Lucy Parsons thus chose two highly regarded, technically proficient New York City photographers to take her photo in 1886. Their talents ensured that these portrait photos captured the public’s attention for decades to come. […]
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Always the contrarian, Lucy Parsons commanded treatment on her own terms as a wholly unique individual, entitled to equality, dignity, and respect; and she claimed that higher ground not only for herself but for all people, everywhere and forever. […] That Lucy Parsons was not “white” was apparent to both the audiences she addressed and the mass media that routinely reported on her activities. The published observations of her physical attributes referred to her skin color in euphemistic terms such as “dusky,” “mulatto” and “quadroon,” or bluntly as “negro” and “negress,” adjectives and nouns all used to sully her reputation and undermine her credibility. […] The relationship between photographer and sitter is, at best, an intimate collaboration that serves mutual purposes. This photograph of Lucy Parsons by Paul Grottkau is a perfect example of that truism, and quite possibly a conscious attempt to seize control of the public narrative from a hostile media. […] Bob Landry’s landing film was not lost, nor is it missing. It’s right before our eyes. We don’t recognize it as such because we expect his first film to show scenes from D-Day. But there is no Landry film from D-Day, for the simple reason that, apparently, he did not land on D-Day. Certainly there is no evidence that he did. […] |
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