salt & truth
The Roots of Inspiration, Shelby Lee Adams
Coal Miner, 93, Little Leatherwood
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It is the spirit of the mountaineer living in the hollers that motivates and interests me. The visual representation of this culture has rarely been made from inside. I don’t deny, nor do I see poverty as a focus in my work; once the “poverty” filter is removed a different world emerges. The culture is multi-layered in expressing the fullness of life. Mountain people are more accepting of diverse representations of themselves than the viewer might imagine because they know themselves and are spiritually self-assured.
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Many American ideals are
dedicated to sleek, fashionable, and powerful images of ourselves. When
presented with a more complete picture with someone who looks dissimilar,
some will balk, and accuse the presenter of the degeneration of the people.
We have oppressed tenuous people for centuries hiding them in the shadows. Doors need to be opened to our more fragile individuals. In the shadows is where our love and compassion needs to develop.
As a citizen of the hollers, I have witnessed many living on the edge with difficulty, not because of poverty, but because of their neighbors behaviors, squeezing our holler people out of what little they do have.
—Shelby Lee Adams
We have oppressed tenuous people for centuries hiding them in the shadows. Doors need to be opened to our more fragile individuals. In the shadows is where our love and compassion needs to develop.
As a citizen of the hollers, I have witnessed many living on the edge with difficulty, not because of poverty, but because of their neighbors behaviors, squeezing our holler people out of what little they do have.
—Shelby Lee Adams
______________________________________________
“If you look as an observer different from the
observed then you are bound to create conflict and therefore, further
suffering. When you have an insight, see the truth that the observer is the
observed, then conflict ceases altogether.”
- Jiddu Krishnamurti
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Newsome Boy, 1989, 4 X 5 Polaroids, Shelby Lee Adams
Some locals say, “Poverty sells, its all outsiders want to see when they come here.” But some regionalists don’t seem to want to see or acknowledge all of their own people either.
In the mountains it is flippantly said that people who take pictures of the poor are here only "to make fun of us," or they say "photographers are here making money off of us.”
It is ironic that most of the time; it’s the more affluent and educated who say this. Perhaps, these words reflect their true feelings towards some of our “own,” understandable in part from generations of media exposé’s. Rarely, do you hear local interruptions that a published story about the poor is made for the greater good of the person, family or it’s community.
A professional who recognizes or notes any positive merits, some locals say, “Well they just don’t know any better."
Every family here over generations lives and establishes its own traditions and values and creates its own legacy. As the human heart varies in its capacity for love, circumstances in some rural communities and hollers differ vastly. I experienced these differences and contradictions growing up here and still find they are ever present today.
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see the truth that the observer is the observed, then conflict ceases altogether.”
All photographs and text copyrighted - © 1978 - 2019 Shelby Lee Adams, legal action will be taken to represent the photographer, the work taken out of context, subjects and integrity of all photographic and written works, including additional photographers published and authors quoted. Permissions - send e mail request with project descriptions.
- Jiddu Krishnamurti
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The Roots of Inspiration, From, "salt & truth''
Field Work
At the beginning of my career, the mountains of Eastern Kentucky represented a real presence with complex people few have studied in depth before. My goal has been to create an extensive body of work as an insider with the total cooperation and help of my people. I wanted to create anew, expanding boundaries, seeing beyond conditions while expressing myself and representing the humanity I grew up knowing.
While attending high school, my uncle, Doc Adams, would take me on the long drives into the hollers to visit his patients and he would talk about the various problems of families. He would confidentially explain their often-complex situations. When we would leave from our visits, he would discuss their positive attitudes, strength, support, love and sacrifices they make for each other, while having so little financially and materially. He truly loved his work with the people. He instilled in me early on that same ability to see with eyes that look past the superficial and into the hearts of these people.
He explained that what one first sees in fieldwork is based on one’s own personal experience with reality -- not exactly what is specifically occurring. He taught me one has to familiarize and reflect on one’s perceptions by openly observing and studying each environment and ones reactive self. He practiced the participation/observation role in his work. Understanding firsthand from the people’s perspective by sharing many basic commonalities. Even a simple thing like sharing a meal is a participatory experience. When having dinner for the first time with a new family the children all watch to see if you’re really going to eat their food --if it's fine with you and that you're satisfied. Only then will they eat comfortably with you. Joining in a part of their lives in this way develops support, builds confidence and trust, that everything is OK.
This kind of involvement is as important as the nourishment a meal provides. Fieldwork for me is based on accumulated knowledge, intermingled with a lot of luck and intuitive timing blended in. This is not the place for an objective or inflexible balanced study, as too many basic life needs and desires are always interfering.
This kind of involvement is as important as the nourishment a meal provides. Fieldwork for me is based on accumulated knowledge, intermingled with a lot of luck and intuitive timing blended in. This is not the place for an objective or inflexible balanced study, as too many basic life needs and desires are always interfering.
Consciously and purposefully I have avoided the many political, government and media events and agendas while making photographs. I have stayed focused on the salt-of-the-earth people who make up an important part of this place and live primarily in the hollers --the same people my uncle introduced me to during my high school days -- the same people who mourned his death as family when the time came.
Some locals say, “Poverty sells, its all outsiders want to see when they come here.” But some regionalists don’t seem to want to see or acknowledge all of their own people either.
In the mountains it is flippantly said that people who take pictures of the poor are here only "to make fun of us," or they say "photographers are here making money off of us.”
It is ironic that most of the time; it’s the more affluent and educated who say this. Perhaps, these words reflect their true feelings towards some of our “own,” understandable in part from generations of media exposé’s. Rarely, do you hear local interruptions that a published story about the poor is made for the greater good of the person, family or it’s community.
A professional who recognizes or notes any positive merits, some locals say, “Well they just don’t know any better."
Every family here over generations lives and establishes its own traditions and values and creates its own legacy. As the human heart varies in its capacity for love, circumstances in some rural communities and hollers differ vastly. I experienced these differences and contradictions growing up here and still find they are ever present today.
Much of our country’s American ideals are dedicated to the sleek, fashionable and powerful images of ourselves. When we are presented with a more total encompassing picture of our humanity some balk, often blaming the presenter with descent. Doors need to be opened, not kept closed to our more fragile. We have oppressed tenuous people for centuries. In the shadows is where our love needs connection, to nurture and help encourage growth, fertilizing our culturally diverse and undeveloped with consideration and informed support.
As a product of the hollers, I have witnessed many people living with difficulty on the edge, not because of just poverty, but essentially and often because of unfortunate selfish human behaviors practiced upon each other. People’s faces reflect what God has given them and just as importantly, what others have caused, shunned or propagated. A number of folks simply can’t speak efficiently for themselves. I find the faces I photograph easily enough, but society has often conditioned many to stay as they are, while speaking worlds apart. Only when we as a people learn to accept our complete collective shadow and integrate within society, will we begin to mend.
As a product of the hollers, I have witnessed many people living with difficulty on the edge, not because of just poverty, but essentially and often because of unfortunate selfish human behaviors practiced upon each other. People’s faces reflect what God has given them and just as importantly, what others have caused, shunned or propagated. A number of folks simply can’t speak efficiently for themselves. I find the faces I photograph easily enough, but society has often conditioned many to stay as they are, while speaking worlds apart. Only when we as a people learn to accept our complete collective shadow and integrate within society, will we begin to mend.
As the needed rain falls and the sun and moonlight shine brightly on us, some still cloud over, hiding those who need the healing light.
Hobart White, one of my Kentucky friends, summed this up well in reference to the press coming here: "An outsider already has an idea of what they think about me before they meet me or hear me speak.” This manner of prejudging and thinking muddies the river from both sides and no one can see each other clearly until the muddied waters clear and sparkle---reflecting what is. What is - is often never seen.
It is important to be sensitive to how words and photographs describe a family or environment. It is almost always the word descriptions, not the actual photographs that offend here. But then, perhaps some writers are just not compassionate, sometimes blaming these folks for conditions they live in contentedly, usually not consciously realizing they haven’t experienced anything different.
To describe a holler dweller’s modest home in an article or story as a “decaying and rotting run down shack” is insensitive. Most everyone treasures his or her home especially if their residence is all they have, no matter how modest or grand, no matter what it looks like. In this regard two different people [writer and subject], from different social economic and cultural backgrounds can and should identify the home on mutual ground, as sacred, and even revered, with regard to the person living within. Who knows completely what’s contained inside and what importance it serves. Need can be implied and should be, even strongly advocated for without insulting the occupant, but often this is not the case. Can’t our greater society define what is needed without wounding and hurting? Understandable some are resentful here from an established history of multiple sometimes-thoughtless perspectives.
To describe a holler dweller’s modest home in an article or story as a “decaying and rotting run down shack” is insensitive. Most everyone treasures his or her home especially if their residence is all they have, no matter how modest or grand, no matter what it looks like. In this regard two different people [writer and subject], from different social economic and cultural backgrounds can and should identify the home on mutual ground, as sacred, and even revered, with regard to the person living within. Who knows completely what’s contained inside and what importance it serves. Need can be implied and should be, even strongly advocated for without insulting the occupant, but often this is not the case. Can’t our greater society define what is needed without wounding and hurting? Understandable some are resentful here from an established history of multiple sometimes-thoughtless perspectives.
I’m trying to convey life from inside the holler-dwellers' perspective. This “... poverty-searchin,’ ... makin’-fun ... makin’-money ... ” notion is a perception created over time by the media and those easily influenced by this material, both inside and out. Perpetuated over the years intentionally or not (yet sometimes indifferent to the culture) in trying to bring attention to the needs of this area and portray the biases of the media sponsors. The public image presented throughout our region and nationally sometimes results in stereotyping. This invokes many locals and others to “callus over,” not seeing those who really do need their help or experience the uniqueness within our culture of value. Eastern Kentuckians are not all socially secure, suffering from generations of bantering and teasing regarding how we are perceived and portrayed.
In these mountains today, how a story is described for one in need is certainly not the same as for another who is thriving. But, when the story implies - help is needed in some way for someone, the local interpretation often forms only one way; shame for all. Over time and repeated cliché focused media attention, instead of the newly prosperous finding empathy and support for their neighbor who struggles, or recognizing positive cultural affirmations - many now days often cast a blind eye. The needy, are oftentimes ostracized, being “put down” and condescendingly told they should take better care of themselves and not fool’ around with journalist, “just lookin’ to make up stories.”
In these mountains today, how a story is described for one in need is certainly not the same as for another who is thriving. But, when the story implies - help is needed in some way for someone, the local interpretation often forms only one way; shame for all. Over time and repeated cliché focused media attention, instead of the newly prosperous finding empathy and support for their neighbor who struggles, or recognizing positive cultural affirmations - many now days often cast a blind eye. The needy, are oftentimes ostracized, being “put down” and condescendingly told they should take better care of themselves and not fool’ around with journalist, “just lookin’ to make up stories.”
In the early 1980s, I started renting a sparse apartment in Slemp, Kentucky, for $150 a month for several summers in a row. It wasn't what most would consider a nice place, but it was right in the area I wanted to be working. Some of the people I was photographing then would walk to my place to visit. That first summer people came and went, in and out of my apartment. I wasn't accustomed to that, and consequently, I felt very vulnerable. Then it dawned on me: Wasn't that what I was doing, going in and out of people's homes and lives with all my gear, visiting and making photographs?
This realization humbled me. I grasped and understood what a big commitment and imposition I was asking of people. Yet, here people are and always have been so welcoming to me. We live and study and love people, but we usually don't allow them into our private inner spaces. This awakened me, helping me grasp the inner person I needed to be and how I could better approach and work with people sharing and experiencing even more “home” awareness when I visited.
This realization humbled me. I grasped and understood what a big commitment and imposition I was asking of people. Yet, here people are and always have been so welcoming to me. We live and study and love people, but we usually don't allow them into our private inner spaces. This awakened me, helping me grasp the inner person I needed to be and how I could better approach and work with people sharing and experiencing even more “home” awareness when I visited.
Until you are integrated and welcomed into a community or environment you don't know completely your innate self. This culture will test you. When you see how the people you want to learn from see you, and they will tell you, if you stay long enough, then you can observe yourself more definitively and improve or not, hopefully breaking down abstract concepts and interconnecting more humanely.
Finding yourself a part of your own fieldwork and accepting the community you are in expands you. Not revealing everything you experience within a culture is often times more respectful and ultimately more totally inclusive, living the facts with your subjects from different perspectives, opens deeper understandings, furthering communications and gaining trust. This gives back – enriching your life, your subjects’ lives, expands insightful knowledge when later shared.
—Shelby Lee Adams
Cecil, The Woodworker
—Shelby Lee Adams
Cecil, The Woodworker
__________________________
“If you look as an observer different from the observed then you are bound to create conflict and therefore, further suffering.
When you have an insight,
see the truth that the observer is the observed, then conflict ceases altogether.”
— Jiddu Krishnamurti
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"Accepting and honoring all peoples equally is powerful, acknowledging the diversity of our human condition, no matter how dark or the troubling behavioral patterns - that is our mutual responsibility. Supporting our children’s education in unison, unprejudiced and unbiased, will be our salvation. This is the art of giving, the only thing that will redeem us."
Shelby Lee Adams
"There is no poverty to us; we're rich in what we have and do. OK, so we don't have a lot of money, we don't have big fine cars and fine homes. We have tradition, we're rich in culture."
-Hobert White, Eagle’s Nest
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"He that saith he is in the light, and hateth his brother, is in darkness even until now."
-1 John 2:9 (KJV)
Fog Lift, 1974
“Mutual Transcendence”
James Enyeart
This is Shelby Lee Adams’ fourth book of photographs portraying the people of Appalachia, who he began photographing nearly four decades ago. In 1993 his first book was titled Appalachian Portraits; next came Appalachian Legacy in 1998; and in 2003 the title was Appalachian Lives. The titles for these books used direct narrative language and subjects (people, legacy and lives), which were self-explanatory and easily understood in terms of image to subject relationships. But now his present volume, which continues presenting documentation of Appalachian culture, Salt and Truth: Photographs by Shelby Lee Adams, has introduced a more philosophical and poetic tone to the title.
The inspiration for this title came from a novel by one of Adams’ favorite authors, Cormac McCarthy, which suggests that something different is at work in this collection of images than in previous books. Adams is revealing here that there is an inherent strategy with deeper roots to the nature of his work as it has evolved over the decades. In McCarthy’s novel, No Time For Old Men, there is apassage in which one of his characters likens the incorruptibility of truth to salt. Adams recognizes that there is also an implied connection between truth and salt, which relates directly to his work and to his Appalachian subjects. Truth, as a state of mind and matter, is an aspiration for Adams in making his photographs and it is also reflected in the honesty and integrity of the individuals that he chooses as subjects. They see themselves exactly as they desire the camera to see them, which is without exaggeration or distortion. Adams sees this quality in terms of how society recognizes those who are representative of the best of itself, as the salt of the earth.
Adams believes that this is an abiding quality in Appalachians, both individually and collectively. Yet, he and they alike are stoically aware that they harbor every strength and weakness of any other culture or congregation of people. More importantly, their world is an island unto itself, which means that being whom one chooses to be is known to all. And because Adams has spent forty years honing his photographs to be graphically sensitive and attuned to the individual nature of his subjects, he has taken care not to impose personal judgment on those he photographs. This includes not just his relationships with them, but also the manner in which he aesthetically constructs and frames his images. He employs what he calls a “poverty filter,” which is his way of seeing beyond the obvious. Working from deep humanist roots within his own socio/psychological persona, it is his desire to filter out unwanted societal aspects of how he sees his subjects, which is not unlike filters placed on camera lenses that enhance visual acuity of an image. There is no intent here on anyone’s part to obscure the hardships and pain of poverty, nor the toll it can take on the human spirit. Rather, both Adams and his subjects have long ago dealt with the condition of being poor as not the only, let alone dominant, issue in the intimate portraits they seek in their collaboration.
Adams sees his quest of photographing Appalachians as an unending story and as an autobiographical journey as well. In his text he writes extensively about his desire to insure that every image is a collaborative accomplishment. Nothing is captured or recorded in a purely documentary manner, which he emphasizes in his accompanying text when he says, “My greatest fear as a photographer is to look into the eyes of my subject and not see my own reflection.”
James, 03
This is a complicated statement of artistic subjectivity on the one hand and cryptic objectivity on the other hand, which together acknowledge that an image without a sense of aesthetic control would be little more than a “stock” photograph. Another way of describing his “reflection” would be to say that above all else Adams wants his images to reflect within the creative moment a mutual empathy and participation between himself and his subjects. But in order for such opportunities to flourish and be repeatable in photograph after photograph the full range of human emotions, prejudices, memories, and forgiveness have to be available to the process and allowed as part of it, which Adams describes as “our mutual transcendence” within both the Appalachians and himself.
Over a period of many years the author has worked closely with and written about many photographers who have made especially insightful images of people. But one in particular, Gary Winogrand, spoke bluntly in a conversation with the author about the word “documentary” when used in relation to photography. In response to the notion that one could speak about documentary photography, he exclaimed, “Documentary, documentary – show me a photograph that is not documentary.” Winogrand was always adept at turning both language and image conventions inside out and upside down, especially in terms of visual expectations.
Adams’ references to the “poverty filter” and “mutual transcendence” are related means of addressing conventional discriminatory public attitudes about Appalachians and in turn his photographs of them. Like the misleading notion that there is such a thing stylistically as a documentary photograph, Adams is saying that both he and his subjects long ago moved beyond persistent, misleading, stereotypical views of Appalachia. As a result, both Adams and his subjects have found deeper humanistic levels in their collaboration, which reveal a still evolving iconography of the people of the hollers. Every person and situation in any one of Adams’ photographs in “Truth and Salt,” is about an honored comfort zone of seeing and being seen. The rest is about the genius of making poetry and elegance from the substance of observation and self-awareness.
It is worth noting that these tableaux of life rendered by Adams reveal an Appalachian reality that, when seen photographically, become a ballet of sensibility in our own minds, tethered somewhere between our emotions and our intellect. We are challenged to be able to perceive the differences among the collections of images in his four books. In order for Adams and his subjects to create such interpretive and self-revelatory works they have to have a fierce personal investment in the visual uniqueness of each image, while at the same time they have to be confident that an audience of strangers will be drawn to the deeply personal qualities and intent of their creations. Or, perhaps, they simply have confidence in the idea that all humanity in its most generous form speaks the same language.
We should not lose sight of the fact that such photographs are able to communicate to us the nature of the whole by its many disparate parts. Photography, film, and related technologies, have inherent means of selection, isolation, and emphasis. At the worst such media glimpses of reality may provide half-truths or lies. But context is content and in the hands of artists like Adams the same means of inherent selectability is essential to the expression of ideas and visions greater than the parts from which they are formed.
—James Enyeart
James Enyearts is an American photographer, scholar, and former museum director of the George Eastman House in Rochester, New York and the Center for Creative Photography in Tucson, AZ.
Copyright © James Enyeart, 2011
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Shelby Lee Adams©2011
Text for: salt and truth, Copyright © 2011 Candela Books
Text for: salt and truth, Copyright © 2011 Candela Books
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