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 t