If the portrait photograph tells the story of who is remembered, how can it at the same time tell the story of those who are forgotten? For example, there is the picture documenting the song of the counter-altar Marian Anderson at the Lincoln monument in 1939 [look over. Scurlock Studio Records, Archives Center, National Museum Of American History, Smithsonian Institution. Kay Petersonarchives Centernmah. Rights & Reproductions.] for thousands of listeners and millions of radio listeners – a specific photograph taken by Robert S. Shurlock:
The picture shows her in profile, she stands and sings with her eyes closed, in a fur coat with a long row of microphones in front of her, engrossed and concentrated on the performance. In the background, the recognizable steps of the monument and some listeners can be seen, but the huge crowd listening to the song is not visible from the angle the photo was taken from.
Anderson's performance was an important moment in the match. . .
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