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Riis often does have an "ethnic hierarchy," often its most extreme toward the Chinese. [25] Riis ends How the Other Half Lives with a plan of how to fix the problem. He asserts that the plan is achievable and that the upper classes will not only profit financially from such ventures, but have a moral obligation to tend to them as well. [26]
Jacob Riis Triangle, at Babbage and 116 Streets, 85 Ave, [86] Richmond Hill, Queens [87] P.S. 126 The Jacob Riis Community School, on Catherine Street in New York City, is a public PK-5 school [88] From 1915 until 2002, Jacob Riis Public School on South Throop Street in Chicago was a high school operated by the Chicago School Board. [89]
Little Katie from the W. 52nd Street Industrial School, is a black and white photograph taken by Danish American photographer and social reformer Jacob Riis, c. 1890. It was included in his second book, The Children of the Poor (1892), a follow-up to How the Other Half Lives (1890).
The Trench in Potter's Field (c. 1890). The photograph depicts laborers loading coffins into an open trench at the city burial ground on Hart's Island.. The Trench in Potter's Field is a black and white photograph produced by Danish-American photographer Jacob A. Riis, probably in 1890, depicting a trench used as a mass grave for tenement residents who died during the period of mass ...
Bandits' Roost, 59 1/2 Mulberry Street is a black and white photograph produced by Danish-American photojournalist and social reformer Jacob Riis in 1888. [ 1 ] [ 2 ] The photograph was possibly not taken by Riis but instead by one of his assistant photographers, Henry G. Piffard or Richard Hoe Lawrence. [ 3 ]
Lodgers in Bayard Street Tenement, Five Cents a Spot (1889) by Jacob Riis. Lodgers in Bayard Street Tenement, Five Cents a Spot is a black and white photograph taken by Danish-American photographer Jacob Riis, in 1889. It was included in his photographic book How the Other Half Lives, published in 1890. [1]
Pages in category "Photographs by Jacob Riis" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes. B.
To the right, a man is barely visible, carrying a shovel, probably a working companion, since he was almost totally cropped from the photograph. The surprised look of the man is most likely due to the effect the flash photographs used by Riis sometimes had on the people he captured on camera, often without their permission. [2] [3]