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10
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Every Building on the Sunset Strip
Creator
An entity primarily responsible for making the resource
Ed Ruscha (artist)
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
18.5 x 14.5 cm (folds out to 18.5 x 755.0 cm)
N 7433.4 R95 A6 T54 1967
Description
An account of the resource
<p><span style="font-weight: 400;">This artists' book was created by American artist <a href="https://youtu.be/0xboX5cvIzw" target="_blank" rel="noopener">Ed Ruscha</a>. During the 1960s and 1970s, Ruscha created a series of photographic books featuring banal subject matter such as interstate gas stations, empty swimming pools, and vacant parking lots. Informed by the principles of</span> <a href="https://www.metmuseum.org/toah/hd/cncp/hd_cncp.htm" target="_blank" rel="noopener">conceptual art</a><span style="font-weight: 400;">, which privileged ideas over aesthetics, Ruscha’s work points towards photographs' ubiquity within twentieth-century visual culture as carriers of information rather than as aesthetic objects. By taking banal informational images and inserting them into contexts such as the art gallery and the art book, Ruscha prompts us to consider how such photographs can become art. With its repetitive structure and mundane subject matter, <em>Every Building on the Sunset Strip</em> is closely related to the NE Thing Co's <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140">Portfolio of Piles</a>.</em><br /><br />Bruce Peel Special Collections houses six of Ruscha's photographic books including <a href="https://artmuseum.princeton.edu/collections/objects/13606" target="_blank" rel="noopener"><em>Every Building on the Sunset Strip</em></a> (featured here), <a href="https://www.artgallery.nsw.gov.au/collection/works/187.2015.a-ii/" target="_blank" rel="noopener"><em>A Few Palm Trees</em></a>, <a href="https://www.artgallery.nsw.gov.au/collection/works/430.2008.a-ii/" target="_blank" rel="noopener"><em>Thirtyfour Parking Lots in Los Angeles</em></a>, and <em><a href="https://www.artgallery.nsw.gov.au/collection/works/433.2008.a-bb/" target="_blank" rel="noopener">Real Estate Opportunities</a>.</em> <br /><br /><br /></span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lantern Slide
Description
An account of the resource
<p><a href="https://www.whyte.org/illuminatinglanternslides" target="_blank" rel="noopener"><span style="font-weight: 400;">Lantern slides</span></a><span style="font-weight: 400;">, which allowed the image on a glass plate to be projected with light onto a wall or screen, represent one way that knowledge circulated through photographs. Though lantern slides with painted imagery have a long history that predates the discovery of photography, travelling lectures based on photographic lantern slides became increasingly commonplace in the nineteenth and early-twentieth century. Lantern slides would eventually be supplanted by </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3159"><span style="font-weight: 400;">film slides</span></a><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">This hand-coloured slide is made from a photograph taken by Western Canadian journalist Miriam Green Ellis. The cracks that mark the surface of the glass plate call attention to the fragility of lantern slides. Bruce Peel Special Collections houses the Miriam Green Ellis archive, which is featured in the online exhibition </span><a href="https://omeka.library.ualberta.ca/exhibits/show/ellis/intro" target="_blank" rel="noopener"><i><span style="font-weight: 400;">Miriam Green Ellis: Western Canadian Journalist</span></i></a><span style="font-weight: 400;">.</span></p>
Creator
An entity primarily responsible for making the resource
Miriam Green Ellis (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
undated
4.6 x 7.0 cm
in cataloguing queue
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Spiderland
Creator
An entity primarily responsible for making the resource
R. A. Ellis (author and photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1912
19.0 x 12.1 cm
QL 451 E65 S65 1912
Description
An account of the resource
<p><span style="font-weight: 400;">R. A. Ellis explains that “the scarcity of books on the subject of spider life is my excuse for assuming the role of guide into ‘Spiderland.’ The fruit of personal observation and reading is set forth, in as graphic a form as I could command, by pen and camera” (v). As promised, the book offers a wide variety of illustrations, some of which are photographic. This mix of media calls attention to the relative advantages of different forms of image-making. <br /><br />A full scan of <em>Spiderland,</em> part of the <a href="https://bpsc.library.ualberta.ca/collections/dr-ronald-b-madge-entomology-collection" target="_blank" rel="noopener">Dr Ronald B. Madge Entomology Collection</a></span><span style="font-weight: 400;"> housed in Bruce Peel Special Collections, is available through the <a href="https://archive.org/details/b28104687" target="_blank" rel="noopener">Internet Archive</a>.<br /></span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sandow's System of Physical Training
Creator
An entity primarily responsible for making the resource
Eugen Sandow (author)
Sarony (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
1894
22.0 x 15.6 cm
GV 333 S2 1894b
Description
An account of the resource
<p><span style="font-weight: 400;">Victorian bodybuilder <a href="https://www.nhm.ac.uk/discover/eugen-sandow-a-body-worth-immortalising.html" target="_blank" rel="noopener">Eugen Sandow</a>’s guide to physical training provides an example of the ways in which photographs could be used in how-to manuals. To consider the advantages of photography for this purpose, compare this volume to </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3034"><i><span style="font-weight: 400;">The Art of Swimming</span></i></a><span style="font-weight: 400;"> from 1764.</span></p>
<p><span style="font-weight: 400;">Sandow’s guide is richly illustrated with photographs, reproduced by the </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044">halftone process</a><span style="font-weight: 400;"> and supplemented</span> <span style="font-weight: 400;">with engravings that contribute additional meanings. For example, notice how the two different media on pages 28 and 29 complement each other by making an implicit connection between the idealized nudes of classical sculpture and Sandow’s living<strong> </strong>body, with Sandow’s active body clearly superseding the inert stones portrayed in the engraving. These connections continue throughout the book, with Sandow striking poses borrowed from classical sculpture. <i> </i></span></p>
<p><span style="font-weight: 400;">The photographs of Sandow’s body also call attention to a persistent problem with the nude in photography. While nude figures were welcome in painted representations hanging on the walls of art galleries, representing the nude in photography—in all its <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography">indexical</a> glory—was another story altogether. <br /><br />A full scan of Sandow's guide is available through the <a href="https://archive.org/details/sandowgetsphysicl00sanduoft/page/n1/mode/2up" target="_blank" rel="noopener">Internet Archive</a>.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ethnographic Photographs
Creator
An entity primarily responsible for making the resource
Karel Plicka (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1900]
42.0 x 34.0 cm
GT 820 C95 P72
Description
An account of the resource
<span style="font-weight: 400;">This album of photographs by Czech photographer, filmmaker, and ethnographer Karel Plicka offers a portrait of the people of Czechoslovakia in twenty pictures. <br /><br />The impulse to document a culture through photographs is related to other anthropological and <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/circulate-knowledge/1900-to-1969">documentary practices</a> of the early-twentieth century, such as German photographer </span><span style="font-weight: 400;">August Sander’s </span><a href="https://www.getty.edu/art/exhibitions/sander/" target="_blank" rel="noopener"><i><span style="font-weight: 400;">People of the Twentieth Century</span></i></a><span style="font-weight: 400;"> and American photographer </span><span style="font-weight: 400;">Edward Curtis’s </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3155"><i><span style="font-weight: 400;">The North American Indian</span></i></a><span style="font-weight: 400;">. Each of these photographic projects aim to circulate knowledge about the people and cultures they represent, yet they do so through the dominant artistic styles and ideologies of their time. Here, Plicka views the people of Czechoslovakia through a </span><a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Pictorialist</a><span style="font-weight: 400;"> lens.<br /></span>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Fight against Apartheid!
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
29.5 x 41 cm
DT 763.6 A25 1969 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">The Fight against Apartheid! </span></i><span style="font-weight: 400;">is, as its cover explains, “an </span><span style="font-weight: 400;">album of exhibition photographs showing life under apartheid and depicting the struggle of the South African people for their liberation under the banner of the African National Congress.” The photographs gathered here call </span><span style="font-weight: 400;">attention to the role of <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/circulate-knowledge/1900-to-1969">documentary photography</a> in political activism, and are related to the tradition of </span><span style="font-weight: 400;">social documentary photographs</span> <span style="font-weight: 400;">published in twentieth-century magazines like </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3045"><i><span style="font-weight: 400;">Life</span></i></a><span style="font-weight: 400;">.</span><span style="font-weight: 400;"> At the time of this album’s publication, apartheid was still a reality in South Africa, and the fight referenced in the title was an urgent one. <br /><br />These photographs provide one example of photography's </span>potential to prompt action by establishing a “<a href="https://vimeo.com/25369128" target="_blank" rel="noopener">civil contract</a>” (Azoulay) between the people photographed and the viewer. However, given that <span style="font-weight: 400;">apartheid in South Africa continued well beyond the publication of these photographs, the album also points toward </span><span style="font-weight: 400;">the limitations of documentary photography</span><span style="font-weight: 400;">. </span></p>
<span style="font-weight: 400;">A related photograph, taken in 1976, is Sam Nzima’s “</span><a href="http://100photos.time.com/photos/sam-nzima-soweto-uprising" target="_blank" rel="noopener"><span style="font-weight: 400;">Soweto Uprising</span></a><span style="font-weight: 400;">,” which is sometimes credited with bringing international attention to apartheid. To learn more about apartheid in South Africa, visit</span><a href="https://www.sahistory.org.za/article/history-apartheid-south-africa" target="_blank" rel="noopener"><span style="font-weight: 400;"> South African History Online</span></a><span style="font-weight: 400;">. </span>
Creator
An entity primarily responsible for making the resource
African National Congress (author)
photographers unknown
photojournalism
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hunting in the Canadian Rockies
Date
A point or period of time associated with an event in the lifecycle of the resource
[1916-17]
38.5 x 30.5 cm
FC 219 P14 1916 folio
Description
An account of the resource
<p><span style="font-weight: 400;">This lavish and unique five-volume photograph album records a hunting trip to the Canadian Rockies in 1916-17. Each photograph in the album is hand-tinted with watercolours and mounted on its own page. The album's large and heavy pages provide a generous frame for each picture, creating a setting that would be appropriate for an original work of art. </span></p>
<span style="font-weight: 400;">The album belonged to Cleveland millionaire </span><a href="https://clevelandhistorical.org/items/show/915" target="_blank" rel="noopener"><span style="font-weight: 400;">Kenyon Vickers Painter</span></a><span style="font-weight: 400;">.</span>
Creator
An entity primarily responsible for making the resource
photographer unknown
colour
Rockies
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sights and Scenes on the Tōkaidō
Creator
An entity primarily responsible for making the resource
James Murdoch (author)
Kazumasa Ogawa (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1893]
27.0 x 40.5 cm
DS 895 T6 O44 1893 folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">Sights and Scenes on the </span></i><i><span style="font-weight: 400;">Tōkaidō</span></i> <span style="font-weight: 400;">circulates knowledge about a particular place</span>—<span style="font-weight: 400;">a popular travelling route through Japan. The photographs, reproduced as </span><a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener"><span style="font-weight: 400;">collotypes</span></a><span style="font-weight: 400;">, and their accompanying texts were intended for English-speaking armchair travellers who might never step foot in Japan. The photographs thus contribute to an “imagined geography” of Japan, much like other volumes in this exhibition contribute to an “</span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity"><span style="font-weight: 400;">imagined geography</span></a><span style="font-weight: 400;">” of Canada. </span></p>
<p><a href="http://www.baxleystamps.com/litho/ogawa/ogawa_tokaido.shtml" target="_blank" rel="noopener"><i><span style="font-weight: 400;">Sights and Scenes on the </span></i><i><span style="font-weight: 400;">Tōkaidō </span></i></a><span style="font-weight: 400;">recalls the nineteenth-century British photographer John Thomson’s </span><a href="https://beinecke.library.yale.edu/collections/highlights/john-thomsons-illustrations-china-and-its-people-1873-1874" target="_blank" rel="noopener"><i><span style="font-weight: 400;">Illustrations of China and Its People</span></i></a><span style="font-weight: 400;">. However, here the pictures were taken by a Japanese photographer, </span><a href="https://www.getty.edu/art/collection/artists/1432/kazumasa-ogawa-japanese-1860-1929/" target="_blank" rel="noopener"><span style="font-weight: 400;">Kazumasa </span>Ogawa</a><span style="font-weight: 400;">, who recorded features of his own home land and culture.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sundry Photographs of the Lethbridge Brewing and Malting Co
Creator
An entity primarily responsible for making the resource
Arthur Rafton-Canning of the British and Colonial Photographic Company (photographer)
Date
A point or period of time associated with an event in the lifecycle of the resource
[1912]
25.4 x 17.5 cm
FC 3234.2 p732 PE004991
Description
An account of the resource
<p><span style="font-weight: 400;">This album of photographs from the Lethbridge Brewing and Malting Company likely dates from between 1905 (when the Alberta Brewery, founded in 1901, was renamed the Lethbridge Brewing and Malting Co) and 1918 (when the name was changed to Lethbridge Breweries Limited). </span><span style="font-weight: 400;">The photographs document the interior of the factory, and are reminiscent of <a href="https://www.icp.org/browse/archive/constituents/lewis-wickes-hine?all/all/all/all/0" target="_blank" rel="noopener">Lewis Hine</a>'s photographs of industrial labour. Though perhaps best known for his photographs documenting child labour while he worked for the <a href="https://www.loc.gov/collections/national-child-labor-committee/about-this-collection/" target="_blank" rel="noopener">National Child Labor Committee</a> from 1908 to 1924, Hine also photographed adult labour, and some of his photographs heroize labourers</span>—<span style="font-weight: 400;">such as his series of the <a href="https://digitalcollections.nypl.org/collections/photographs-of-the-empire-state-building-under-construction#/?tab=about" target="_blank" rel="noopener">Empire State Building under construction</a> from 1931 and his 1920 <a href="https://www.metmuseum.org/art/collection/search/265184" target="_blank" rel="noopener">photograph of a steamfitter</a>.<br /><br />This album is from the <a href="https://bpsc.library.ualberta.ca/collections/prairie-ephemera" target="_blank" rel="noopener">Prairie Ephemera Collection</a> housed in Bruce Peel Special Collections.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Moon
Creator
An entity primarily responsible for making the resource
James Nasmyth (creator)
James Carpenter (creator)
Date
A point or period of time associated with an event in the lifecycle of the resource
1885
22.0 x 15.0 cm
QB 581 N26 1885
Description
An account of the resource
<p><span style="font-weight: 400;"><em>The Moon: Considered as a Planet, a World, and a Satellite</em> by British scientists James Nasmyth and James Carpenter raises questions about the role that photographs play in circulating knowledge. The book’s photographs offer a likeness of the moon, and circulated knowledge about the moon’s surface, but what the pictures record was not the moon at all. Based on observations through the telescope, Nasmyth and Carpenter created plaster models of the moon’s surface and then photographed the models under precise lighting conditions. The results are certainly photographic, recording an </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography">indexical</a><span style="font-weight: 400;"> relationship to their subjects, but, to what extent do they deliver the type of truthful image that we commonly expect of photographic images? </span></p>
<p><span style="font-weight: 400;">The photographs included in the volume were created by the </span><a href="https://www.youtube.com/watch?v=cOqsaCu-_yw&feature=emb_title" target="_blank" rel="noopener">Woodburytype process</a><span style="font-weight: 400;">, which records a wider range of tones than many other photomechanical processes. A full scan of Nasmyth and Carpenter's <em>The Moon</em> is available through the <a href="https://archive.org/details/moonconsideredas00nasmiala" target="_blank" rel="noopener">Internet Archive</a>.<br /></span></p>
<p>Astronomical photography <span style="font-weight: 400;">has changed dramatically since the nineteenth century. To see more recent examples, explore the <a href="https://images.nasa.gov/" target="_blank" rel="noopener">NASA Image and Video Library</a>. </span></p>