography" in the Department of Photography. She did not produce much of her own work at that time, possibly because of her failure to receive the Guggenheim Fellowship the previous year. In spring 1951, Model was invited to teach at the New School for Social Research in New York City, where her longtime friend Berenice Abbott was also teaching photography. The New School had a liberal, humanistic approach to education and a high number of European refugees on staff. Known for her straightforward way of addressing her students, and unorthodox teaching style, Model realized she had a talent for teaching. Her teaching notebooks make frequent references to using children's art as example to show that art was an exploration of the world, and not a replication of what was already in place. She strongly focused on challenging her students to strive for the subjective experience and the utmost creativity, sometimes inspiring students, but alienating others. She did not tolerate lukewarm effort, and was ruthlessly critical of students' work that lacked passion. She also offered private workshops with Evsa from their apartment. Model's best known pupil was Diane Arbus, who studied under her in 1957, and Arbus owed much of her early technique to Model. Arbus's husband Allan was quoted attributing her development as an artist to Model: "That was Lisette. Three sessions and Diane was a photographer." Larry Fink, Helen Gee, John Gossage, Charles Pratt, Eva Rubinstein and Rosalind Solomon were also students of Model's. For twenty years she taught the program with little variation and routinely followed the same principles. She continued to teach in New York after the passing of her husband Evsa in 1976, both at the New School and at the International Center of Photography. In 1981 she was awarded an honorary Doctorate of Fine Arts by the New School. In 1964, Model once again applied for the Guggenheim Fellowship, and in 1965 she was awarded the fellowship of $5,000 for a period of one year. In 1966 she went to Los Angeles and Las Vegas, with the intention to photograph anti-glamour of American culture. She also went to photograph in Italy, but due to ill health she returned to New York earlier than anticipated, and was diagnosed and successfully treated for uterine cancer. In the 1970s, Model developed rheumatism in her hands, but continued to diligently teach and photograph. The first book of Model's photographs was published in 1979 by Aperture and included a preface by Berenice Abbott. Marvin Israel designed the book. Fifty-two photographs made from 1937 to 1970 were reproduced at a large enough scale to correspond with her preferred dimension of 16 × 20 inches. In early 1970 she applied to the Ingram Merrill Foundation and was awarded $2,500, and in March 1973 she received a Creative Artists Public Service Program award for $2,500. In the later half of her career, Model's work underwent a steep drop in print production. She hadn't stopped shooting photographs; she had simply stopped printing them. Much like some of the hazier details of her biography, the reason for this change has not been conclusively identified. Speculation points toward declining health and self-efficacy, increased energy directed towards teaching, and precarious financial situation as some of the primary causes. Nevertheless, Model continued to shoot and teach until her death. She was especially inspired to photograph when away from home, such as her photographs of students in Berkeley in 1973, Lucerne in 1977, Venice in 1979, and so on. She even returned to Nice, France, for the first time in nearly thirty years. However, she did not find the same inspiration there that she once had when photographing her first influential series Promenade des Anglais. Model's image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson. In January 1976, Evsa suffered a heart attack, which required that he be constantly taken care of and monitored. His health continued to decline until his death later that same year. His death deeply affected Lisette, who continued to live in their basement apartment they had shared for many years. Even in her twilight hours, her work was exhibited in Germany, Japan, and the Netherlands, to name a few, and in 1982 she received the Medal of the City of Paris. On March 4, she gave her last lecture at Haverford college, and she died at New York Hospital on March 30, 1983 from heart and respiratory disease.Source: Wikipedia
John Dominis
United States
1921 | † 2013
John Dominis was an American documentary photographer, war photographer and photojournalist. Dominis was born 1921 in Los Angeles. He studied cinematography at the University of Southern California. In 1943 he enlisted in the United States Army Air Forces. After the war, he worked as a freelance photographer for several publications, such as Life magazine. In 1950 he went to Korea as a war photographer in the Korean War. Later he worked in Southeast Asia, in America, Africa and Europe, including President John F. Kennedy's 1963 West Berlin speech. Dominis went to six Olympic Games. One of his best-known pictures was shot during the 1968 Summer Olympics when Dominis pictured Tommie Smith and John Carlos during their Black Power salute. Dominis worked for Life magazine during the Vietnam war and later also went to Woodstock. In the 1970s he worked for People magazine. From 1978 to 1982 he was an editor for Sports Illustrated. He often pictured stars like Steve McQueen or Frank Sinatra, and these photo series were later published as illustrated books. Together with Giuliano Bugialli he published several books about Italian cuisine, with Dominis being responsible for the food photography. In John Loengard's book LIFE Photographers: What They Saw, Dominis reported about the staging of his picture A leopard about to kill a baboon. The picture was shot in 1966 in Botswana when a hunter had brought a captured leopard to a bunch of baboons. Most fled immediately but one faced the leopard and was killed subsequently. Dominis was heavily criticized after the staging became public and apologized for it. He mentioned that during the 1960s the staging of pictures was very popular and he wouldn't use this method today. Dominis died on December 30, 2013, in New York City of complications from a heart attack. He was 92.Source: Wikipedia After an Air Force tour in Japan, John Dominis wanted to remain in that country and work. Freelance work was illegal there in 1946, but his photographer colleagues helped him stay and get his start. He would return many times to Asia to cover wars. Back home, he shot sports (he had played end for USC in the 1944 Rose Bowl), politics, celebrities, even food. He spent three months trailing Sinatra to witness him in his element, among swank and boozy stars. That experience of tracking a subject helped the stalwart Dominis on his famous The Great Cats of Africa. The series won him an award even as he was still in the bush—and even though he orchestrated his famous baboon-leopard encounter (the feline was a rental dropped in among the simians)—Dominis had never suggested otherwise. “Frankly, it was set up,” he said. “In those days we were not against setting up some pictures that were impossible to get any other way.” On the occasion of Sinatra’s soth birthday, Dominis went to Florida, where he was performing. Dominis ended up spending three months with him, resulting in an unrivaled set of images of the entertainer. “Steve McQueen was really a nice guy, but he’s another of the ones who didn’t really want to have even one picture taken, even though he’d agreed to the story… I had done quite a lot of sports-car racing when I lived in Hong Kong, so for fun I rented a Jaguar. I knew he had a Jaguar, and I thought it would help a little bit… He drove my car and I drove his. I started shooting a few pictures. I didn’t hang around him a long time, maybe three weeks, and finally, he relaxed.”Source: Life
Maja Strgar Kurecic
Maja Strgar Kurecic is a fine art photographer and an Associate Professor of photography at the Faculty of Graphic Arts, University of Zagreb, Croatia. She has been involved in photography for over 25 years. At the beginning of her career, Maja engaged mostly in advertising and journalistic projects. The last few years she devoted to projects that fall within the field of abstract photography. She earned international recognition for her recent projects: Other Worlds, Escape Landscapes and Floating Garden that won many international awards. She exhibited photographs on over 50 group and 20 independent exhibitions, held in country and abroad. OTHER WORLDS (2018) In the intimacy of my room, I immerse myself in an unpredictable, hidden world of colors and liquids. I create abstract motives from scratch. With the camera, I approach the subject and stop the moment of the dynamic process of their interaction. What is elusive to the eye in real time becomes visible in photographs... Although these photographs look like an abstract expression of colors and shapes, for me they mean much more. They represent symbolic landscapes - places where I escape from everyday worries and the real world, symbolize my inner world. What drives me in creation is the eternal search for wider horizons, unfettered spaces that transcend the boundaries of where we are physically standing and transcend into the infinite space of the imagination. For me, creation is a journey to freedom, to an open flow of pure ideas.
Dorothea Lange
United States
1895 | † 1965
Dorothea Lange was an American documentary photographer, who studied photography at Columbia University and worked as an assistant to Arnold Genthe before beginning a photographic trip around the world in 1918. When she ran out of funds in San Francisco, she remained, opened a photographic studio, and during the early 1930s began photographing homeless rural people flooding into the city from the Dust Bowl exodus. Her photographs brought her to the attention of Paul Taylor, an economist at California University, who hired her to create a documentary record to accompany his report on agricultural conditions for the California State Relief Administration, and subsequently married her. When Roy Stryker saw these images, he hired her as a staff photographer for the Farm Security Administration (FSA), for which she worked sporadically as Stryker's budget allowed 1935-9. During this period, she made many of her best-known photographs, including the image known as Migrant Mother (1936). She later also photographed for the San Francisco branch of the Office of War Information, 1943-5, recording the internment of Japanese-Americans and the founding of the United Nations. In 1954-5 she was a photographer for Life magazine, afterward travelling extensively and producing photographic essays on Ireland, Egypt, and Asia.Source: The Oxford Companion to the Photograph In 1945, Ansel Adams invited Lange to teach at the first fine art photography department at the California School of Fine Arts (CSFA), now known as San Francisco Art Institute (SFAI). Imogen Cunningham and Minor White also joined the faculty. In 1952, Lange co-founded the photography magazine Aperture. In the mid-1950s, Life magazine commissioned Lange and Pirkle Jones to shoot a documentary about the death of the town of Monticello, California, and the subsequent displacement of its residents by the damming of Putah Creek to form Lake Berryessa. After Life decided not run the piece, Lange devoted an entire issue of Aperture to the work. The collection was shown at the Art Institute of Chicago in 1960. Another series for Life, begun in 1954 and featuring the attorney Martin Pulich, grew out of Lange's interest in how poor people were defended in the court system, which by one account, grew out of personal experience associated with her brother's arrest and trial. Lange's health declined in the last decade of her life. Among other ailments she suffered from was what later was identified as post-polio syndrome. She died of esophageal cancer on October 11, 1965, in San Francisco, at age seventy. She was survived by her second husband, Paul Taylor, two children, three stepchildren, and numerous grandchildren and great-grandchildren. Three months after her death, the Museum of Modern Art in New York City mounted a retrospective of her work that Lange had helped to curate. It was MoMA's first retrospective solo exhibition of the works of a female photographer. In February 2020, MoMA exhibited her work again, with the title Dorothea Lange: Words and Pictures, prompting critic Jackson Arn to write that "the first thing" this exhibition "needs to do—and does quite well—is free her from the history textbooks where she’s long been jailed." Contrasting her work with that of other twentieth-century photographers such as Eugène Atget and André Kertész whose images "were in some sense context-proof, Lange’s images tend to cry out for further information. Their aesthetic power is obviously bound up in the historical importance of their subjects, and usually that historical importance has had to be communicated through words." That characteristic has caused "art purists" and "political purists" alike to criticize Lange's work, which Arn argues is unfair: "The relationship between image and story," Arn notes, was often altered by Lange's employers as well as by government forces when her work did not suit their commercial purposes or undermined their political purposes. In his review of this exhibition, critic Brian Wallis also stressed the distortions in the "afterlife of photographs" that often went contrary to Lange's intentions. Finally, Jackson Arn situates Lange's work alongside other Depression-era artists such as Pearl Buck, Margaret Mitchell, Thornton Wilder, John Steinbeck, Frank Capra, Thomas Hart Benton, and Grant Wood in terms of their role creating a sense of the national "We". In 2003, Lange was inducted into the National Women's Hall of Fame. In 2006, an elementary school was named in her honor in Nipomo, California, near the site where she had photographed Migrant Mother. In 2008, she was inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. Her son, Daniel Dixon, accepted the honor in her place. In October 2018, Lange's hometown of Hoboken, New Jersey honored her with a mural depicting Lange and two other prominent women from Hoboken's history, Maria Pepe and Dorothy McNeil. In 2019, Rafael Blanco (artist) painted a mural of Lange outside of a photography building in Roseville, California.
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