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Art and Architecture > Photography
Expeditions of the University of Pennsylvania Museum of Archaeology and Anthropology
Since 1887 the University Museum has been one of the leading archaeology and anthropology museums in the world and has sponsored field research in every corner of the globe. A key outcome, from its first expedition to Nippur, in modern-day Iraq, through more than 300 expeditions in the past century, to its research in fifteen different countries today, has been a wealth of primary photographs capturing both expeditions and excavations and also images of modern peoples on every inhabited continent of our planet.
These vintage photographs, carefully selected from hundreds of thousands, range from mundane record-keeping pictures to glorious aesthetic treats, and they are in demand by international scholars and students and researchers worldwide. One of the most powerful of media to convey information about—and to advance understanding of—foreign peoples and places is photography. Soldiers, missionaries, merchants, and other travelers carried out early anthropological photography in distant lands. Field photography was extremely difficult when the Museum began its research program in the late 1880s, requiring the transport of a complete dark room and other heavy equipment. The Museum's intrepid adventurers sought scientific accuracy, with no artifice that may have obscured the realism of the image.
An engaging narrative essay highlighting the Museum's fieldwork explains the contexts of the range of photographs from the Museum's Archives and the role of photography in studying human cultures.
Photography in Nineteenth-Century India
Afterimage of Empire provides a philosophical and historical account of early photography in India that focuses on how aesthetic experiments in colonial photography changed the nature of perception. Considering photographs from the Sepoy Revolt of 1857 along with landscape, portraiture, and famine photography, Zahid R. Chaudhary explores larger issues of truth, memory, and embodiment.
Chaudhary scrutinizes the colonial context to understand the production of sense itself, proposing a new theory of interpreting the historical difference of aesthetic forms. In rereading colonial photographic images, he shows how the histories of colonialism became aesthetically, mimetically, and perceptually generative. He suggests that photography arrived in India not only as a technology of the colonial state but also as an instrument that eventually extended and transformed sight for photographers and the body politic, both British and Indian.
Ultimately, Afterimage of Empire uncovers what the colonial history of the medium of photography can teach us about the making of the modern perceptual apparatus, the transformation of aesthetic experience, and the linkages between perception and meaning.
Photography against History in Indigenous Siberia
Following the socialist revolution, a colossal shift in everyday realities began in the 1920s and ’30s in the former Russian empire. Faced with the Siberian North, a vast territory considered culturally and technologically backward by the revolutionary government, the Soviets confidently undertook the project of reshaping the ordinary lives of the indigenous peoples in order to fold them into the Soviet state. In Agitating Images, Craig Campbell draws a rich and unsettling cultural portrait of the encounter between indigenous Siberians and Russian communists and reveals how photographs from this period complicate our understanding of this history.
Agitating Images provides a glimpse into the first moments of cultural engineering in remote areas of Soviet Siberia. The territories were perceived by outsiders to be on the margins of civilization, replete with shamanic rituals and inhabited by exiles, criminals, and “primitive” indigenous peoples. The Soviets hoped to permanently transform the mythologized landscape by establishing socialist utopian developments designed to incorporate minority cultures into the communist state. This book delves deep into photographic archives from these Soviet programs, but rather than using the photographs to complement an official history, Campbell presents them as anti-illustrations, or intrusions, that confound simple narratives of Soviet bureaucracy and power. Meant to agitate, these images offer critiques that cannot be explained in text alone and, in turn, put into question the nature of photographs as historical artifacts.
An innovative approach to challenging historical interpretation, Agitating Images demonstrates how photographs go against accepted premises of Soviet Siberia. All photographs, Campbell argues, communicate in unique ways that present new and even contrary possibilities to the text they illustrate. Ultimately, Agitating Images dissects our very understanding of the production of historical knowledge.
A Twenty-One-Year-Old in Mississippi in 1964
In June 1964, college student Joel Katz boarded a Greyhound bus in Hartford, Connecticut, for Jackson, Mississippi. He carried few possessions—a small bag of clothes, a written invitation to call on Frank Barber, who was special assistant to Governor Paul Johnson, and a Honeywell Pentax H1-A camera with three lenses.
A few days after his arrival in Jackson, the city’s Daily News ran on its front page an FBI alert seeking Andrew Goodman, James Chaney, and Michael Schwerner, three field workers from the Congress of Racial Equality (CORE) who’d gone missing while investigating a church burning in Neshoba County.
In the uneasy silence of their disappearance, Katz began a seven-week journey across the state. Along the way, he met the people of Mississippi, black and white, of all ages and classes, from the humble to the grand. These Mississippians encouraged or obstructed change in their traditional culture or simply observed the edifice of that culture tremble and fall.
During 1964’s Freedom Summer, Katz met ministers making history and journalists writing it. He photographed Martin Luther King Jr. and James Abernathy, taught at a freedom school, interviewed a leader of the White Citizens Councils, was harassed by Jackson police, and escaped death in Vicksburg. Six weeks after Katz arrived in Mississippi, the FBI found the bodies of Goodman, Chaney, and Schwerner in an earthen dam.
Inspired by the social documentary photographs of Walker Evans and Robert Frank, Katz snapped hauntingly quotidian photos on his Pentax camera. Amid acts of brutal savagery and transcendent courage that transfixed the nation, Katz discovered resilient individuals living quiet lives worthy of witness. And I Said No Lord is a moving and luminous record of Americans in evolution.
Photographs and Illustrations for U.S. Surveys, 1850-1890
This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in the field. Some of these pictures have long been celebrated for their anticipation of a modernist aesthetic, but Robin Kelsey, in this abundantly illustrated volume, traces their modernistic qualities to archival ingenuity. The technical and promotional needs of surveys, Kelsey argues, fostered the emergence of a taut, graphic pictorial style that imitated the informational clarity of diagrams and maps. As this book demonstrates, these pictures became sites of struggle as well as innovation when three brilliant survey artists and photographers subtly resisted the programs they were hired to serve. Discovering a politics of style behind the modernist look of survey pictures, Kelsey offers a fresh interpretation of canonical western expedition photographs by Timothy H. O'Sullivan and introduces two exceptional but largely forgotten sets of pictures: views of the U.S.-Mexico boundary from the 1850s by Arthur Schott and photographs of the Charleston earthquake of 1886 by C. C. Jones.
Feminist, Queer, and Post-Masculinist Perspectives
Viewing the work of twelve prominent photographers, including Graciela Iturbide, Pedro Meyer, and Marcos López, this first far-ranging analysis of gendered perspectives in Latin American photography demonstrates the importance of this art form within Latin American cultural production.
The Photographs of Jean-Franois Bonhomme
Athens, Still Remains is an extended commentary on a series of photographs of contemporary Athens by the French photographer Jean-Franois Bonhomme. But in Derrida's hands commentary always has a way of unfolding or, better, developing in several unexpected and mutually illuminating directions.First published in French and Greek in 1996, Athens, Still Remains is Derrida's most sustained analysis of the photographic medium in relationship to the history of philosophy and his most personal reflection on that medium. At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida's life and work.The book begins with a sort of verbal snapshot or aphorism that haunts the entire book: we owe ourselves to death.Reading this phrase through Bonhomme's photographs of both the ruins of ancient Athens and contemporary scenes of a still-living Athens that is also on its way to ruin and death, Derrida interrogates a philosophical tradition that runs from Socrates to Heidegger in which the human-and especially the philosopher-is thought to owe himself to death, to a certain thought of death or comportment with regard to death. Combining philosophical speculations on mourning and death, event and repetition, and time and difference with incisive commentary on Bonhomme's photographs and a narrative of Derrida's 1995 trip to Greece, Athens, Still Remains is one of Derrida's most accessible, personal, and moving works without being, for all that, any less philosophical. As Derrida reminds us, the word photography-an eminently Greek word-means the writing of light,and it brings together today into a single frame contemporary questions about the work of art in the age of mechanical reproduction and much older questions about the relationship between light, revelation, and truth-in other words, an entire philosophical tradition that first came to light in the shadow of the Acropolis.
Robert Frank's American Cinema
Until now, celebrated photographer Robert Frank’s daring and unconventional work as a filmmaker has not been awarded the critical notice it deserves. In this timely volume, George Kouvaros surveys Frank’s films and videos and places them in the larger context of experimentation in American art and literature since World War II.
Born in 1924, Frank emigrated from Switzerland to the United States in 1947 and quickly made his mark as a photojournalist. A 1955 Guggenheim Foundation fellowship allowed him to travel across the country, photographing aspects of American life that had previously received little attention. The resulting book, The Americans, with an Introduction by Jack Kerouac, is generally considered a landmark in the history of postwar photography. During the same period, Frank befriended other artists and writers, among them Allen Ginsberg, Peter Orlovsky, and Gregory Corso, all of whom are featured in his first film, Pull My Daisy, which is narrated by Kerouac. This film set the terms for a new era of experimental filmmaking.
By examining Frank’s films and videos, including Pull My Daisy, Me and My Brother, and Cocksucker Blues, in the framework of his more widely recognized photographic achievements, Kouvaros develops a model of cross-media history in which photography, film, and video are complicit in the search for fresh forms of visual expression. Awakening the Eye is an insightful, compelling, and, at times, moving account of Frank’s determination to forge a personal connection between the circumstances of his life and the media in which he works.
In the Footsteps of the Padres
With gorgeous photographs of the architecture and religious art, and supported by a concise history that outlines the peninsula’s exploration and colonization by Roman Catholic priests, Baja California Missions excels as a book of photography and history. It promises adventure for readers at home, as well as for travelers ready to explore the churches in person.
The eight Spanish colonial stone churches of Baja California endure as the only intact originals of 34 missions built by the padres during the peninsula’s colonization. Due to structural renovations and restorations of the artwork undertaken over the last 30 years, the renowned mission churches have become sources of pride to the citizens of Baja California. Travelers are invited to visit at any time, especially during patron saint day celebrations.
As a guide, Baja California Missions is fully up to date, with directions for navigating Baja’s paved highways and desert and mountain roads. The mission sites are pinpointed on a topographic roadmap of the peninsula. A church floor plan is provided to accompany a walk-through tour for each church interior. The lovely eighteenth-century oil paintings and wooden statues that grace the church altars are also identified and described.
Featuring more than 100 stunning full-color photographs along with helpful diagrams and historic photos, Barns of Connecticut captures both the iconic and the unique, including historic and noteworthy barns. The book discusses the importance of barns to Connecticut agriculture across our state and up to the present day. Markham Starr's Barns of Connecticut offers a lovely introduction to the architectural, functional, and agricultural roles these structures played in early Connecticut. Through text and color photographs, it tells a story of change and continuity. From the earliest colonial structures to the low steel buildings of modern dairy farms, barns have adapted to meet the needs of each generation; they've stored wheat, hay, and tobacco, and housed farm animals and dairy cows. These enduring structures display the optimism, ingenuity, hard work, and practicality of the people who tend land and livestock throughout the state.