She wrote and advised a multidiscriminatory research essential lens. It was licensing photographs across the curriculum, produced by the Oregon Public Television and learning. I watched several episodes of that, and i really loved it and learned a lot. Definitely check it out on youtube and other places. And her work is fantastic. Definitely feel free to read her articles explore her work and , you know think deeply about , how representation and identity is connected to photography. This is really what this program is about and what this exhibition is about. So i am going to hand it over to makeda a much better , speaker than myself. Have a great time. What is going to happen is she will speak for 45 minutes and then we will open up to the q and a. And then you can ask questions. So think up some great questions. [applause] makeda best thank you for that wonderful introduction. Perhaps the best introduction i have ever had. Very nice. So i think patty, on the life are the lights going to go down a little lower . Are the lights going to go a little lower . Oh, ok. So i am interested in two questions today. One is more significant about photographic portraits in terms of subject matter and technique. We have a question we are thinking about is, what is the Historical Context which ed drew and considers to respond during this. To answer these questions, we really need to think back to the 19th century. We need to understand how the native americans entered the visual record and the themes and tropes that influenced and are evidenced in that production, how photography adapted the same attitudes the history and , production of photographs of native americans in this region of the country, california and the modoc war with photography and media. So depictions of native people existed prior to this time, the United States in the 1820s marked the emergence of a particular interest in producing a visual record of native peoples. This coincided with the concept of manifest destiny. This was the 19th century idea that held that western expansion across the continent was inevitable and preordained. This highly influential concept originally articulated by a journalist John Osullivan in 1845 who wrote our manifest , destiny is to overspread the continent allotted by providence for the Free Development of our yearly multiplying millions. Related to this idea is the idea of the vanishing race, based on the premise that Indigenous Peoples and cultures would inevitably disappear because they were unable to change realities. In madisons painting, we see a multigenerational family of native americans at lands and. Lands end. The sun is fading against their body. The painting is cool, helping to express the harshness of the landscape and perhaps a metaphor for their own existence. They are left with nothing. The young man young woman leans heavily and sits on the ground. The young man seems resigned while the elder male seems to accept their fate. Storm clouds are gathering. American artists, including george kaplan, carl barth ller Alfred Miller and alfred b are set abouttadt creating works that responded to these interests and ideas. The interest came in a variety of forms paintings, photographs, engravings. In florida language florida language glenn described his , Mission Armed and equipped and supplied, i started out in the year 1832 and penetrated the vast and pathless wild which are familiarly dominated the far western continent with a light heart inspired with an , enthusiastic hope and reliance that i could meet and overcome all the hazards and private nations of a life devoted to the privations ofn a life devoted to the production of a literal and graphic manner, customs and character. Of the interesting race of people who are rapidly fasting passing away. Lending a hand to a dying nation who has no historian or biographer of their own. To portray with fidelity their native looks and history. Thus snatching from a hasty open oblivion, what could be saved for the benefit of posterity and her graduating it as a fair and just monument to the memory of a truly lofty and noble race. So people want chroma lithographs. This work is also translated into other formats. They could own a piece, a souvenir, of the very idea that kaplan is talking about. George crowfoot, a publisher of Popular Western travel guide commissioned the american brooklynbasedhe painter and lithographers john daft. This is a picture of the manifest destiny, representing the extension of civilization over wilderness and the uncivilized. Notice the emblem of syllabus civilization, the telegraph wire trained and also , families. The painting is a visual narration of westward expansion. Male miners come first in the bottom, right, and establish civilization. Native americans and wildlife too, right are cowering in the , darkness at the left of the painting. Notice that the light comes from the east and arrives in the west. Other troops existed as well in painting such as the good indians and the bad indians. The good indian in Charles Knowles painting wears western clothing. He has his hair cut. He is combed and he sits with other emblems of civilization. A dog. Education. You can see he has achieved these things. Versus the bad indian on the left, your left, sorry uncontrollable emotions. , nudity and wild gestures. And notice again the tones here. The tones of these paintings are very important. The war tones in the painting by John Mack Stanley versus the cooler tones earlier on in the other work by thomas madison. Right . These kinds of tones influence how we also read these images and also the color of the people that we see. The earliest photograph made in an american studio dates to 1847 and was made by thomas easterly. The images are a karyotype. It is a photographic process invented in france in 1839. To fix the sioux chief who was visiting in st. Louis. He is posing in a studio and he wears it bear claw necklace and holds attle, and he medal, and he holds a silver tipped cane. Remember this resembles a three dimensional image. It is threedimensional. So in this way a viewer can , actually imagine that they were actually holding him in their hands. They are holding like a miniature version of him. He was known as watchful fox. He also rose to prominence during a series of diplomatic exchanges with u. S. Authorities. In the 1830s, and in this way he is a controversial figure. Reservation he suggested negotiation settlement with government officials and had replaced and other leader who had been more resistant to the diplomatic talks. His willingness to sell tribal lands in iowa and to relocate west of them is the river to kansas caused great Political Division among his tribe. Many refused to leave. Journey tode the kansas in later returned to 1845, iowa. Easterly made 40 images of him and others, and he like kaplan and bodmer wanted to sell his , images to artists who were audiences who were interested in certain in this subject. An earlier portrait made in is 1845 probably the first known photographic image of a native american, but it was made in Great Britain by a scotch photographer David Octavius hill and robert addison. These photographs are different from karyotype, they are paperbased. You can see the paper that they used, the kind of fibers of the paper, and that is why it is grainy as well, it involved coding a piece of paper with a photosensitive material. The callow type is the precursor to what modern photography is. Rather than your portrait, these portraits were made outdoors. It looks kind of strange under the lighting. Depicts a man who, also by the name of peter jones. They made eight portraits of him in indian dress. , threethe pipe was not actually any kind of heirloom or his own. It was given to him by someone during his visit to england and so it wasnt like sort of ethnic, a tribal object. Now what is fascinating about this image is that, notice how supposedly, native people dont understand technology, right . But as martha satellite points out, he clearly poses and assumes different roles. He clearly understands what he is doing. He clearly understands the process of picture making. In the 1860s, photographic documentation began to supersede paintings and drawings. Photographs of indians provided the average american a means to view the unfamiliar. And threatening mostly, but exciting. When we say unfamiliar, most of the americans living east of the mississippi, this is completely unfamiliar. They could view these images from the comfort of their home. Or within a public viewing space with others, without a direct encounter. Also, the Cultural Association of the photograph was evidentiary truth, meant they could powerfully serve to reinforce and enforce prevalent ideas about native people. Now, it is important to note that the emergence of native americans as a subject in photography coincides with other important technical and cultural factors. Technical factors include the expansion of photo processing. Stereoscope cameras. , a handheld camera. Photographic formats and printing capacities. Paperbased photographs versus karyotype could be inserted into books. They could be distributed and shared. Cultural factors include increasing numbers of settlers in western regions the expansion , of media, and the growth of tourism. Some photographers are going to take up themes we have already seen. Right . Like george kaplan, the controversial figure Edward Curtis made these images as a part of his 20 volume work, the north american indian, contained over 1500 images and was published in 1911. Among other things, curtis was criticized for the unethical methods which included directing his subjects. Ncholy vision of the vanishing indian was aided by his medium in the printing format. The soft brownish color that you observe is characteristic of the format he uses here before velour. He is using a particular format in order to enforce the sense of the past. It creates a textured image, a very rich brown. He used it to print his work to , distribute his work in books and also, we have to understand influences how we read and interpret the subject matter. So it is useful here to consider some broad subject categories of images of native people. One category is the anthropological image. Right . The second half of the 19th century saw the rapid growth of anthropology and [indiscernible] the Scientific Study of , historical peoples and cultures. The organization in the United States name in control established in 1879. , the function was to describe and record native american peoples and cultures. Now, the photographers here are interested in reproducing for us and demonstrating, right signs , of cultural difference and distinction. Right . Features,cial cheekbones, forehead, viewers are also looking at the dark skin, the long hair, jewelry, right . But also notice the items that are crowded in around him, right all of the golden tapestries. They are further used to enforce and represent his difference, to represent his culture, to the viewer. Another category we can identify are Government Surveys and expeditions. Timothy o sullivan, a former civil war photographer, worked on federal surveys under Clarence King and lieutenant George Wheeler and produced hundreds of photographs between 1867 and 1874. These surveys worked to not only, for example determine , facilities for rail or common roads or note resources for climate, geology and more, but they also sought to discover the numbers, habits and dispositions of indians in this section, among other activities. I notice here the official markers. Right . The fields. The titles. I reproduced here the back of one of the stereo graphs. You can see that these images were used. They were used for reports and they were used for presentations. They were used to convince other congressmen to appropriate money. Right . They were used to demonstrate to other congressmen the need for certain types of legislation. Right, so these images were actively used, handled, and distributed. Another common type of image are delegation images. Delegation portraiture. Now by the mid19th century, the violence and the disputes over White Settlement in native land really lead the u. S. Government to invite delegations of native american leaders to washington, d. C. To negotiate treaties. Right . And it was common for these visitors to be recorded by the leading photographers of the era, many of which had studios in washington. Right . Now, Alexander Gardner here presents us with a portrait, seemingly a document of their visit, but notice is powered here, how he intervenes in this image. Note that he directs the gaze of each of the men. They dont look at each other, and they dont engage with each other. They look at us. They are gazes and their poses there gazes and their poses are controlled. He controls where they sit and how they stand. So it appears to be a simple portrait but in fact, he has , intervened here to show us a very particular kind of representation. And this particular image was reproduced on the cover of harpers weekly. We will come back to media, but just to show you how these images start to end up in the media. Perhaps less wellknown are these kind of artistic images. This is a particular genre of a photographic reduction or photographic era called the pictorialism, and pictorialism was an International Photography movement that essentially rejected the mechanical aspects of photography in favor of the se kind of labor intensive processes which would emphasize the artistry of the photographer. They wanted to reject the idea that the photographer was a near a mere mechanic and that photography was a mere instrument of recording and that it wasnt art. And so they adopt these laborintensive processes, and they manipulate photographs in order to introduce texture and different tones. And to essentially make a photograph in the same way that an artist or painter might make a painting. Photographer Richard Gertrude was a leading figure in this movement. And she began photography photographing figures of performers with Buffalo Bills wild west show during 1888 to 1889. This is the subject of her portrait titled the red man. Right . And the red man of course comes from a centuries long notion of racial stocks. Right . The idea that each race belongs to a different type of, that each race belongs to a different category, and that each of these races has different characteristics, and of course is the emphasis there is that they have lesser characteristics than others. Notice the image is very close up, it is very moody. What you cant tell you here is the texture of the image. It is very textured in its production, and the tone of it as well. But here is another interesting trope, the stoic indian. He is staring back at us. Another type of image is frontier and village reservation , life. Andher painter between 1880 the hopi snake ceremony known as 1920, the snake dance was the most popular and widely depicted southwest native american ritual. Right . It also became a very popular tourist attraction. Usually performed in august to ensure abundant rainfall for the corn crop the ceremony involved , live snakes. Right . The American Public learned of and became interested in the ritual through the work of ed photographers who began publishing the account, and they were taken up by the media. With the introduction of the handheld camera in the late 1800s, tourists from around the world went there themselves to take pictures. And this is what you see i dont know if i have a pointer here that is what you see on the right of the image. All these, and on the left too, all of these westerners are essentially crowding into make images to observe the ceremony. Some of these photographs are really amazing because some of the dancers, they barely have any room because there are so many tourists there, crowding in with their cameras to make photographs. Right . Some images are more documentary. Than others. Here we see this image by author arthur french. He is in washington. So why do they speak to the delegate development of photographer after 1850 and related to the commercial opportunities available for photographers. The portraits of this man and he jones, you and peter cannot easily make multiples, and they were fragile. In the case of the karyotype, collective viewing was not possible. The production was limited to patent restrictions, but it also had drawbacks. When you look at these photographs, we need to remember and acknowledge the implicit bias by their makers. For example, photographers tended to minimize or ignore successful adaptations. Sometimes they invented a visual record even saying to document actual practices. These photographers were exposed to contemporary rhetoric about native americans. They were nonnative photographers, and most of the time these images were being made for commercial regions. Commercial or governmental reasons. You didnt just pop out with your camera and go on a survey. So these photographers were working on the influence of another body or entity. Now, photographs of native americans in california are rare for various reasons. Native people in other regions of the country were more likely to be photographs. Native american delegations as we have seen went to washington for diplomatic discussions and their portraits were made. Government survey expeditions to the southwest employed photographers, and wellknown photographers set up Branch Studios in places like iowa and st. Louis. Now the process that we have come to know as photography was introduced to the world in 1839, the only surviving image datesative californian 101850 and predicts shows a modoc a group that resided in what is now the Sierra Nevada valley. These are not these two images, they are not those images, but they are also the same group, the modoc featured , here in a publication or a series of publications by lawrence and house worth of San Francisco. They created this kind of, this kind of series called gems of california, and native americans were part of the series. You see the number there, 595. They were part of the series. They were not photographers, they were affirmed that sought to acquire images made by other photographers. And these images would be sold to of course eastern audiences. These images are called stereo graphs. Right . We have seen them already. Stereo graphs consist of two nearly identical photographs together. They are paired to give the illusion of a single image and also that you are viewing something threedimensional, kind of like those things that kids have or you put the little, you put it in i forget what they are called but they are the toys that kids have. What . Yes, viewmaster. [laughter] view abest you need to studio graph with a particular type of viewer. Youween 1889 and 18 had the first real efforts to document people in california. Most of the people were from San Francisco, and they ventured out from there. So now the author of american genocide is speaking next week. He makes a powerful case. He makes us aware of the way war was around various policies and attitudes. Among those, a policy of extermination, which was articulated at the highest levels of government and absorbed by the public through the media. And what he calls the pedagogic violence. Also a series of other attacks on the modoc. So what happens is, we have this moment in 1850 when images of americans aretive portrayed as kind of romantic ways. We have seen, and then as more settlers, we see more images like this begin to appear. Settlers come we see more , images like this begin to appear. And the modoc indian war becomes part of the story. For example, described the massacre of 1852 which was the turning point because of its legality and the fact that it was sanctioned by the state. Other killing campaigns had occurred through the second half of the 19th century. Throughout his book, the discussion of indian extermination, in the media, it was called that, it was an important theme in the book. And what we see in these media images. War or the modoc campaign, for those who dont know the background of it occurred in northeastern , california and southwestern oregon between 1872 and 1873. Led by captain jack, 50 two 52 warriors in a band of more than 150 modoc people who left the klamath reservation. They established defensive positions in the lava bed south of the lake, resident date lava bed present day lava national monument. And what happened was that they managed to reduce the United States army for months. In 1873, there was a piece Commission Peace Commission Hearing and captain jack and others decided they would attack. They ended up killing a general and the general they have this assumption that they kind of attack, this would encourage americans to leave. This did not happen. They fled back to their lava bed. After that u. S. Forces were , reinforced, and they came and eventually the modoc war surrendered. And what you are looking at here are Images Released after captain jack and the other warriors were captured. They were tried for murder. Captain jack and others were executed, and others were sentenced to life imprisonment. Why is it important . It was, according to some sources, one of the most costly wars in u. S. History. It cost about 10,000 per warrior to subdue the modocs in the battle. They totaled 50 to 60 as there were 1000 u. S. Troops at the height of the conflict. This was an International Media event. Right . Now, about 100 modoc indian war photographs are known to exist. There are different types. Portraits are stereo graphs, landscapes. These images were made by edward mortgage. Even by 1873, photographers are still technically limited in their capacities to record movement. They are not really recording movement at all. Basically they are staging scenes, and their recording landscape because they cant really record actual action. Lewis Herman Heller is less wellknown than white bridge. He immigrated from new york in 1855 where he learned photography and practice there. Practiced there. He immigrated from germany to new york. Aroundated to california 1862. He went with his wife. And he began Offering Services as a photographer. It is important he begins photographing the modoc war in 1863. He gets there anyone else. Before anyone else. Before the media really gets onto it. And some of the viewers of the images are known to have been staged. We will come back to that in also a moment. And more bridge will also arrive later a week later. Thathotographs this event. His person was murdered heller was working to cover these events, and he publishes them, makes the unfortunate decision to work with another photographer called watkins to publish this. What happens is watkins gets the credit for the images and heller disappears from public record. That is why we dont know much about him, because images actually say, copyright even if you go to the library of congress today, if this watkins and not heller it says watkins and not heller. With heller, i will come back to these in a second. Let me talk for a second about white bridge. More bridge was an english photographer known for pioneering work on studies of motion and earlier Motion Picture projection. He moved to San Francisco in 1885 where he worked as a bookseller. By 1867, he worked as a professional photographer in the city. He began really successful through his association and of course his collaboration with leland stamford. He is also known for his very good romantic depictions of native american life. He produced stereo graphs through various publishing agreements. We see one here, an octogenarian. The images also kind of deconstruct the homes, the tvs of native peoples in order to photograph them. You notice, they dont have a capacity to light inside, to use external lighting. He does kind of deconstruct half of it in order to let life here to make like in. So he makes these photographs with the romantic titles. Right . Octogenarian. He does not tell us who they are or what group they belong to. It is just under the heading of the indians of california. A generic title, and a generic title for the series and a generic name for this particular work. Similarly here, right medicine , man asleep. And fresno squaw. These are stereo graphs. Fewer. Ld look 3d three why are people sitting on the ground . Why are they sleeping . These are the kinds of thing that people would have picked up on. They are passive. He is communicating this idea of passivity, lack of modernity. Lack of activity, lack of civilization. All things you would have been looking for in these images. Bridge goes to work as actually under the employment of the United States army. So he arrives later than heller to the field. And again, he becomes the one who is known as a photographer of the modoc war even though he arrived later. And you see this in his images that he is working for the government. He here photographs donald mckay who was not a modoc indian that but a scout for the United States army. He worked in a variety of positions. And they play an Important Role in this conflict because mckay attempted to speak to the modoc attempted to speak attempted to speak to the worked as intermediaries and liaison to the modoc. Here as actures him friend. Like viewers would have looked him ase images and seen a friend to the United States side. Was a figure of great interest to the viewing public because of his role aiding the states army. Here we see another image. Springs, indians on picket duty. We can think back to our good indianbad indian analogy. Hes indians are helping the United States army. They are offering their services. They are watchful, they are supposed toheyre be doing. These are the kinds of things viewers would have been looking at. Its hard not to we understand the politics of this images without also looking at contemporary media. The victorrial press found in era, the civil war had become a major force in american life. Photographs shared the public space. They share the public fear with wood engravings. And theyre competing with these wood engravings. M. J. Ary scene created based on witness stories and other media but this is what photographers are competing with. Depictions. You up up the magazine, aarpers weekly, this is fullpage spread, a large magazine. Bigger than two sheets of paper. So you have the images that photographers had to compete with. And the modisok wars, i was was a media event. Y coordinators from chicago, london correspondents from chicago, london, new york were flight. Images were produced at harpers weekly and other publications. Illustrated news. Now, photography was associated with truth. So photographers couldnt create these kinds of fancy scenes of other. Shooting each they couldnt show these kinds of action scenes. So photography was associated with truth. And so in that way could serve a illustration could not. Viewers would have looked at and understood them to be truthful. There are other factors at work wee which are directing how interpret these portraits or images. Theseould have understood images are true. In that way, photographs had the illustration. To compete. S try edwin muybridge, modoc brave lying in wait for a shot. All. Not a modoc at he is one of the warm indian for an scout, posing image. Here, you try to see them make it image that would captivate audiences. The man has no shirt on. He is clearly in profile. Clarity to thef image because muybridge knows withes trying to compete drawings and illustrations. Now, photographs like this seem rather banal. Why would anyone want to look at piles of rocks or a cave . But this is the setting, this is where it was taking place. The long history in american art, american culture, obsessed with geological formations and ofo fears of caves and native americans in hiding in spaces. So these images play up the fears and Cultural Associations. But again, it also goes back to the notion of truth. This kind of detail viewers loved to see this in 3d. The actual cave where supposedly the modocs were living and hiding. They could see that in these matter if that wasnt necessarily one of the caves that was used. Was a cave and served as a visual enforcement of what about. Had been reading similarly here, the stronghold after its capture. You have to understand that like ereographs, much as the audience reminded us, the themaster, you looked at in sequence so it was kind of a story. Thement up and tell the story one at a time by intong up the stereographs your stereograph viewer. And so Something Like this, you see the number here, and you load them up as if you are looking at a story. End, itst the offered us this end, right . So if we saw this before, by 1618, it is all over and the people are captured and now the americans have taken over the space. So they are telling a story here and also reassuring visitors over. Ts all the story and narrative has been closed. And peace has been brought to the scene. Notice that he is going all the side. To the top on the hes arranged people all the way up to the top of the rocks, the skye background of to show these people, to make see them scattered around the space. Hellers portraits probably made involuntarily, have another kind of appeal. They were on this wildly popular cover, frank wesleys illustrated news. Frank wesley got the scoop on theirs weekly, competitor, right . And here is, much like looking at the lava beds, we have a collection to give viewers access to these images and faces of the deviant others. By now, the modocs have been in popularnized society and popular media. So the idea of seeing these close, when you hadnt been able to see these faces before, was something that was quite sensational. Now, what is interesting here is that, we will go back for a second, to hellers images, notice here on the bottom, the certification of authenticity. I certify that l. Heller has taken the photograph of the above modoc indian, prisoner under my charge. So there was a certificate. That, we have general davis adding, i am the above fact. As if to further emphasize, this this indian has been captured and is here under my charge. So viewers would have noticed and they would have enjoyed seeing this. And they would have seen the names. Shes lurid names, boston charlie. Huka jim. Of races. Association with asian, and jim, associated with african americans. And jacknald mckay here, who sit with their hands their laps, showing they are peaceful, good indians here to help. Whats fascinating about this ander cover, of course, there was a text that accompanied it, viewers would text. Urned to the is that he actually includes people who are not actual murderers. Captain jack was a leader in the center but so is donald mckay on the left. So all these figures get wrapped up in the bad indian and deviant other image, even though some of them were actual helpers of the United States side. They were actually aiding that side. He is here, in this representation here, passing into a long history in which good and bad indians are pictured in the media. These portraits or images of bad indians, unadorned, they are not wearing any of their cultural markers. Theyre wearing plain clothing. They stare directly back at us in these kind of grim looking faces. So these kinds of images are important because they are like a mug shot. A sense of deviance. These images were sold for four dollars a dozen. You could also buy large card versions. Enlargements,d quote, suitable for framing or orging up in private saloons rooms. Heller entered into this arrangement with watkins and what happens is he is not uncredited ends up with the image for his work. Now the images, of course, are playing on a wider and broader fear of ethnic others in america at this time. Why is the modoc war story sensational . Other xenophobic nationalist and racist rhetoric that dominated the popular that was stoked by the popular media at this time. We see in this cartoon, all of the ethnic others. The africanamerican in the background. Saying i forget what hes saying. Hes saying Something Like, theyre coming for me. But the africanamerican and asian person, everyone here is looking at their fate and understanding that their time is nigh. That brings us to the significance of the images that surround us. So far, we have talked about photographs made of, rather than nativeh participation of american subjects. Drew makes images that are tin types. Actual the reproduction of tin types actually involved liquid material. It involves coating a sheet of material. Sensitive the image is reversed, left to right. Type was athe tin cheaper alternative to prints negatives. The liquid aspects of these seem apparent in the richness of the images. And palpable. Ous in this way, as we can be author steven hustler who writes on native writes hotography think of indians as victims, abstract power, acted by an active, colonizing force. The way,very step of native americans found ways to to eradicatetempts their culture and themselves but in indigenousd and colonizing pollutions. Drews photographs can be offered as a contrast of what we have been looking at, people as dead, mute, manipulated, not allowed to speak, versus drews sitters, alive. Y much probably thank you. [applause] please go to the mic stand if you do have a question yes. Actually, i was going to ask a question related to how this ends, about agency and resistance. One of the photographs that you showed at the beginning, it was the hopey with all the textiles in the background. Averting his eyes in a way. Looking away. Do you see those as small acts of trying to turn away from the image in in some of the photographs . Yes, definitely, what is fascinating about photography at moment is that it is a process struggling to do its work. Moments whereese you see someone resisting or you see the process fail. In those moments, relationships and personalities and ideas are revealed. Just as you saw, right . The manna, verted his eyes, not told, right . Was yes, definitely you do see those things. And you also see efforts to position certain people are told to use certain items and it might be something another viewer thinks it did not mean what they thought it meant. Yes, you do see these acts of resistance. You dont catch many, many. But its fascinating to see them. For me, i think of them as the intersection between the technology itself failing and the subject resisting. Photographer couldnt keep making more. He couldnt say lets do it and again. You couldnt delete it because its not digital. One. Ave to keep that [indiscernible] so, the question is, did these subjects know exactly what was happening to their image [inaudible question] so there are two questions here. Did the subjects know exactly was happening to their image . [indiscernible] how evolved i think in the case of delegation photographs, they saw their image reproduced in these journals and they knew that it occurred with other people. Right . They knew that their photography was probably made and they probably had seen copies of these newspapers. So they probably knew in some way their image was being reproduced. What is interesting about some of the delegation photographs, that was one type. There are other types where you see the subjects being treated just as any other subjects of the era, just as president lincoln or anybody else. That was just one particular example. Didother question, muybridge, did they write down ideas . Most often, people write down feelings about their subjects which are often derogatory. They dont necessarily write happened. But they write down derogatory ideas they have about the subjects. We have those types of writings. Did they work in collaboration with these people . Someone like a controversial figure Edward Curtis, right . For longy with people periods of time, did a lot of writing, a lot of talking, using props. So there probably was some sort of awareness in the case of his the process. But we dont know a lot about side. Her movementany type of have resulted in a blurry photography . To remain still no matter what . You have to remain basically after 1860 you have to remain somewhat still. You dont have necessarily a clamp on your head but you do remain somewhat still. But its not as difficult as it had been. Pose. What im showing you now are images that yes, there are images where people moved and you see images where the depth of field isnt quite correct. Things would be out of focus. Its not a Perfect Technology in any sense. Thank you for your talk. [indiscernible] what generation are you having access to . A fairly early generation . Duplicate . You had to so the library of congress has scanned most negatives. And a lot of print. They dont actually want you to becausectual objects then, if you were doing that, long. Ouldnt last very one of the drawbacks of looking at negatives is you are looking full frame of image that might have been cropped. Or images that may have never made it anywhere. Because people made a lot of images. Mean snt necessarily they left a lot of images behind. Doesnt necessarily mean they anywhere. Whating this research, images can i show how theyre i find examples that demonstrate a particular parameter that was observed and that image wasnt cropped or Something Like that. Everything that is at the library of congress is not necessarily something out in the world. You have to be aware of those things. But in doing research, you mostly look at copy. They cant. Open to everybody, right . They cant have everybody coming in and having these things. You mentioned that some of were photographers supported by governmental [indiscernible] can you talk, elaborate, whether of or can you give examples used . Ose photographs were whether there are superintendents who use these to influence policies or actions . Sorry. Elegation Government Survey photographs are often used for one be used toey would try to figure out how the numbers of people that lived in one region. They would try to look at the photographs and say, what kind of people are they . Well, this is the type of people that lived there. Judgments arese not you cant judge that by photograph. They would try to figure out who lived in this type of region . Theyany numbers do estimate are there. You also have to understand its photograph. The photograph is supplementing longer reports. The photograph is just giving visual records. They are not necessarily looking at the images by themselves and saying, ahha, thats it. They are looking at drawings. They are looking at maps. They are looking at many different types of objects. Its actually false to look at Something Like this. Viewed people would have massive amounts of paper in addition to these photographs. These photographs alone. The photographs are just giving what peoplesis to are writing in the reports. This is how people dress. This is how they lived. And the judgments are made from there. But the entire settlement of the southwest is based on this type survey. Where we can settle, where we can build railroads. I did not talk about railroad surveys, but where is the best place to put the track . Where are we going to encounter resistance . What about elevation . Native americans are kind of secondary. At them as ang obstacle but theyre really interested in vegetation, these things. Thank you. Do we have images of east peopleribes and comparable to the west coast images . Thats an interesting about why certain areas dowmption. Ave more i mean, the east is already settled, right . Time photography arrived. There recently native americans state. In new york so, there is that issue. But also it is important to remember the cultural fantasy and the cultural hold of the west on the imagination of this country. The west and its landscape was the place that is unique about america. Make americaould america. There, note going staying east. Once they discover yosemite, once they discover these places, they call Niagara Falls is nothing compared to what they see. So the west holds has a special function. Said, the west changes. Its not necessarily california first. Its much closer to the mississippi and gets further out from there. Thats part of the reason, is settled so east was the west has this fascination of the unknown. You have a lot of paintings and drawings. You also have other kinds of images. You have wood engravings. You have other kinds of documentation. But we dont have photographs. I assume that the native were not living as in the west, traditional right. Thats why you have like thelouis, that is probably closest youll find in photography, st. Louis, iowa, regions. Anyone else have a question . There we go. I was really struck by the image of captain jack. It just looked to me so much like [indiscernible] because it really strikes me it looks like that were captured. Lincoln. [indiscernible] yes. Reminiscentfinitely of portraits of lincolns assassins. Those photographs are widely distributed. But heller lived in new york. It is possible that he but he came before the end of the war, hes already out in the west. Its conceivable he could have seen them. Were a photographer, you kept up with a lot of what was on. G it is conceivable he saw this. I dont know if this particular becomes a convention but obviously the mugshot convention is already established. There are slight differences. You see them singular and the looks like ease in a calvin klein ad. And in the middle here, they do not look as heroic. They dont look theyre physical but in a different way. Theres something just reminded them. What is really interesting was really popular are the faces. Versus gardener, it was the body. There are these sense of, who are these people took from us . And they want to see the whole body. They want to feel the body and what happened to those bodies. Versus these people is more about the faces and confirming type. Ant and you do that through the face more so than the body. Its fascinating. Theres a question . You mentioned native people obstacles. [indiscernible] none of these of pictures actually tell the story of how these people actually lived. What is the i dont know. I just feel that there is so much missing because it is all basically limbs coming from the no story. Nd theres this is what happens. My family comes and asks me be me the hardest questions. I can interrupt him since hes my brother. But yes. Im glad you picked this up. This is what happens. Osmosis. This is the problem with this history. Drews work is also important. To speak back. Thats in the photographic project of many people. To create a record that speaks record. The historic many other native artists effort to speak back to history. Really does pose the question of how do we read these have theen we dont other side . How do we recover something of the experience of the people on that other side and how do we ask questions about what we are looking at and not continue to take them as just documents . Thank you. San bernardino intk i was looking at the style of photographs. You see this. I assume you wouldnt see photographs of people like this, this, mug shots like this. Is that correct . Remember, europeans do not need to tell themselves cultural myths and stories in the way that americans do. They dont need to use photographer in that way. No, they are making different types of images. Are. Cans they are a smaller country, talking about france and Great Britain. They dont have a lot of space but they also dont need these cultural myths. They dont need photography in the same way americans do. Lets give makeda a round of applause. [applause] [captions Copyright National cable satellite corp. 2016] [captioning performed by the National Captioning Institute which is responsible for its caption content and accuracy. Visit ncicap. Org] interested in American History tv . Website, cspan. Org history. Upcomingee our schedule or watch a program. Road to theifacts, white house rewind, lectures in history and more, at cspan. Org headquarters. History. On the morning of december 7, 2400ber 7 almost americans were killed and 1200 wounded. Led to thee attack u. S. Entry into world war ii. Navy and National Park service mark the 75th with asary of the attack ceremony at pearl harbor. Harris, head of the u. S. Pacific
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