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Kaitlyn McGee Casey Riley WR 150 B3 17 April 2013 Paper 3, Draft 2 After the shock of the Great Depression, the photography of the time was often dark and depressing; however, by photographing the children of the city at play both Helen Levitt and Vivian Maier added a sense of light to such a dreary time by photographing the children of the city at play. Both of these women photographed (worked? This is kind of an awkward verb) after the end of the Great Depression while New York City was in restoration. It symbolized a time of growth for the city and this is how Maier and Levitt depicted the symbolic period of the citys growth with in their images. Instead of exposing the viewer to the destitude (spelling?) and poverty of the city at the time, these woman female photographers crafted images that showed the liveliness in the city through the imagination and creativity of children (good.). Levitt and Maier took the time to photograph the lives of many people of different cultures, races, and statuses; they presented the viewer with diversity and a new perspective on daily life in the city (good). However, their most powerful images are those of children (perhaps rephrase- depict children?). Their photographs send a message about the importance of play in the life of a child: innocent and carefree play rephrase; the innocent and carefree duty of a child is that simple. By depicting the impact of play in a childs life, both women present the viewer with the growth and life in the city (how?). Unlike Levitt who removes herself from the photograph entirely, Maier interacts with her subjects (cool). Even though both women work in different ways, their images provide the viewer with a sense of the raw street culture of the city and take the viewer
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into the minds of children in the city. The importance of children as developing and creative individuals is represented through their focus on their unique way of play. Maier and Levitt present the viewer with the childrens ability to not only adapt to the urban envi ronment but also to how they make their setting adapt to them. Through photographing children and their creative use of everyday objects and the urban setting, Levitt and Maier construct our understanding of not only the importance of play in a childs development but also the importance of a childs role in the growth of the city. Children growing up in the city lead a very different life than those in rural areas. There is a different sense of survival and a need to not only adapt to the environment but make the environment adapt to you (you basically just said this rephrase). Levitt and Maier present this to a viewer by focusing not solely on the children but how they use the city in unique ways and also make their surroundings work in their favor (good). In the city, children explore new ways to achieve their goals. Unlike adults who bustle through the quick paced city life in the city, a childs main mission is simple:; to play. Many psychological studies (cite?) have found that play is a key part in the development of a healthy child. The benefits of play are not only evident in the fact that they gain knowledge through their play. They learn to think, remember, and solve problems. Play gives children the opportunity to test their belie fs about the world, but also in the sense that they develop a sense of self, learn to interact with other children, how to make friends, and the importance of role-playing (Anderson-McNamee 3). In addition to the need for interaction with other children, Jona Anderson-McNamee, a famous developmental psychologist, focused on the essentiality of toys and tools to help build a childs future development. Within one of her essays, Anderson-McNamee states that Children also learn by playing with others. You provide the setting for your child to play with others. As your children grow, you provide
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toys, materials, and sports equipment so that they can play with others. It is important that children learn that play is important throughout life (Anderson-McNamee 1). For the children growing up in the inner city, the concept of shiny new toys was not an option for them. (good connecting back) By examining both Levitt and Maiers photography the viewer can clearly conceptualize this. Many of her their subjects make use of objects in the city that are not typically used as items of play. They improvise with what they have in order to make the best of the hand they were dealt (clich, maybe make the best of their unfortunate circumstances?). This is one aspect that makes Levitt and Maiers images so powerful. The necessity of play in a childs life is clear in both the work of Levitt and Maier and by; their depiction ofng this essential act their through photography brought light to the impoverished city. In addition to both Levitt and Maiers ability to capture children adapting to their surroundings, the power of their images is also evident in their subject matter. Unlike other the work by photographers depressing work foring under the Farmers Security Administration (FSA) and the Resettlement Administration (RA), both womens photography exemplified hope and change in the city. The photographers of these Administrations were sent out with a clipboard and asked to take photographs of people and things according to what the list said ("Photographer: Ben Shahn."). The photographs were often unnatural and constructed the way the audience viewed both city and country life during the Great Depression. The essence of many FSA and RA approved photographs is dark and eerie and there is a sense of hopelessness. Ben Shahn, a photographer who took pictures of families in the Arkansas during the
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Depression, depicted children in a much different way than Levitt and Maier. Although Shahn was working in the countryside, he was still photographing children during the same time period as Levitt and Maier. In contrast to the photography of both women, Shahns photographs envoke a sense of pity in the viewer. In this image there are two young, skinny boys siting on a dirty wooden porch; the boys themselves are also covered in dust (rephrase- you have an opportunity to be poetic here: dust covers them like the burden of the dark Depression or whatever haha) . They are wearing raggedy and worn down clothes but no shoes. The boy to on the left side of the image looks sad and his hand is restingrests on the top of his head, which makesmaking him look appear tired (or perhaps hes searching for a brighter future? He is the future! So much paradoxical potential! Sorry I have a problem haha). The boy on the right has a small, innocent smile on his face and his bright eyes grab the viewers attention (good). The camera looks as though it is positioned very close to the boys, as if Shahn was kneeling on the steps to the porch. In contrast to the images of Levitt and Maier, there is a strong sense of depression in this image (try using more active verbs, like this image radiates depression, looms depression, fosters depression, etc.). The boys are small and dirty and the viewer immediately feels something for these children. Even though all of the children Levitt and Maier photograph are in the same position as these two boys, there is still a strong element of life and happiness that catches the eye of the viewer. Unlike Shahn and other photographers of the era, Levitt and Maier present the other side of life during the Depression by using the power of naivety and creativity within children. Good. **Im adding two paragraphs in between here. They will contain background about Levitt and Maier.
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Levitts photograph Cops and Robbers NYC 1938 depicts three young African American boys seated, crouched and laying on stairs in front of a doorstep. The image is black and white and the boys are (all these passive verbs are fine for photograph descriptions, but just keep on the lookout!) located in the left portion of the frame. The boy furthest to the left is located on the second step and is crouched with his back hunched over. His body is directly facing directly at the camera but his head is turned to the right of the frame as though he is looking at something that the viewer cannot see. The boy is wearing a hat that covers his eyes from the viewer, and a dark black jacket with tattered capris pants and worn out shoes. Both his arms are down to his side bput they are not touching his body. In his right hand, he holds a toy revolver. The next little boy is located on the fifth and highest step, with and behind him is the a dark large two-door entrance behind him. He is to the left of the first boy and is seated on the step. He is leaning to the left on the doorframe. He is also wearing a hat, but unlike the first boy, we can see some of his curly black hair and his eyes; the boys eyes are very intense and white which contrasts his dark skin. He is looking at the crouched boy with a look that looks appears to be like a mix of fascination and confusion. The boys left hand is over his mouth which makes him look very young and nervous. In a way (in what way? What makes you interpret it this way?), it looks like he is biting his finger nails out of fear. His legs are tucked against his chest and are also are being supported byreceive additional support from the doorframe. He is dressed very similarly to the first boy; he is wearing a dark black coat and dirty
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pants. The third boy is directly in front of the leaning boy and to the right of the frame of the crouched boy; he is laying on the step and peaking around the corner of a cement wall. The white cement wall acts as a divider within the image (good); it encloses (word choice?) the three boys into the doorstep. The wall connects to tall black steel fence that travels from the white wall and continues off of the frame to the right. The laying boys right leg is on the third step and his left leg is on the second step. His body is facing the camera but we can only see the top of his hat because he is looking to the left much like the other boy. His left arm is helping to support him and his right arm is behind his back. There are many aspects within this image that symbolize (reflect greater meaning/tones of?) urban life. There is graffiti on the left door, the windows are barred and the dark black fence was very common in city neighborhoods in the 40s (rephrase, check for parallel structure). The three boys are all in positions that look like they are preparing to engage in a shootout. The fact that the crouched little boy is holding a toy gun supplements this idea even more; however, even without the toy gun the viewer would be able to recognize that the boys are playing a game (how? Why? Support?). They look like they are in a bunker, waiting to attack the enemy. They use the cityscape (word choice?) as a safety net so that they can spy on their opponents secretly. What we see as a dirty doorstep the boys see as a safe haven from the battle zone of the streets. Good The creativity of the three boys is evident in their ability to interpret their surroundings in this unique way. Since the boys are enclosed in this doorway the viewer is too; we have no idea if these boys are playing with other kids or if they are creating the enemy in their imagination. Levitt constructs the way we see these boys in the act of play by imprisoning not only the three boys but the viewer in the frame (add something else so it isnt redundant). Another interesting part of the picture is the boy who is leaning against the doorframe. He appears to be younger
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than the two boys who are fully engaged in the act of spying. He is an observer and even though the boys are just playing, he looks afraid. His innocence in the situation adds to the concept of creativity; to the boys, cops and robbers is not a game but at this moment in time it is a part of their reality. Similar to the first image, Boys with Branches NYC 1939 by Levitt also depicts three boys at play. They are playing in an open space covered in dirt, rocks and rubble. Behind the three boys is a large building that takes up a majority of the background. There are four windows on the left portion of the building; the two top windows are both broken and look like people threw something at (through?) them. The bottom two windows are not broken; however, we can only see darkness in the left window and the right window is dusty and covered in graffiti that reads Reds. The windows alone lead the viewer to believe that the building is old and abandoned. In addition to the graffiti on the window, there is also graffiti all over the lower portion of the wall. We can also see that, like the boys playing cops and robbers, these three boys are fenced into this debris filled area (good connection). All three boys are in motion and are center to the image. The boy furthest to the left looks very small compared to the giant branch (or small tree) he is holding. His legs are slightly bent and he is holding the branch in front of him, ready to attack. The boy to his left is running to the left of the frame and has both his arms up in the air. He has a giant smile on his face. The last boy is holding a much smaller stick than

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the first boy. He is wearing all black which is a stark contrast to his gray surroundings and the gray clothes of his friends. His right knee is lifted off of the ground and he is leaning toward his left. The boy is getting ready to run away from the boy with the large branch and is very blurry due to the swift motion. The setting of this photograph looks post-apocalyptic; there is no sense of life except for the vibrant movement of the children (good). Levitts decision to photograph these children playing in such a deserted and dirty area captures the true essence of childhood in the city (how?). Again, Levitt uses the technique of framing to trap the viewer in the image. The boys are fenced in this destruction and so are we(can you say we?). The carefree happiness radiates from the children at play. The highly varied types in Levitt's pictures tend to be active, in motion, highly physical, and exuberant. She renders pleasure as she experiences it through viewing the world and as her subjects taste it by experiencing life itself--as if these two kinds of pleasure are one and the same (Handy 211). The motion of the picture adds depth to its meaning. (maybe say more about the quote?) The fact that the boys are holding large branches and sticks from what once was a living tree is also very interesting. They bring life to these dead trees that once stood tall in the area of ruin (excellent). Through her depiction of children and their unending imaginations, Levitt puts new life into the city with her images. Childhood represents growth and change; these children are not concerned with the desolate surroundings and they make the best of the situation. The staple is the middle boys bright smile; the joy illuminates off of the page (print?). In the midst of the debris, these kids find a way to stay entertained and Levitt captures the essence of childhood and the importance of play during childhood.

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The third image, Broken Mirror New York 1940, was also taken by Levitt in New York. The photograph is of a group of young boys gathered around the frame of a broken mirror. Unlike the first images, the children are not alone in the photograph. In the background, there is a laundry matte, an ice cream shop (yum), a shoe store and various people walking or coming out of the shops. The majority of the boys are on the sidewalk that runs along the stores and two of them are standing on the street right next to the sidewalk. Central to the image, is the frame which is being held upright by two boys. Both boys are around a foot shorter than the frame. The boy on the left is wearing overalls and the other is just wearing shorts and dirty shoes. There is a smaller little boy located directly behind the broken mirror. It looks like the boy is part of a picture because the mirror frames him and his bike perfectly (yes). Standing in front of the shattered mirror are four other boys; two of which are bending down looking at what appears to be glass. Be careful with using frame to mean picture frame and frame to mean mirror frame While everyday life goes on around them, the fascination of these children lies in thebecome completely captivated in the mystery of the broken frame. The shards of glass surrounding the mirror bring up many questions about the photograph. Even though it is very possible that the children broke the mirror moments before Levitt photographed them, there is something very calm about the image. As the adults behind the children rush by completely unaware of what happened, the boys are in awe about of their newfound toy. Levitt has the ability to capture moments of sheer innocence and wonder. The children take something that is broken and turn it into something magical.

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In addition to the magic of the mirror, Levitt also captures five more children at play on an awning over a large, dark door. The photograph is of a dirty brick building; near the top there are wire cords and near the bottom to the left of the door there is white graffiti. The top portion of the two-door entry is bolted with black, dented metal. The doorway is large in comparison to the small children who are climbing and playing on the pillars and over-door cover. There are two pillars that are holding the awning. There is a little boy standing on and peaking around the right pillar; the viewer can see his head peering to the right of the pillar and his legs are visible on both sides. On the left side of the doorway there is a young boy climbing up the pole. We can only see his back; his right hand is gripping the top of the entry cover and left is holding onto a window ledge. He is hanging and looks like a monkey climbing a tree. Above him there are three other boys on top of the awning. One boy is crouched and getting ready to help his friend get up while the others are both standing and facing one another. The boy furthest right is pretending to punch the kid to the left but the boy is holding his fist with both hands and laughing. The way Levitt captures this image makes it seem like a performance that the children are putting on. For children to work is to play; Levitt captures their daily work in its simplest form (what makes you say this?). The boys are using the awning as a stage and it looks like they are acting out a scene from a play or movie. Ellen Handy questions this idea as well; within her article about Levitt she states, But who is to say that these children were playing? Their concentration is palpable; in fact, they are at work, and their work is performance (Handy 207).

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(oh okay that makes more sense now) Handy argues that the city is a stage for these children and their play is hard work. Playing and interacting with other children is a very important part of growing up and Levitt portrays this by capturing these moments of performance in th e lives of both children and adults (will we see an example of this?) living and working together in an urban environment. In agreement with Handy, John Szarkowski notes that what is remarkable about the photographs is that these immemorially routine acts of life, practiced everywhere and always, are revealed as being full of grace, drama, humor, pathos, and surprise, and also that they are filled with the qualities of art, as though the street were a stage, and its people were all actors and actresses, mimes, orators, and dancers (Szarkowski). With the use of her camera, Levitt takes normal, everyday moments and changes them into thought-evoking, powerful images. The importance of play for children is an essential part of Levitts photography and her portrayal of this adds clarity to her agenda. She wanted to present the reader with the city in its pure form and show how city peopleurbanites, especially children, make their surroundings work to their advantage. Within all four photographs Helen Levitt presents the viewer with the essence of the city and how children make their surroundings adapt to them. With creativity the children make the urban setting work in their favor and Helen Levitt captures this. Helen Levitt's genius as a photographer lies precisely in the moments she "finds" in the city, and the great majority of these offer observations about the nature of childhood, the nature of the city, and indeed of life itself. But just as they aren't serendipitously "found" so much as they are skillfully identified and apprehended by an incisive artist's act, the moments don't depict merely casual occurrences or random gestures (Handy 207). I like the idea of found vs identified She takes photographs of the private and innocent play of the city kids in a very non-intrusive way; Levitt completely

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removes herself from the photograph. When looking at the images, a sense that you haveviewers feel as though they have witnessed the events with your their own eyes, evokes within the viewer which is what makes them so powerfulthus increasing the images power. Like Levitt, Vivian Maier depicts the adaptations children make in order to live and play in the grittiness of the city. Maier captures the simplicity of her subjects lives and the joy a few empty boxes can add to a situation. The first image is of a group of six children facing directly at the camera which makes it feel posed. This is one element that separates Maier and Levitts photography; both photographers have very different photo backgrounds and in many ways Maiers work is not as sophisticated as Levitts but their similar portrayal of urban life is what unites them (break into two sentences). The children are lined up along a sidewalk; on the sidewalk there are empty boxes and other trash. Behind the children, there are cars lined up along both sides of the street. A dark building extends from the top right area of the photograph to the top left corner; the street and sidewalk also follow this path. In addition to the cars along the street, there is also a large box or crate directly behind the children; there is also heaps of trash and old newspaper surrounding the crate. The children are standing very close together and most of them are holding and wearing what appears to be trash and other miscellaneous boxes as costumes or armor. The boy furthest to the right of the picture is holding a pole in his left hand that stands about a half a foot taller than him; it also looks like he crafted a fake claw out of trash (in the other hand?). The second boy has fashioned a white bucket into a crown or helmet. He

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also has a box around each arm and his gripping a dirty broom with both hands. The girl to his left (to the left, or to his right) is not holding or wearing anything but she stands as a divider between the first two boys and the second two who are also dressed up. The next boy is holding a rod like a cane; the combination of his dark jacket lined with fur and the cane makes the boy appear older. The final boy of in the picture is wearing a bucket similar to the second boy but his is pulled over his face completely. There are two eye holes and a mouth hole torn in the box. Also like the second boy, he is wearing two boxes on his arms. The last child in the photograph is a young girl who is wearing a bright and happy smile along with her long winter coat. Maiers ability to present these children to her viewer in such a simple and straightforward way adds to the power of the image. All six of the children are either looking directly at the camera or in the general area where Maier was standing while taking the photograph. In contrast to Levitt, who nearly removes herself from the photograph entirely, there is anMaier elicits an interaction between the children and the viewer. Alex Kotlowitz, who referred to Maier as the best photographer no one has ever heard of, comments that Maiers adult subjects are not looking at her (or us). They're just looking, often as if they were caught in midthought, however, Othersespecially childrenseem to be responding to her, as if there was something reassuring about her presence (Kotlowitz). This is most evident in the warm expression on the little girls face. The children were not scared to be photographed by Levitt but they enjoyed it and this interaction between her and her subjects connects to readerthe viewer to the stories of these children because of the subtle intimacy (break into two sentences). The subject of the photograph relates back to the essential aspect of play in a childs life. Maier presents the reader with children who use their creativity to invent new toys and costumes. The children look like a gang of trashcan rebels decked in empty box armor and bearing brooms as

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their weapons. While other photographers of the time were taking photographs of the destitute and poverty impoverished in the city, both Maier and Levitt expose the viewer to the better parts of the city. By photography photographing not only children but also their use of both trash and their surroundings as tools of play, Maier and Levitt show that even within the grime there is life (creativity? Imagination? Invention? Innocence? Purity? Youve got a lot of more specific options). The last picture is also one of Vivian Maiers and it depicts a little boy looking into a large cardboard box. This is actually adorable. The box is located on the sidewalk along with the little boy and they are central to the image. In the background we can see the hazy sky and tall urban buildings. To the left of both the boy and the box there is a shiny parked car but to the right the viewer is able to see a dirty building doorstep and a tall railed fence much like that in the earlier photographs of the boys at play by Levit. The boy is on the left of the box and is standing on a white wooden frame that is leaning against the left side of the box. We can only see the boys side profile. Both of his hands are holding on to the top of the box as he peers in; it looks as if he is peeking over a giant wall. His head barely makes it over the top of the box as he examines the inside of this box. Maiers talent for exposing the viewer to the creativity and depth of a childs mind in the city is clearly evident in this photograph. (me and my love for active verbs Id say that an opening sentence is not the place to be passive) Her simplicity as a photographer also shines
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through because she easily draws our attention to the subject of the photograph by making it completely central. The image instantly draws the viewer in and evokess instantly drawn in and curiousity about the box and what lies within it. The use of the frame as a stepping stool is another representation of how the children of urban environments use what they have to make their lives easier. (good) During the time of Levitt and Maiers work the people of the city were just starting to crawl out of the hole that the Great Depression created in the soul of the city. The photographs that these women take not only show the different ways children adapt to their environment but also how imagination and hope play a large role in the life of children at this time. The child in this photograph is drawn to the box and Maier captures this fascination. This box could be anything for this child: a giant mansion, a spaceship, a portal to a new place. Not only is the childs attention is solely focused on the inside of this empty box but also the viewers attention is also concentrating on the mysteries that are held inside. The box serves as both an object of play for the child and a bright side to life in the city. CONCLUSION Contrast FSA and Levitt/Maier Liveliness in children Importance of play in development Use of objects How does this effect photography today? What should be done?

Carina, You are a gem! Thanks so much for reading this for me and sorry it is so long. Also sorry about the long description of the images I have to include that in my paper so sorry if it

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seems out of place or weird. I owe you (possibly food or chocolate or cookies or all of the above) Things that I think I need to work on Fully establishing my thesis/claim o I got your thesis pretty clearly, just make sure youre tying everything back to it My prose (sometimes my sentences are so long and dont make sense) o This I worked with in the text. If there are any places where I just said break this up or rephrase and you want me to help/be more specific, just let me know Using less adjectives to describe just one word o Again, addressed in the paper Points for my conclusion o I feel like Id have to read it, but I dont think you need too much FSA. You clearly know what you talk about, so as long as you bring some new insight/sparkle and dont simply restate all your points, you should be stellar Transitions o The only one that really bothered me was: In addition to Levitt and Maiers ability to capture children adapting to their surroundings, the power of their images is also evident in their subject matter. (3) o You sort of have this pattern where you have a paragraph explaining the image, and then a paragraph analyzing the image. I think you should stick with that, it works well
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Possibly order of my paragraphs? o It all seemed logical to me


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Kaitlyn, I apologize if Im a crazy English/English Ed kid. This paper was really awesome. You managed to drag it out and provide detailed descriptions without anything becoming dull. Im sorry about my pickiness with passive verbs- they can be unavoidable in some situations but its just a good thing to keep in mind. You really seem to know what youre talking about and the paper flows smoothly. You go girl! If you have any questions, just let me know! And, again, I apologize for my craziness, everything was just suggestions, feel free to take or leave whatever. Keep up the good work ~Carina

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Works Cited Anderson-McNamee, Jona K., and Sandra J. Bailey. The Importance of Play in Early Childhood Development (2010). Montana State University. 7 Apr. 2013 <http://msuextension.org/publications/HomeHealthandFamily/MT201003HR.pdf>. Beck, Katie. "Vivian Maier: A life's lost work seen for first time." BBC News. 21 Jan. 2011. BBC. 07 Apr. 2013 <http://www.bbc.co.uk/news/world-us-canada-12247395>. Englebright Fox, Jill. "Earlychildhood NEWS - Article Reading Center." Earlychildhood NEWS - Article Reading Center. Earlychildhood NEWS. 07 Apr. 2013 <http://www.earlychildhoodnews.com/earlychildhood/article_view.aspx?ArticleID=240> Handy, Ellen. "Helen Levitt: Childhood as Performance, City as Theater." Project MUSE. 2001. The Lion and the Unicorn. 07 Apr. 2013 <http://muse.jhu.edu/journals/lion_and_the_unicorn/v025/25.2handy.html>.

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Kotlowitz, Alex. "The Best Street Photographer You've Never Heard Of." Mother Jones. May June 2011. 07 Apr. 2013 <http://www.motherjones.com/media/2011/04/vivian-maier john-maloof>. O'Donnell, Nora. "The Life and Work of Street Photographer Vivian Maier." Chicago magazine. Jan. 2011. 07 Apr. 2013 <http://www.chicagomag.com/Chicago-Magazine/January 2011/Vivian-Maier-Street-Photographer/index.php?cparticle=2>. "Photographer: Ben Shahn." Photographs from the FSA and OWI. 25 Apr. 2013 <http://memory.loc.gov/ammem/fsahtml/fachap01.html>. Szarkowski, John. "Helen Levitt." / Biography & Images. 07 Apr. 2013 <http://www.atgetphotography.com/The-Photographers/Helen-Levitt.html>.

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