18
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1404
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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>
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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
Toledo
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
5.0 x 5.0 cm
DP 402 T7 T6
Description
An account of the resource
<p><span style="font-weight: 400;">Related to the earlier tradition of <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3170">lantern slides</a> on glass plates</span><span style="font-weight: 400;">, <a href="https://obsoletemedia.org/135-film-slides/" target="_blank" rel="noopener">slides</a> made from <a href="https://blog.scienceandmediamuseum.org.uk/celluloid-and-photography-part-1-celluloid-as-a-substitute-for-glass/" target="_blank" rel="noopener">celluloid film</a> became a commonplace way of circulating photographic images in the twentieth century. </span><span style="font-weight: 400;">These slides featuring the sites and artworks of Toledo, Spain, could have been used in various ways. Slides were frequently used to circulate art reproductions, much like </span>engraving<span style="font-weight: 400;"> or lithography had been in previous centuries (such as in Baxter's <em><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3033">Cabinet of Paintings</a></em>)</span><span style="font-weight: 400;">, and they became a fixture of art history classrooms in the twentieth century. These slides also allude to the tradition of the family slideshow, popularized in the 1950s and 1960s with </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3043">Kodachrome</a> slides<span style="font-weight: 400;">. Much like </span><span style="font-weight: 400;">photographic <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-books">souvenir books</a> and <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/memory-and-identity/1900-to-1969/souvenir-cards">souvenir cards</a></span><span style="font-weight: 400;">, slides like these could be purchased by a traveller to supplement their snapshots of a trip. </span></p>
Creator
An entity primarily responsible for making the resource
photographer unknown
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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
Photomontages
Creator
An entity primarily responsible for making the resource
John Heartfield (artist)
Date
A point or period of time associated with an event in the lifecycle of the resource
1974 reprints of 1931-34 and 1938 originals
64.0 x 48.0 cm
TR 685 H42 1974 folio
Description
An account of the resource
<p><span style="font-weight: 400;">These reprints of John Heartfield’s </span><a href="https://www.tate.org.uk/art/art-terms/p/photomontage" target="_blank" rel="noopener">photomontages</a> <span style="font-weight: 400;">show one way that photographs circulated political knowledge. Heartfield reused and remixed images printed in the German mainstream media in order to expose and critique Nazi propaganda. One example of this kind of print media can be found in </span><span style="font-weight: 400;">a <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3142">cigarette album</a></span> that celebrates Adolf Hitler’s life. </p>
<p>Some of <a href="https://www.getty.edu/art/exhibitions/heartfield/" target="_blank" rel="noopener"><span style="font-weight: 400;">Heartfield’s </span>photomontages</a><span style="font-weight: 400;"> were published in the left-wing workers’ magazine </span><i><span style="font-weight: 400;">Arbeiter Illustrierte Zeitung </span></i><span style="font-weight: 400;">(Workers Illustrated Newspaper, also known as </span><i><span style="font-weight: 400;">AIZ</span></i><span style="font-weight: 400;">) and some were reprinted and disseminated as posters. We can get a sense of the power that these photomontages may have held for contemporary viewers from Walter Benjamin's comment in his 1934 essay, "<a href="https://www.marxists.org/reference/archive/benjamin/1970/author-producer.htm" target="_blank" rel="noopener">The Author as Producer</a>," that Heartfield's "<span>technique made book jackets into a political instrument."</span><br /><br />The prints housed in Bruce Peel Special Collections were reprinted in 1974 as collectors' items. Today, the photomontages are most often viewed as works of art, and Heartfield is often described as a <a href="https://www.tate.org.uk/art/art-terms/d/dada" target="_blank" rel="noopener">Dada</a> artist. Another artist who took a similar approach by using printed media to critique mainstream culture was <a href="https://www.youtube.com/watch?v=9E1cA3j_xY8" target="_blank" rel="noopener">Hannah Höch</a>. </span></p>