Walker Evans (1903–1975) - Roadside Stand, Vicinity Birmingham, Alabama

Walker Evans - Roadside Stand, Vicinity Birmingham, Alabama, 1936
This image reflects Evans’s fascination with vernacular architecture and handmade signs, which he collected. It is an urbane version of a penny postcard, a work with humor but also sophistication. Evans confounds the perspective we expect to see. Instead of objects receding into space, there are flat layers that resemble a stage set: the boys holding watermelons in the foreground, the men and curtsying girl in the middle ground, and the truncated figure in white occupying center stage in the extreme background. They all perform, providing a semicomic but true-to-life vision of roadside America.
Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer and photojournalist best known for his work for the Resettlement Administration and the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans' New Deal work uses the large format, 8 × 10-inch (200×250 mm) view camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent".[1]
Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as the Metropolitan Museum of Art or the George Eastman Museum