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	The Photographers: Roy Stryker
		Stryker led the project from 1935 to 1943 and was responsible for launching the careers of photographers such as Dorothea Lange, Walker Evans and Gordon Parks, among others, and for building an unmatched photographic legacy of life in America.
		Stryker was involved in negotiating the transfer of the roughly 18,000 photographs to a proper repository.
		Stryker's photographers have taught us "that a picture could be beautiful and still possess a social conscience." Most of the men and women who worked for Roy Stryker continued their photographic careers and some, notably Berenice Abbott, Gordon Parks, Dorothea Lange and Walker Evans, would achieve great fame.
	www.clpgh.org /exhibit/photog14.html (1334 words)

	August 1998 - Library of Congress Information Bulletin
		Stryker would give his photographers quizzes and summaries on the economic and social conditions of a region before he sent them on an assignment, "so that they would be both insiders and outsiders when they got there," Ms.
		Before joining Stryker's staff in 1937, Lange prepared notebooks of her early photographs and excerpts from conversations with the migrant workers in California as part of a collaboration with her future husband, Paul Taylor, an agricultural economist at the University of California at Berkeley.
		Stryker began assigning defense-related stories to his photographers in 1940, and when the photographic unit was moved to the Office of War Information in 1942, this emphasis prevailed.
	www.loc.gov /loc/lcib/9808/fsa-osi.html (2152 words)

	The Farm Security Administration
		Stryker's duties included assembling and supervising a group of highly skilled photographers to record both the need for and success of RA/FSA programs around the country.
		Stryker grew up in a small Colorado town but once in New York discovered two passions: teaching and photography.
		Stryker and his cadre of photographers hardly worked inside a cultural vacuum.
	xroads.virginia.edu /~MA03/pricola/FSA/FSA.html (378 words)

	fsaphotos
		Stryker was to direct a vast photographic project, documenting not only the agency's activities, but American rural life.
		The scope of the documentation and its general aim were controlled and guided by Stryker, who briefed the photographers on the sociological and economic backgrounds of their assignments, and gave them encouragement and support while in the field.
		Stryker insisted that before a print could be placed in the file, it had to bear a detailed caption.
	studentweb.providence.edu /~praub/fsaphotos.htm (1487 words)

	Adult Projections of Childhood
		Like other adult viewers of his staff's work, Stryker was at least partially moved by the photographs because, in them, he glimpsed his own childhood and felt nostalgic for it.
		However, Stryker would have been too young to understand or even remember that "six hundred banks closed their doors, thousands of business firms failed, and seventy-four railroads (including the Philadelphia and Reading, the North Pacific, Erie, and the Santa Fe) went into receivership" (Schlereth 174).
		Stryker often educated his photographers on the regions to which they were assigned.
	xroads.virginia.edu /~MA03/pricola/FSA/projections.html (792 words)

	The People's America: Farm Security Administration Photographs
		FSA director Roy Stryker liked the project that resulted, but he was not able to hire Delano until Arthur Rothstein left the agency in 1940.
		Stryker wanted more production and the courtesy of being informed of where Evans was and what he was doing.
		Although Stryker called Evans his "problem child," he also "recognized the exceptional quality" of his photographs and was proud to have them in the collection.
	www.iub.edu /~iuam/exhibitions/fsa/fsaartists.html (1610 words)

	Roy Stryker - Wikipedia, the free encyclopedia
		Roy Emerson Stryker (November 5, 1893 - September 27, 1975) was an American economist, government official, and photographer.
		Tugwell and Stryker refocused the attention of the Resettlement Administration to document the problems of the heartland, and in 1935 Stryker became the head of the Historical Section (Information Division) of the RA.
		Stryker's greatest contribution to the FSA's photographic project was as a manager.
	en.wikipedia.org /wiki/Roy_Stryker (505 words)

	Roy Stryker Oral History Interview Conducted by Richard Doud for the Archives of American Art, Smithsonian Institution, ...
		Well, Roy, a lot has happened since we were together last October and I'm hoping that now we'll have a chance to clear up a lot of point that we missed then, and fill in a lot of the gaps that have come up.
		ROY STRYKER: I grew up in a home where we had the old stereoscopes, the old stereo pictures with the thing you picked up and held in your hand, with two eye pieces.
		Stryker, as soon as I get in Congress I'm going to pass a law that you folks are in charge of all the photography in the U.S." But you see it was the same, only this time there was no doubt about what I was doing.
	www.aaa.si.edu /collections/oralhistories/transcripts/stryke64.htm (15408 words)

	Roy Stryker Oral History Interview Conducted by Richard Doud for the Archives of American Art, Smithsonian Institution, ...
		ROY STRYKER: First, I think I'll have to raise a certain question about your emphasis on the word "Photography Project." During the course of the morning I gave you a copy of my job description.
		ROY STRYKER: I would never have thought about it, it never occurred to me. I lived in 1930, and I lived in '31 and '32 and'33, I lived in each of those years.
		ROY STRYKER: I think that you can just about photography anybody if you happen to have finesse, but the finesse has to be backed, as you said, by honesty, by the fairness that that guy can except from you.
	www.aaa.si.edu /collections/oralhistories/transcripts/stryke63.htm (22128 words)

	ROY E. STRYKER COLLECTIONS
		The Stryker Papers include Stryker's correspondence, personal collection of photographs from projects he supervised, and biographical and secondary materials relating to the projects and his career.
		The Highway as Habitat: A Roy Stryker Documentation, 1943-1955.
		The Roy Stryker Papers are held by the University of Louisville Photographic Archives.
	www.louisville.edu /library/ekstrom/special/stryker/stryker.html (1275 words)

	Every Picture Tells a Story
		Roy Stryker was from a rural Kansas family.
		The young Stryker was initially assigned the task of publicizing the good deeds being performed by the agency's programs and staff, thereby muting some of the criticisms being mounted against the agency by forces inside and outside the government.
		Stryker believed, however, that images were crucial to this assignment and assembled the agency's photographers into a central division.
	www.idbsu.edu /socwork/dhuff/Every_Picture.html (3911 words)

	Southpinellas: The boy next door
		Bruce Stryker said he hadn't spoken much to Hartley since she last babysat for his two boys about eight years ago.
		Stryker's father said Hartley pulled a knife, which his son wrested away and used to stab her while defending himself.
		Stryker's father said Thursday that before police questioned the two of them his son told him he killed Hartley.
	www.sptimes.com /2006/06/16/Southpinellas/The_boy_next_door.shtml (974 words)

	Photography exhibition at Carnegie Museum of Art captures Pittsburgh on the verge of Renaissance (Site not responding. Last check: 2007-11-04)
		Pittsburgh, Pennsylvania...Beginning in the summer of 1950, Roy Stryker, director of the newly established Pittsburgh Photographic Library (PPL), sent a team of photographers throughout Pittsburgh to visually document the transformation of the “Smoky City” during the enormous period of urban renewal known as the Pittsburgh Renaissance.
		Stryker brought in Richard Saunders, who moved into the city’s Hill District and photographed life in the city’s predominantly fl wards.
		Stryker resigned from the project in the fall of 1951, but the PPL continued with its photographic mission under the direction of Marshall Stanley.
	www.cmoa.org /info/npress83.asp (1061 words)

	Penn State Libraries: Introduction to the Times of Sorrow and Hope On-line Catalog
		Roy Stryker, head of the fsa-owi photographic sections, hired Paul Vanderbilt in 1943 to bring some organization to the thousands of prints.
		For instance, Chadwyck-Healey put the Roy Stryker Papers from the University of Louisville—including duplicate fsa-owi photographs in his private collection—on microfilm.
		Stryker also gave some 40,000 duplicate prints to Romana Javitz, the first head of the Picture Collection at the New York Public Library, and these are located in the Research Library's Photography Collection.
	www.libraries.psu.edu /artshumanities/drc/psupress/cohenessay.htm (1607 words)

	Picturing Texas
		He was alert to the complex relationships among the farm, the town, and the city in an increasingly urbanized society, and his project reflected this economic and cultural understanding.
		Most compelling are her images of people: these included the gaunt figure of the wife of a migrant laborer near Childress, a family wheeling their belongings along the highway near Memphis, and six former tenant farmers in Hardeman County who had been displaced by tractors.
		To Stryker's critics, this is evidence of political manipulation.
	www.humanities-interactive.org /texas/dustbowl/picturing_texas.htm (1289 words)

	The Austin Chronicle Arts: A Mutual Respect: The Photographs of Russell Lee Reveal an Exceptional Trust on Both Sides ...
		Working under the guidance of FSA Historical Section Director Roy Stryker, Lee, Walker Evans, Dorothea Lange, Carl Mydans, and Arthur Rothstein, among others, documented the desperation and subsequent recovery of America from the travails of the Great Depression and the Dust Bowl era.
		With the financial support of the government -- Lee was paid $2,600 per year with a $5 per diem -- and the help of Stryker, who circulated their work to the widest possible audience, they tweaked the conscience of the country and later provided proof that it was on the rebound.
		Stryker liked the results so much that he brought Lee onto the FSA project full time, launching the photographer on one of the most productive and significant periods of his career.
	www.austinchronicle.com /gyrobase/Issue/story?oid=oid:175290 (1890 words)

	sc_journal0406.htm
		It is an icon of the time and of the collection which was produced by a handful of documentary photographers under the direction of Stryker during the Farm Securities Administration.
		Stryker’s FSA project generated 270,000 images, sparked the careers of a handful of photographers and helped to give rise to pictures magazines such as LIFE.
		We might not appreciate it today, but the roots of contemporary photojournalism are deeply embedded in the approach of the FSA photographers, the editing and direction of the project by Stryker and the subsequent body of work that became known as the FSA photographs.
	www.digitaljournalist.org /issue0406/assign/sc_journal0406.htm (805 words)

	[No title]
		Roy Stryker (see below) recruited him to join the small group of photographers taking pictures for the Farm Security Administration.
		Although not a photographer himself, Roy Stryker was one of the most prominent figures in American documentary photography.
		Stryker gave his photographers the individual freedom to approach their subjects with an eye for beauty as well as social consciousness.
	www.ettc.net /njarts/details.cfm?ID=441 (419 words)

	Inspiring Visions: Artists' Views of the American West
		Stryker was writing a book on agriculture and asked Rothstein to take some photographs for it.
		Rothstein recalled years later, “Because he was visually oriented, Roy decided that the best way to show the accomplishments of the FSA would be visually.
		Stryker’s unforeseen but invaluable contribution to American art was to hire a number of talented photographers to join the project.
	www.cartermuseum.org /Inspiring_Visions/Rothstein/rothstein_artist.html (537 words)

	The Study of the Spanish Speaking People of Texas - Russell Lee Biography
		His first assignment for Roy Stryker was to photograph the Jersey Homesteads housing project in 1936.
		Russell Lee's photographic work continues to be associated with the documentary tradition and the work of the Farm Security Administration under the direction of Roy Stryker.
		Stryker assigned Lee to cover the Midwest and the West Coast, where he typically stayed on the road much longer than expected.
	www.cah.utexas.edu /ssspot/bio.php (592 words)

	[No title]
		Stryker organized photographers to take pictures for projects such as the Farm Security Administration.
		Another project he headed was for the Standard Oil of New Jersey Company (1943-1950); the company wanted documentation of their field operations and other aspects of the oil industry in the 1940s.
		Stryker gave his photographers the individual freedom to approach their subjects with an eye for beauty as well as social content.
	www.ettc.net /njarts/details.cfm?ID=445 (500 words)

	Newhouse B1
		Stryker, in assembling a report to Congress, wrote: "I realized how lean our file is on good Southern tenancy pictures.
		In searching for artful images of despair -- and in fulfilling Stryker's mission to "show the city people what it's like to live on the farm" -- Rothstein found Bendolph, a young fl girl looking out from a crude dwelling, next to a wooden shutter covered with a couple of sheets of newspaper.
		On the newspaper was an advertisement of a cheerful white woman holding a bountiful plate of food.
	www.newhousenews.com /archive/story1b062102.html (1503 words)

	"Long Time Coming: A Photographic Portrait of America 1935-1943" Edited by Michael Lesy
		Stryker was not a photographer, but a producer.
		Installed at the Farm Security Administration, Stryker sent dozens of photographers around the nation, then chose images that fit his vision of American life.
		Stryker placed their work in many major publications from the Saturday Review to The New York Times.
	www.post-gazette.com /books/reviews/20030202longtime0202fnp5.asp (461 words)

	Jim Curtis / U.S. News and World Report (Site not responding. Last check: 2007-11-04)
		Stryker, on the other hand, hoped simply to "introduce Americans to America." He wanted his staff of 13 photographers to be sociologists, certainly.
		The 270,000 pictures shot for the FSA were less stories than epics, chronicling the plight of starving Southern sharecroppers, migrant peapickers, and dust-blown Dakota farms.
		It was Stryker's intent not merely to capture poverty but also to show man's determination in the face of it.
	materialculture.udel.edu /news/curtis-us-news/curtis-us-news.html (656 words)

	Arthur Rothstein - Wikipedia, the free encyclopedia
		During the Depression Rothstein was invited by Roy Stryker to join the federally sponsored Farm Security Administration.
		This small group of photographers, including Esther Bubley, Marjory Collins, Mary Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, Charlotte Brooks, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the conditions of the rural poor in the United States.
		On February 18, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, "the most primitive set-up he has ever heard of.
	en.wikipedia.org /wiki/Arthur_Rothstein (635 words)

	Federal Theatre Project Collection
		Their experience with new forms and techniques, in Stryker's opinion, did "for professional photography what the WPA Theatre was doing for the stage." In the past decade over a dozen major books based on the FSA collection have been published, along with a microfiche edition of selected photographs.
		In 1942 Stryker's unit became part of the Publications Bureau of the U.S. Office of War Information (OWI), an agency which Archibald MacLeish served as an assistant director while he also was Librarian of Congress.
		In September 1943, Stryker resigned, but on the first day of 1944, the Library of Congress assumed custody of the FSA photo archive and the rest of the OWI photo file.
	lcweb2.loc.gov /ammem/fedtp/ftcole06.html (1147 words)

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