Tag, Robert Taft
15.01.–28.02.2014
4. Trove Found at Naval Yard (On History, One)

This week, as happens every so often, a post on the PhotoHistory list forwarded a press article relating the discovery of a “trove” of forgotten photographs — in this case, a collection of 150 glass slides showing scenes from the Spanish American War of 1898, “discovered” in Navy archives in Washington D.C. The article in the Mail Online is entitled “Ghosts of a forgotten war: Naval archivists discover trove of never before seen photographs from Spanish-American conflict of 1898”. Opening with a close-up shot of archivist David Colamaria as he is gazing at a glass slide of the Spanish Admiral, titled “Incredible find,” the article begins: “Archivists at the Naval History and Heritage Command in Washington DC were going through a backlog of artifacts this week when they came across an unexpected treasure … ‘The plates were individually wrapped in tissue paper and include full captions and dates…,’ said Lisa Crunk, NHHC's photo archives branch head.” The description of the container follows, with the mention of a title and attribution (“etched on the cover”) to Douglas White, “war correspondent.” more

Published: 17.02.2014
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3. Meet Billy the Kid (On Portraiture, Two)

In my previous post I raised the question, “why is it that commercial portraiture, which in the 19th century and into the 20th made up an overwhelming majority of all photographs taken, has received comparatively so little attention in the more established histories of photography?” Maybe the “What if God Was One of Us” video, with its weirdly mixed “message,” does not go far enough to answer this question, except to suggest, subliminally or subconsciously, that commercial portraiture is a game of masks, or fools, and an outdated one at that, perhaps even only appealing today to ethnic minorities and punk heads.

One simple answer is that in most portraits encountered in old albums or today in picture-sharing facilities, there is generally nothing to like or to learn—except perhaps numbers, formats, archival procedures—unless the viewer is related to the subject and in a position to reconstruct stories involving the image. Portraits are usually private. Their merits—the knowledge and care that pertain to them, the aspirations of the sitters through their representations—are private, and often ephemeral; memories attached to them fade fast. In portraits, then, there is nothing to learn or to like, unless some significant context or discourse can be recovered or imagined about them. more

Published: 04.02.2014
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