Portraits of Workers
Highlights of portraits across the United States from the Plowden Collection at the Grohmann Museum
Storekeeper (1972) by David PlowdenGrohmann Museum at Milwaukee School of Engineering
The Grohmann Museum is fortunate to be able to display these works by a master of American photography.
Not only do we admire David Plowden’s skill as a photographer—his unparalleled vision—but as our focus as a museum is on the art of industry and human achievement, we have a real affinity for his subjects as well: rural America, steam locomotives, steel mills, bridges, and the like.
The artist’s full impact is likely yet to be felt, as we continue to lose the features of the American landscape that he has so expertly and thoughtfully captured. From heavy industry to the rural landscape, Plowden has distilled in many ways the essence of America by portraying and depicting these often-overlooked national treasures. Apart from theme, perhaps the most striking feature of his work is his command and use of geometry and form, light and shadow. In the age of digital imagery and memory cards holding thousands of images, it is incredible to think of Plowden embarking on a day’s work with 12 exposures in the Hasselblad or Rolleiflex, sometimes waiting hours for the moment when light, shadow and form met to, as he puts it, “make a photograph.” And he makes outstanding photographs.
In this series of Mediations on Work, we have drawn quotes from the essays and other writings of David Plowden.
He wanted to be recorded.
... his face spoke to me of all the sadness and turmoil… all the really sad parts of Appalachia.
One day I was photographing in a town called Davy, which is down in the valley where the railroad runs. And I was there looking down the street and all-of-a-sudden this kid appears right in front of me and says, “Take my picture, mister!” And I said “Okay.” I had a big lens on so I thought “my God hope I don’t have to change lenses,” and I didn’t. And he was right there in front of me, so I took maybe two exposures of him and he turned around, said “Thanks,” and dashed down the street. And I yelled after him. I said, “Hey, what’s your name?” He said “Steve” and he disappeared into Davy, West Virginia.
You look at this picture, and it could be anywhere.
Anywhere back in the time of railroads...
This man had spent his entire life with the railroad.
He was a gentle and quiet man who didn't want to make any fuss.
I said, “Mr. Birkhead, I am so sorry to keep you, I’m terribly sorry.” And he said, “That’s alright, this is my last day, and I just wanted to leave the place in good order for the fella that takes over the job. I’ve worked for the M-K-T (Missouri-Kansas-Texas Railroad) for 60 years, and this is my last day.” And I thought, “My God, this man has worked for the railroad for 60 years! And there’s nobody there, except for this itinerant photographer.”
I said to him, “You know, Mr. Birkhead, I am a photographer. And the only way to commemorate this moment is having you sit for a portrait.” And so, he sat down there at the corner of the desk.
Stewart's Garage (1969) by David PlowdenGrohmann Museum at Milwaukee School of Engineering
Captain Ernest Gus Barth (1989) by David PlowdenGrohmann Museum at Milwaukee School of Engineering
He was the keeper of the soul of the town.
Should we not, finally, look inward and realize that mankind's true driving force is the human spirit?
David Plowden's Meditations on Work - All photographs ©David Plowden
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