People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.”
An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.
The Picture of Dorian Gray altered the way Victorians understood the world they inhabited. It heralded the end of a repressive Victorianism, and after its publication, literature had—in the words of biographer Richard Ellmann—“a different look.” Yet the Dorian Gray that Victorians never knew was even more daring than the novel the British press condemned as “vulgar,” “unclean,” “poisonous,” “discreditable,” and “a sham.” Now, more than 120 years after Wilde handed it over to his publisher, J. B. Lippincott & Company, Wilde’s uncensored typescript is published for the first time, in an annotated, extensively illustrated edition.
The novel’s first editor, J. M. Stoddart, excised material—especially homosexual content—he thought would offend his readers’ sensibilities. When Wilde enlarged the novel for the 1891 edition, he responded to his critics by further toning down its “immoral” elements. The differences between the text Wilde submitted to Lippincott and published versions of the novel have until now been evident to only the handful of scholars who have examined Wilde's typescript.
Wilde famously said that Dorian Gray “contains much of me”: Basil Hallward is “what I think I am,” Lord Henry “what the world thinks me,” and “Dorian what I would like to be—in other ages, perhaps.” Wilde’s comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own, which saw Wilde sentenced to two years’ hard labor for gross indecency. The appearance of Wilde’s uncensored text is cause for celebration.
The Spanish colonial period in South America saw artists develop the subgenre of official portraiture, or portraits of key individuals in the continent’s viceregal governments. Although these portraits appeared to illustrate a narrative of imperial splendor and absolutist governance, they instead became a visual record of the local history that emerged during the colonial occupation.
Using the official portrait collections accumulated between 1542 and 1830 in Lima, Buenos Aires, and Bogotá as a lens, Pictured Politics explores how official portraiture originated and evolved to become an essential component in the construction of Ibero-American political relationships. Through the surviving portraits and archival evidence—including political treatises, travel accounts, and early periodicals—Emily Engel demonstrates that these official portraits not only belie a singular interpretation as tools of imperial domination but also visualize the continent's multilayered history of colonial occupation. The first stand alone analysis of South American portraiture, Pictured Politics brings to light the historical relevance of political portraits in crafting the history of South American colonialism.
For more than forty years Bruce Jackson has been documenting—in books, photographs, audio recording, and film—inmates’ lives in American prisons. In November, 1975, he acquired a collection of old ID photos while he was visiting the Cummins Unit, a state prison farm in Arkansas. They are published together for the first time in this remarkable book.
The 121 images that appear here were likely taken between 1915 and 1940. As Jackson describes in an absorbing introduction, the function of these photos was not portraiture—their function was to “fold a person into the controlled space of a dossier.” Here, freed from their prison “jackets,” and printed at sizes far larger than their originals, these one-time ID photos have now become portraits. Jackson’s restoration transforms what were small bureaucratic artifacts into moving images of real men and women.
Pictures from a Drawer also contains an extraordinary description of everyday life at Cummins prison in the 1950s, written originally by hand and presented to Jackson in 1973 by its author, a long-time inmate.
Winner, Book Award of Merit, Wisconsin Historical Society, Best Books for General Audiences, selected by the American Association of School Librarians, and Best Books for Regional Interests, selected by the Public Library Association
A spirit of religious revival blazed across the United States just after 1900. With a focus on Holy Spirit power, early adherents stirred an enthusiastic response, first at a Bible school in Topeka and then in a small mission on Asuza Street in Los Angeles. Almost immediately, the movement spread to Houston, Chicago, and then northeastern urban centers. By the early 1910s the fervor had reached most parts of the United States, Canada, and northern Mexico, and eventually the converts called themselves pentecostals. Today there are pentecostals all over the world. From the beginning the movement was unusually diverse: women and African Americans were active in many of the early fellowships, and although some groups were segregated, some were interracial. Everytwhere, ordinary people passionately devoted themselves to salvation, Holy Ghost baptism evidenced by speaking in tongues, divine healing, and anticipation of the Lord’s imminent return.
This movement saw itself as leaderless, depending on individual conversion and a radical equality of souls — or, as early devotees would say, on the Holy Spirit. But a closer look reveals a host of forceful, clear-eyed leaders. This volume offers twenty biographical portraits of the first-generation pioneers who wove the different strands of Holy Spirit revivalism into a coherent and dramatically successful movement.
In 2003, Jorge Mario Múnera won the Latino and Latin American Art Forum Prize at Harvard University, which entitled him to produce and present an exhibit at Harvard’s David Rockefeller Center for Latin American Studies. By this time, Múnera had already produced an important body of work, revealing even the farthest corners of his native Colombia through his photographs of people and their traditions.
Portraits of an Invisible Country, which bears the name of the exhibit he presented at Harvard in 2004, is the culmination of a five-year collaboration between the photographer and the curator of the show, José Luis Falconi. It comprises a book of essays with insightful reflections on Múnera’s diverse body of work and a series of sixteen photo posters, which together highlight the photographer’s travels within Colombia and his careful depiction of his countrymen and women.
Renowned in Colombia as one of the most prolific and influential photographers of his generation, Múnera was the first recipient of the National Photography Award in Colombia in 1998. Since then, numerous international accolades have followed, chief among them as the first photographer to hold the Andrés Bello Chair of the King Juan Carlos Center at New York University.
A collection of new essays on notable historic and contemporary Basques of America's Far West that offers a perceptive and lively examination of the lives of one of the West's most resilient and successful ethnic minorities. It is essential reading for anyone interested in the Basque people or those interested in the process of immigration and assimilation: these profiles illustrate how America's Basque immigrants have achieved success in mainstream society while retaining strong ties to their ancient Old World culture.
The publication of Portraits of John Quincy Adams and His Wife makes available a record which both affords unique visual documentation of the most varied political career in American history and exemplifies the work of the principal American portraitists from the days of Copley and Stuart to the dawn of the Daguerrean era. Included in the volume's 159 illustrations are all the known life portraits, busts, and silhouettes of John Quincy and Louisa Catherine Adams, along with important replicas, copies, engravings, and representative likenesses of their siblings.
The book is organized into seven chapters which generally coincide with the major divisions of John Quincy Adams' political career. Within each chapter are discussed the artists, their relationships with the Adams's, and the provenance of each of their works. A comprehensive chronology of John Quincy Adams' life for each period accompanies the chapter to which it pertains. All important information about the size of each likeness, the inscriptions if any, the date executed, and present ownership where known is summarized in the List of Illustrations.
The Adams's, as they watched themselves age over the years in the marble, ink, or oil of the artists who portrayed them, recorded much by way of commentary on the artistic talent and process at hand. Andrew Oliver, in his detailed and lively discussions of each likeness, makes full use of the diaries and correspondence preserved in the Adams Papers, thus combining a learned appreciation with an intimate glimpse of Adams's as they saw themselves. The volume continues the record of Adams family portraiture begun with Portraits of John and Abigail Adams. The two volumes together constitute Series IV of the distinguished Adams Papers publications.
The most complete translation available of these brief biographies of great European figures, written by one of the leading historians of the sixteenth century.
Portraits of Learned Men provides a fascinating synopsis of the contours, mentality, and trajectory of humanistic culture in Italy and Europe by one of the leading historians of the sixteenth century, Paolo Giovio (1483–1552). These brief biographies of 146 men of learning—from Dante, Petrarch, and Boccaccio in the fourteenth century to Erasmus, Thomas More, and Juan Luis Vives in the sixteenth—were meant to accompany accurate portrait paintings commemorating great figures in modern history. Presented together with the literary portraits in this volume, these paintings would be located in a purpose-built villa on Lake Como that would be open to the public. Giovio called this his musaeum, or home of the Muses, one of the first such institutions in European history. His museum would not only serve the traditional function of inspiring virtuous emulation but also provide a comprehensive, candid, and personal overview of the Republic of Letters as it had taken shape and flourished in Italy and Europe during the Renaissance.
This volume contains a fresh edition of the Latin text and a new, more complete translation than any now available in English.
Profiles of triumph and hardship amid massive inequality in Latin America.
Each chapter of Portraits of Persistence, a project of the University of Texas Urban Ethnography Lab, offers an intimate portrait of one or two individual lives. The subjects are a diverse group of individuals from across the continent: grassroots activists and political brokers, private security entrepreneurs, female drug dealers, shantytown dwellers, and rural farmers, as well as migrants finding routes into and out of the region. Through these accounts, the writers explore issues that are common throughout today's world: precarious work situations, gender oppression, housing displacement, experiences navigating the bureaucracy for asylum seekers, state violence, environmental devastation, and access to good and affordable health care. Carefully situating these experiences within the sociohistorical context of their specific local regions or countries, editor Javier Auyero and his colleagues consider how people make sense of the paths their lives have taken, the triumphs and hardships they have experienced, and the aspirations they hold for the future. Ultimately, these twelve compelling profiles offer unique and personal windows into the region’s complex and multilayered reality.
Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.
In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.
As archaeologists recover the lost treasures of Alexandria, the modern world is marveling at the latter-day glory of ancient Egypt and the Greeks who ruled it from the ascension of Ptolemy I in 306 B.C. to the death of Cleopatra the Great in 30 B.C. The abundance and magnificence of royal sculptures from this period testify to the power of the Ptolemaic dynasty and its influence on Egyptian artistic traditions that even then were more than two thousand years old.
In this book, Paul Edmund Stanwick undertakes the first complete study of Egyptian-style portraits of the Ptolemies. Examining one hundred and fifty sculptures from the vantage points of literary evidence, archaeology, history, religion, and stylistic development, he fully explores how they meld Egyptian and Greek cultural traditions and evoke surrounding social developments and political events. To do this, he develops a "visual vocabulary" for reading royal portraiture and discusses how the portraits helped legitimate the Ptolemies and advance their ideology. Stanwick also sheds new light on the chronology of the sculptures, giving dates to many previously undated ones and showing that others belong outside the Ptolemaic period.
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