14 10 1402 https://omeka.library.ualberta.ca/files/original/8829d804e934af7e6f29db5aea6039b2.jpg 043b3b9b5a59bfa6f98faeb50aedbc78 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 Fresh-Water Fishes of New England Creator An entity primarily responsible for making the resource E Knobel (author) Jeff Papineau (photographer) Source A related resource from which the described resource is derived Fresh-Water Fishes of New England and Those Ascending the Streams from the Sea Publisher An entity responsible for making the resource available Bradlee Whidden, 1896 Format The file format, physical medium, or dimensions of the resource 14.5 cm x 21.5 cm https://omeka.library.ualberta.ca/files/original/d88fd7cd397254fe52b5d527b1a57d91.jpg e6ec7de9b79f158726e5b7d5aab35ca6 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 Long-Eared Sunfish Creator An entity primarily responsible for making the resource E Knobel (author) Jeff Papineau (photographer) Source A related resource from which the described resource is derived Fresh-Water Fishes of New England and Those Ascending the Streams from the Sea Publisher An entity responsible for making the resource available Bradlee Whidden, 1896 Format The file format, physical medium, or dimensions of the resource 14.5 cm x 21.5 cm https://omeka.library.ualberta.ca/files/original/d4a01a19e70a976355697c0cdf2fbf78.jpg 47c764d9a40511f4136f5be9e4ebc612 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 Mud Minnow and the Killfish Creator An entity primarily responsible for making the resource E Knobel (author) Jeff Papineau (photographer) Source A related resource from which the described resource is derived Fresh-Water Fishes of New England and Those Ascending the Streams from the Sea Publisher An entity responsible for making the resource available Bradlee Whidden, 1896 Format The file format, physical medium, or dimensions of the resource 14.5 cm x 21.5 cm https://omeka.library.ualberta.ca/files/original/5bc46f85399dd4a72ca84553e13d0dd5.jpg dfbdc6cc1f22f47e3083c1ce7fc6e7d0 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 Mumichog Creator An entity primarily responsible for making the resource E Knobel (author) Jeff Papineau (photographer) Source A related resource from which the described resource is derived Fresh-Water Fishes of New England and Those Ascending the Streams from the Sea Publisher An entity responsible for making the resource available Bradlee Whidden, 1896 Format The file format, physical medium, or dimensions of the resource 14.5 cm x 21.5 cm https://omeka.library.ualberta.ca/files/original/5589e5db749968d78642ea41dce39567.tif 7b5fac177274c918c50d72b0b1731b99 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 Freshmen on Parade Source A related resource from which the described resource is derived University of Alberta Archives UAA-1969-010-002 Date A point or period of time associated with an event in the lifecycle of the resource Oct. 1928 Rights Information about rights held in and over the resource Public Domain Creator An entity primarily responsible for making the resource E. Cormack https://omeka.library.ualberta.ca/files/original/431f8c1a8c5b70f87f801309929e92bc.jpg a1c90f33c6b939be1bba27b2a50a8ab3 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 1344 Width 1009 https://omeka.library.ualberta.ca/files/original/a3e92c6707f02805c0c4a71cb7e2b19b.jpg 4562a1c9c79e43b5b883ca15e0a88d5f Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 1317 Width 1999 https://omeka.library.ualberta.ca/files/original/cac61bdb04a1e63338fcb8982eb83793.jpg af7aabed9bcad1a6c7354cee381ecdf2 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 1089 Width 1441 https://omeka.library.ualberta.ca/files/original/f326af9ed2a6c5d24c93f9dcf915a6a8.jpg 2cdcccfdeaaf88b8d5d0066071165efa Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 1089 Width 1441 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 Culinaria Description An account of the resource 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 Oleomargarine and its Relation to Canadian Economics Description An account of the resource Margarine was illegal in Canada from 1886 until 1917, when the ban was temporarily lifted to compensate for the shortage of butter during World War I. This brochure, published in March 1923, argued for a renewal of the ban, as margarine posed a hazard to the Canadian economy: Love, Secretary for the Alberta Dairymen’s Association, noted that 41.2 per cent of margarine sold in Canada between 1917 and 1922 was imported from the United States, to the detriment of Canadian industry. Love also argued in the terms of health and nutrition. He reported that margarine manufacturers used secret formulae and poor quality fats, and he referred the reader to The Newer Knowledge of Nutrition, by E.V. McCollum: “If the reader could only see the difference between the two rats pictured opposite page 88 .… Subsequent to weaning, one was given 1.5% butter-fat in its diet and presents a picture of normal growth and health; the other was given 5% bleached cottonseed oil (cottonseed oil is one of the principal materials used in the manufacture of Oleomargarine, especially the cheaper grades) and its growth had been badly stunted and, besides, it had suffered loss of hair and emaciation” (7). The rat, seen here in the page from McCollum’s book, was deficient in Vitamin A. Replacing butter with margarine would only further hurt quality of life for the Canadian worker. Upsettingly, Love also referred to a study done at a Jewish Orphanage in New York, in which some children were fed margarine instead of butter, resulting in overall weight loss. With both economic and social arguments, his brochure was designed to appeal to Conservative and Labour supporters alike. And Love would have his way: the ban on margarine resumed in 1923, encouraged in large part by arguments from the dairy lobby. Margarine was finally legalized in Canada in 1948. Creator An entity primarily responsible for making the resource E.T. Love Source A related resource from which the described resource is derived Two final images from E.V. McCollum, The Newer Knowledge of Nutrition, 1922. Date A point or period of time associated with an event in the lifecycle of the resource 1923 https://omeka.library.ualberta.ca/files/original/3a319107a357917e87e74babc0ccfa4a.jpg 70f3cf46e41714cb7a50c5c4f72bc92f https://omeka.library.ualberta.ca/files/original/ff61252c56bf8e7445a69d4c8b2c2d62.jpeg 8abb533498742668e7676abaa338160f https://omeka.library.ualberta.ca/files/original/eafe2dc42b9233c49818b6b188f0d93a.jpg 059ee3e99823b877fdbde5109705a5e2 https://omeka.library.ualberta.ca/files/original/3015b21af619b3698771f8a3116cbb15.jpg 3aa5e640472b0cf92c1eff2ed3f4c00c https://omeka.library.ualberta.ca/files/original/8b62adb78e8e8008654c81a31fad4af2.jpg 069f9643c1d3911c21f63369bc0a77ab https://omeka.library.ualberta.ca/files/original/62e2c5a0f7f47a6bbb9f44d506dd5807.jpg 0f973f4e251af313d4dfe082e548bff0 https://omeka.library.ualberta.ca/files/original/b9107a84530a07667deeaeed510e4c17.jpg f638deb0a4f534ea4a38e376e5ac48fc https://omeka.library.ualberta.ca/files/original/267b1c4a9e53bb8ad8b8f4822f3af89c.jpg f68887a3257d93696ba9c6945a08e552 https://omeka.library.ualberta.ca/files/original/5ad211f17b279a35de209733cbe52a5c.jpg c1be4aff831307bfe9206f32b5314baa https://omeka.library.ualberta.ca/files/original/9f257e39e62242adefe5c83e080a7ec8.jpg fe9919645b83f7110942da6494fbaf10 https://omeka.library.ualberta.ca/files/original/693f9a4630d8d928a1ce5eea5a549a52.jpg 1bbb0b5e8676e10bcf8e4254f84b2df8 https://omeka.library.ualberta.ca/files/original/58dcbe29d6bd5e7d9debc065239cebea.jpg dc2c9f3c6f09e9f01579110262a9a5ee 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 Animal Locomotion Creator An entity primarily responsible for making the resource Eadweard Muybridge (photographer) Date A point or period of time associated with an event in the lifecycle of the resource 1969 facsimile of 1887 original 34.2 x 49.5 cm QP 301 M992 1969 folio Description An account of the resource <a href="https://www.youtube.com/watch?v=wNU7sXkZmSw" target="_blank" rel="noopener">Eadweard Muybridge</a>’s efforts to capture animal motion with photography provides evidence of the desire to capture photographically what is invisible to the human eye. The resulting photographs had a significant influence on both scientists and artists.  The series Animal Locomotion, published in 1887 and based on <a href="https://archives.upenn.edu/exhibits/penn-history/muybridge" target="_blank" rel="noopener">Muybridge's studies at the University of Pennsylvania</a>, provides an example of what could be achieved with the shorter exposure times of <a href="https://www.youtube.com/watch?v=r0eIH69QWd8" target="_blank" rel="noopener">gelatin dry plates</a> and the photomechanical process of the <a href="https://www.moma.org/collection/terms/collotype" target="_blank" rel="noopener">collotype</a>. But, as scholars such as Marta Braun have pointed out, the photographs required manipulation and editing to render animal motion legible. To begin examining the editorial decisions that are apparent in Muybridge's studies, consider the different actions performed by men and women in the plates featured here. Also consider how many different views of the moving body each plate includes.  Muybridge’s photographs contributed to a discussion among artists regarding the representation of movement in painting, as seen in the work of artists <a href="https://www.philamuseum.org/collections/permanent/43938.html" target="_blank" rel="noopener">Thomas Eakins</a> and <a href="https://philamuseum.org/collections/permanent/51449.html" target="_blank" rel="noopener">Marcel Duchamp</a>. Muybridge’s photographs have entered the art world in other ways as well, often appearing today on the walls of art galleries. For example, some of the plates from the original 1887 series are held by the the <a href="https://www.artic.edu/artists/18883/eadweard-muybridge" target="_blank" rel="noopener">Art Institute of Chicago</a>. The copy of Animal Locomotion housed in Bruce Peel Special Collections is a facsimile edition published in 1969; by that time, the series was more likely to be studied by art historians than by scientists. https://omeka.library.ualberta.ca/files/original/fb1dbaa835b0bc9005ef57da83145912.jpg 2c7763bb6464b2a66283ce83b8761274 https://omeka.library.ualberta.ca/files/original/18a63246bce2f7c6b1e877c7b72e1e5d.jpg 96367a9af8e7adcbf21f9f375b29537d https://omeka.library.ualberta.ca/files/original/a63c9c0aac87cecadd7af34237efa047.jpg 4c535d7c7ce20ed971d7bb110e15bef7 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 Description An account of the resource Boxed concertina-folded panorama, 53 slides measuring 145 1/2" wide when opened fully. When pulled out, one side of the street appears at the top, the other side flipped over at the bottom as though the viewer is travelling down the center of the street between the two sides. Sections are often attached together at the middle of the page and each section is made up of a series of photographs, under which appear the buildings' street address. Creator An entity primarily responsible for making the resource Ed Rucha (artist) Publisher An entity responsible for making the resource available Ed Rucha, 1966 https://omeka.library.ualberta.ca/files/original/b586ef79735629f21a55a6d3856a3fcb.jpeg 33f60cf046bf53ed23b3e32e324d4966 https://omeka.library.ualberta.ca/files/original/0ac0c1fcdc562706d110998c375c0cf8.jpg c981e6cebdfd715307999a5d2d74d2d4 https://omeka.library.ualberta.ca/files/original/83c6f3b27c8bd963ca7f04a689ae265a.jpeg f8bfbf8413c9a205abf556bd824344ce https://omeka.library.ualberta.ca/files/original/4ea1825c5689864cebd01d0d802c42d1.jpg 4e6a5e3b0b899041a4f2f5dbebb6c70f https://omeka.library.ualberta.ca/files/original/d19ccf95569b0adee25152c619df747b.jpeg 570fab8c316d985816e73fa327419463 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 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 <a href="https://www.metmuseum.org/toah/hd/cncp/hd_cncp.htm" target="_blank" rel="noopener">conceptual art</a>, 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, Every Building on the Sunset Strip is closely related to the NE Thing Co's <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3140">Portfolio of Piles</a>. 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">Every Building on the Sunset Strip</a> (featured here), <a href="https://www.artgallery.nsw.gov.au/collection/works/187.2015.a-ii/" target="_blank" rel="noopener">A Few Palm Trees</a>, <a href="https://www.artgallery.nsw.gov.au/collection/works/430.2008.a-ii/" target="_blank" rel="noopener">Thirtyfour Parking Lots in Los Angeles</a>, and <a href="https://www.artgallery.nsw.gov.au/collection/works/433.2008.a-bb/" target="_blank" rel="noopener">Real Estate Opportunities</a>.  https://omeka.library.ualberta.ca/files/original/11879bd9c6efe8067835e7d0bf967865.jpg d3e9141616bb6964cae62b3de70b4470 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 North American Indian Creator An entity primarily responsible for making the resource Edward Curtis (photographer) Date A point or period of time associated with an event in the lifecycle of the resource 1907 32.5 x 26 cm (folio plates 57 x 46 cm) E 77 C97 1907 Description An account of the resource The North American Indian is a twenty-volume study of Indigenous peoples in North America, published by photographer <a href="https://www.loc.gov/collections/edward-s-curtis/about-this-collection/" target="_blank" rel="noopener">Edward Curtis</a> between 1907 and 1930. Bruce Peel Special Collections houses all twenty volumes, each illustrated with <a href="https://www.nga.gov/research/online-editions/alfred-stieglitz-key-set/practices-and-processes/photogravures.html" target="_blank" rel="noopener">photogravures</a>, as well as accompanying portfolios of the photographic plates. Curtis's photographs offer an example of the Pictorialist aesthetic popular among art photographers at the turn of the century. As explained on the <a href="https://archive.artic.edu/stieglitz/pictorialism/" target="_blank" rel="noopener">Art Institute of Chicago's website</a>, Pictorialists like Curtis "preferred romantic or idealized imagery over the documentation of modern life, welcoming artistic composition and soft focus." These characteristics permeate Curtis's photographs in The North American Indian.  Iroquois artist <a href="https://www.youtube.com/watch?v=iG-Opj3NGC4%20" target="_blank" rel="noopener">Jeff Thomas</a> has said that Curtis's photographs make him "long to hear the subjects' voices." With his project <a href="https://jeff-thomas.ca/2014/04/my-north-american-indian-v21/" target="_blank" rel="noopener">My North American Indian Volume 21</a>, Thomas engages Curtis's images in order to—in Thomas's words—"challenge the silences in the archive; to build a new paradigm that connects past and present." The complete set of Curtis's The North American Indian is one of the highlights of the <a href="https://bpsc.library.ualberta.ca/collections/gregory-s-javitch-collection" target="_blank" rel="noopener">Gregory S. Javitch Collection</a> of books about North and South American Indigenous peoples and cultures. For information about additional photographs of Indigenous peoples housed in Bruce Peel Special Collections, see the <a href="https://bpsc.library.ualberta.ca/collections/indigenous-photograph-collection" target="_blank" rel="noopener">Indigenous Photograph Collection</a>.