Stumbled upon these amazing photographs on my tumblr dash and initially thought they were photographs from the WPA during the Great Depression. They have that Dorothea Lange feel. Such an incredible story, wanted to share:
” . . . it just wasn’t the same Cabbagetown that it was. It disappeared. Where did it go?” ~ Oraien Catledge
From a 2009 article by Chad Radford:
Photographer Oraien Catledge remembers Cabbagetown
Oraien Catledge first stumbled upon Cabbagetown while sitting on his couch one evening in the fall of 1978. He was flipping through the local news channels when he came across a town meeting in which citizens were discussing the fate of their community. The nearly 100-year-old Fulton Bag and Cotton Mills had closed their doors for the last time, and a lot of the locals – vestiges of an honest-to-goodness factory town that stood in the mills’ shadows – were destitute. Many of the people living in Cabbagetown in the late ’70s were direct descendents of the laborers imported from Appalachia to work at the mills since their construction in 1881. But much of the property would soon be up for sale to the rest of the city, and it seemed that the tight-knit community would unravel. “As they used to say, that was preee-sactly the moment that I learned about Cabbagetown,” Catledge chuckles through a bushy, snowy white mustache.
Catledge, 81, is an Oxford, Miss., native who moved to Atlanta in 1969 while working as a regional consultant for the American Association for the Blind. “I wasn’t a photographer back then and I knew nothing about photography, but I had an urge to do something creative,” he says. “I tried painting but the canvases just wouldn’t dry fast enough, so I went out and I got a camera.”
Catledge is legally blind, but dismisses his condition as a disadvantage. In a soft, grandfatherly voice, he says, “Oh … I can see a lot better than most people think I can.”
Soon after seeing the televised town meeting, Catledge set out in search of Cabbagetown, camera in hand, and by 1980 was documenting the fast-disappearing community. Over the next 20 years, he spent many of his weekends and free moments in the impoverished neighborhood, photographing the people, faces, and mostly the children, living in the crumbling houses and buildings.
The resulting body of work is a collection of approximately 50,000 negatives. The images present accidental landscapes disguised as portraits, as scene after scene of children and adults personifies the dilapidated surroundings. These stark black-and-white and rich sepia-toned photos are imbued with a quality that transcends time, capturing an era that feels much further away than the late ’70s and early ’80s. Much like Dorothea Lange’s Dust Bowl photos or Walker Evans’ Great Depression imagery, Catledge’s photographs embody the suffering and celebrations of a poor, undereducated white haven on the brink of disappearance.