“Z.C. Shanidar” by Rex
Barritt, 1963. Ralph and Rose Solecki Papers. National Anthropological
Archives, Smithsonian Institution.
The muses for Barritt’s poem are the northern Iraqi archaeological
sites of Zawi Chemi, or “Z.C.”, Shanidar
village and Shanidar Cave, which were excavated by Ralph and Rose Solecki
throughout the 1950s and into the early 1960s [2, 3]. Their archaeological work
famously uncovered that remains of 10 Neanderthal individuals [2, 4]. The poem references the unhappy fate
of some of the Shanidar Neanderthals due to a rock fall in the cave:
In level D it was,
Believe me he’s no classic
That big rock did it,
Popped him right on
his [ehassic] [1, 5].
Shanidar Cave is not exclusively a Neanderthal site. The later
layers of the site contained a cemetery of twenty six human burials dated to
the 9th millennium BCE, just before the emergence of agriculture in
the Near East [2, 3].
Photograph of Ralph and Rose Solecki, 1957. Ralph
and Rose Solecki Papers. National Anthropological Archives, Smithsonian
Institution.
While much of the Ralph and Rose Solecki Papers consist of
field notebooks, data sheets, archaeological maps, and photographs, this poem
provides a unique glimpse into the variety of interpretations of the Soleckis’
work at the Shanidar sites [2]. Processing of the Ralph and Rose Solecki Papers
was made possible by a grant from the Smithsonian Institution’s Collections
Care and Preservation Fund, and they will soon be open for research. The
National Anthropological Archives wishes to thank Drs. Ralph, Rose, John, and
William Solecki and Dr. Melinda Zeder, curator of Old World Archaeology in the
NMNH Department of Anthropology, for their diligent work and assistance in
bringing this important collection to the NAA. The staff of the NAA also send their warm and belated wishes to Dr.
Ralph Solecki for a most happy 100th birthday.
Molly Kamph,
Project Archivist
Sources
[1] Rex Barritt, “Z.C. Shanidar,” 1963, The Ralph and Rose
Solecki Papers, National Anthropological Archives, Smithsonian Institution.
[2] The Ralph and Rose Solecki Papers, National
Anthropological Archives, Smithsonian Institution.
[3] Ralph S. Solecki, Rose L. Solecki, and Anagnostis P. Agelarakis,
The Proto- Neolithic Cemetery in Shanidar
Cave (College Station, TX: Texas A&M University Press, 2004).
[4] Libby W. Cowgill, Erik Trinkaus, Melinda A. Zeder, “Shanidar
10: A Middle Paleolithic immature distal lower limb from Shanidar Cave, Iraqi
Kurdistan,” 2006, Journal of Human Evolution (53): 213-223.
[5] Author is uncertain of word’s intended spelling from Barritt’s
poem.
|
Thursday, December 21, 2017
Collection in Process: A Poem from the Ralph and Rose Solecki Papers
Archaeological sites are not often fodder for poetic
musings, but such musing may at times be revealed by other kinds of
“excavations.” In this case, the processing of the Ralph and Rose Solecki
Papers at the National Anthropological Archives has unearthed just one such creative
inspiration, suggesting that poetry can come from unexpected sources. Written in 1963 by Rex Barritt, a New York
University student of Jacques Bordaz who himself was a former student of Ralph
Solecki, the poem highlights a potential outlet for the pre-exam jitters of an
Old World Prehistory course [1, 2].
Thursday, December 14, 2017
What Would Frank Espada Do?
As I walk through the streets of the nation’s capital, there is never any shortage of interesting sights. But it is not the monuments nor the plethora of restaurant chains that catch my attention. Instead, I am fascinated by the social ills of society that are so often deemed invisible by our very own conscious effort to look the other way. The homelessness, protests, and social inequality I have witnessed are nothing new, but the way in which I now view these things is.
For over a month now, I have made the trip from downtown Silver Spring to Washington D.C. My destination: the National Museum of American History. As an intern in the Archives Center, my main task has been to process the Frank Espada Photographs Collection. The collection consists of several thousand black-and-white photographs and what seems to me an endless amount of negatives. Apart from processing the collection, it is also my responsibility to understand who Frank Espada was. At first, the answer was simple: a Puerto Rican photographer who documented the Puerto Rican diaspora and later published a book with some of his most famous photographs. But as archival work would soon teach me, the answer is never that easy.
As I sift through the countless photographs, I am mesmerized by the stories that each one tells. Espada traveled to various cities in the United States and Puerto Rico and had a talent for capturing scenes and activities. One minute I could find myself in the bustling streets of East Harlem and the next in the San Juan Festival at Cabrillo Beach, California. More importantly, Espada specialized in capturing the raw emotions that are displayed by our countless facial expressions. In the collection, I have encountered photographs of individuals filled with extreme joy and happiness, and by complete contrast, photographs of individuals filled with grief and emotional pain. It’s these photographs that capture the eye of an observer. As I dug deeper into the collection, I realized that Frank Espada was more than just a talented photographer.
Man participating in a school boycott in New York, 1964. Frank Espada Photographs, ca. 1970-2000, Archives Center, National Museum of American History. AC1395-0000004. |
School children in Puerto Rico. Undated. Frank Espada Photographs, ca. 1970-2000, Archives Center, National Museum of American History. AC1395-0000002. |
Included in the collection are black-and-white photographs taken by Frank Espada during the Civil Rights Era. It’s here that it became clear to me how much his life revolved around community activism. He was driven by a sense of social justice and worked to improve his community and counter the racism and discrimination of the 60s and early 70s. In two photographs, he appears standing next to a sign that reads, “East New York Action”. Espada founded East New York Action, a community organization created for the sole purpose of addressing issues in the community. East New York Action organized rent strikes, educated people on welfare rights, and registered voters. There are photographs of the Puerto Rican Community Development Project, an organization that Espada worked for as a community organizer. Additionally, he had strong ties with the United Bronx Parents and the Young Lords, among others. Frank Espada was a determined leader with an ability to connect with others and a dedication to his community that was hard to match.
I think of Frank Espada and his work, both as a photographer and as a community leader, and comprehend his vision of the world. He saw beauty in every photograph, but understood that the most important thing he could do was help others through their struggles and listen to their stories when the world surrounding them chose to turn a blind eye. It is this part of the collection that impacts me the most. As I continue my walk through D.C., I ask myself, “What would Frank Espada do if he witnessed everything I see on my walks to work?”
I think back to the 30 cassettes in the collection that I spent two weeks digitizing. Each cassette had full-length interviews conducted by Frank Espada of community leaders such as Jack Agüeros, Willy Vasquez, and Juan Gonzalez, among others. Personally, it was my favorite part of the collection, as I was able to place a voice on several of the faces I saw in photographs. It was here that I realized what Espada was doing: he was giving a voice to the community. While his photographs did the work of establishing a national presence of Puerto Rican culture and identity, these interviews showcase the collective work that was being done across the country to improve the lives of Puerto Ricans and other Latinos living in the United States. They were a clear reminder that we must give a voice to the communities that are often silenced by the social barriers of inequality.
So what would Frank Espada do? He would remind us that we must take the time to listen to each other’s stories and to speak up for ourselves and for others. He would remind us that if we do not take the time to do these things, we are incapable of seeing the world through more than one lens, oblivious of the things happening around us. And of course, he would do all of this with a camera in hand, ready to capture us in our most intimate moments. This is what Frank Espada would do.
Edwin Rodriguez, Intern
Archives Center, National Museum of American History
I think of Frank Espada and his work, both as a photographer and as a community leader, and comprehend his vision of the world. He saw beauty in every photograph, but understood that the most important thing he could do was help others through their struggles and listen to their stories when the world surrounding them chose to turn a blind eye. It is this part of the collection that impacts me the most. As I continue my walk through D.C., I ask myself, “What would Frank Espada do if he witnessed everything I see on my walks to work?”
I think back to the 30 cassettes in the collection that I spent two weeks digitizing. Each cassette had full-length interviews conducted by Frank Espada of community leaders such as Jack Agüeros, Willy Vasquez, and Juan Gonzalez, among others. Personally, it was my favorite part of the collection, as I was able to place a voice on several of the faces I saw in photographs. It was here that I realized what Espada was doing: he was giving a voice to the community. While his photographs did the work of establishing a national presence of Puerto Rican culture and identity, these interviews showcase the collective work that was being done across the country to improve the lives of Puerto Ricans and other Latinos living in the United States. They were a clear reminder that we must give a voice to the communities that are often silenced by the social barriers of inequality.
Self-portrait of Frank Espada standing in front of East New York Action. Undated. AC1395-0000001. |
Edwin Rodriguez, Intern
Archives Center, National Museum of American History
Friday, December 8, 2017
Accessing the Bonaparte Collection at the National Anthropological Archives, Part Two
This post is the sixth and final post in a series of blog posts written by George Washington University students in Dr. Joshua A. Bell's anthropology graduate seminar Visual Anthropology: The Social Lives of Images (Anthro 3521/6591), Fall 2016 graduate course. Dr. Bell is the Curator of Globalization in the Smithsonian's National Museum of Natural History's Department of Anthropology. Students in this course chose a collection that features visual materials (drawings, film, photographs, or paintings) from the National Anthropological Archives, and researched its material, thinking through the scale and scope of the collection and situating it within the wider discipline of anthropology. These collections are available for research at the National Anthropological Archives.
For part one of this blog post, please click here.
From right to left, V.P Yazambarum, V.P. Aroonachelem, and Ramazamy, Box 4, Series 4, Photo Lot 80-52, National Anthropological Archives |
Frontal, Profile pictures of V.P Aroonachalem, Box 4, Series 4, Photo Lot 80-52, National Anthropological Archives |
material objects within the archive that enable the assembly of the box through which the past accrues layers of meanings and materializes as a tangible object of scrutiny for the present.
Seal included throughout collection, Photo Lot 80-52, National Anthropological Archives |
Shweta Krishnan, Ph.D. Student, Anthropology
George Washington University
References
Akou, Marie. 2006. “Documenting the Origins of Somali Folk Dress: Evidence from the Bonaparte Collection.” The Journal of the Costume Society of America. 33(1): 7-19.
Bonaparte, Roland H. H. 1886. “Note on the Lapps of Finmark (in Norway), Illustrated by Photographs.” The Journal of the Anthropological Institute of Great Britain and Ireland 15(2016): 210-213
Buckeley, Liam. 2005. “Objects of Love and Decay: Colonial Photographs in a Postcolonial Archive.” Cultural Anthropology. 20(2): 249-270.
Dirks, Nicholas. 2001. Castes of Mind: Colonialism and the Making of Modern India. Princeton: Princeton University Press.
Orelove, Eden. 2016. Photo Lot 80-52, Prince Roland Bonaparte Photograph Collection of Omaha, Kalmouk, Hindu, Khoikhoi, Somali and Surinamese Peoples, circa 1883-1884. National Anthropological Archives.
Edwards, Elizabeth and Janice Hart. 2004. “Mixed Box: The Cultural Biography of a Box of 'Ethnographic' Photographs.” In Elizabeth Edwards and Janice Hart eds. Photographic Objects Histories: On the Materiality of Images, 47-61. London: Routledge.
Scherer, Joanna C. 1992. "The Photographic Document: Photographs as Primary Data in Anthropological Inquiry," In Elizabeth Edwards, ed. Anthropology and Photography, 32-41. New Haven: Yale University.
Sekula, Allan. “The Body and the Archive.” October 39 (Winter):3-64.
Stoler, Ann Laura. 1995. Race and the Education of Desire. Durham: Duke University Press.
Stoler, Ann Laura. 2009. Along the Archival Grain. Princeton: Princeton University Press.
Wednesday, December 6, 2017
Accessing the Bonaparte Collection at the National Anthropological Archives, Part One
This post is the fifth in a series of blog posts written by George Washington University students in Dr. Joshua A. Bell's anthropology graduate seminar Visual Anthropology: The Social Lives of Images (Anthro 3521/6591), Fall 2016 graduate course. Dr. Bell is the Curator of Globalization in the Smithsonian's National Museum of Natural History's Department of Anthropology. Students in this course chose a collection that features visual materials (drawings, film, photographs, or paintings) from the National Anthropological Archives, and researched its material, thinking through the scale and scope of the collection and situating it within the wider discipline of anthropology. These collections are available for research at the National Anthropological Archives.
Photo Lot 80-52 in the National Anthropological Archives has a name that betrays its colonial origins: the Prince Roland Bonaparte Photograph Collection of Omaha, Kalmouk, Hindu, Khoikhoi, Somali, and Surinamese peoples, circa 1883-1884. The collection has 215 photographs (64 color prints, 138 albumin prints, and 13 collotypes) organized into seven series that divide the subjects of the photographs by their ‘racial’ and ‘cultural’ type, and to an extent, preserve the ‘colonial order of things.’
A 20 year-old woman of the Kalmouk tribe displayed at the Jardin d’Acclimation de Paris exposition, Box 3, Series 3, Photo Lot 80-52, National Anthropological Archives. |
Painting of a crown worn by the Kalina tribe in Surinam, Box 6, Series 7, Photo Lot 80-52, National Anthropological Archives |
To hear the rest of the story of these photographs, check back for part two on Friday!
Shweta Krishnan, Ph.D. Student, Anthropology
George Washington University
References
Akou, Marie. 2006. “Documenting the Origins of Somali Folk Dress: Evidence from the Bonaparte Collection.” The Journal of the Costume Society of America. 33(1): 7-19.
Bonaparte, Roland H. H. 1886. “Note on the Lapps of Finmark (in Norway), Illustrated by Photographs.” The Journal of the Anthropological Institute of Great Britain and Ireland 15(2016): 210-213
Buckeley, Liam. 2005. “Objects of Love and Decay: Colonial Photographs in a Postcolonial Archive.” Cultural Anthropology. 20(2): 249-270.
Dirks, Nicholas. 2001. Castes of Mind: Colonialism and the Making of Modern India. Princeton: Princeton University Press.
Orelove, Eden. 2016. Photo Lot 80-52, Prince Roland Bonaparte Photograph Collection of Omaha, Kalmouk, Hindu, Khoikhoi, Somali and Surinamese Peoples, circa 1883-1884. National Anthropological Archives.
Edwards, Elizabeth and Janice Hart. 2004. “Mixed Box: The Cultural Biography of a Box of 'Ethnographic' Photographs.” In Elizabeth Edwards and Janice Hart eds. Photographic Objects Histories: On the Materiality of Images, 47-61. London: Routledge.
Scherer, Joanna C. 1992. "The Photographic Document: Photographs as Primary Data in Anthropological Inquiry," In Elizabeth Edwards, ed. Anthropology and Photography, 32-41. New Haven: Yale University.
Sekula, Allan. “The Body and the Archive.” October 39 (Winter):3-64.
Stoler, Ann Laura. 1995. Race and the Education of Desire. Durham: Duke University Press.
Stoler, Ann Laura. 2009. Along the Archival Grain. Princeton: Princeton University Press.
Monday, December 4, 2017
Gene Moore's Tiffany Window Displays in the Spotlight
It seems appropriate to extend the October “Blogathon” theme of “collaboration” into November and December in order to highlight collaborations that have led to the processing, digitization, and online presence of the National Museum of American History Archives Center’s Gene Moore Tiffany & Company Photographs, with its nearly four thousand images, in 2017. Archives Center staff and interns constituted the project team, but advice and information provided by Stephen Van Dyk, librarian at the Cooper Hewitt, Smithsonian Design Museum in New York, plus the essential encouragement of Thomas Beebe, a student and colleague of Moore, and donors William Rondina and Daniel Gelman, all made this project possible. These photographs of Tiffany window displays by Gene Moore (1910-1998) document his innovative, often whimsical displays for this famous design firm’s New York store.
As archivist Franklin A. Robinson, Jr. writes in the finding aid, “These photographs document window displays of Tiffany and Company, 5th Avenue, New York City…during Moore's tenure as artistic director from 1955-1994. Nearly all of the imaginative and inventive window displays created by Moore and other designers during his almost 40-year association with Tiffany's are documented in these photographs. … Moore…is best known for his highly acclaimed work as Display Manager, Artistic Director, and Vice President. There he created innovative, imaginative window displays… His designs were famous for combining and juxtaposing common, everyday objects with exquisite pieces of fine jewelry.”
Tiffany display designed by Gene Moore, February 1, 1968. Silver gelatin photographic print, Gene Moore Tiffany and Company Photographs, Archives Center, NMAH, No. AC1280-0001327. |
I learned about Gene Moore’s Tiffany window displays through the collection itself. As I've never had any personal interest in expensive high-fashion jewelry, I probably never peered into Tiffany windows during trips to New York City through the 1990s, when Moore’s striking, sometimes fantastic, often whimsical designs reigned supreme. It was through discussions of cataloging adjustments, since the Smithsonian Libraries’ catalog records for these design archives had to be incorporated into the “Archives, Manuscripts, and Photographic Collections” SIRIS catalog, plus inspection of the photographs themselves, that I became familiar with this collection, one of twelve archival design collections which had been transferred from the Cooper Hewitt, Smithsonian Design Museum in New York City to the NMAH Archives Center in 2012. These transfers were controversial at the time, as documented in the New York Times, because designers and researchers in the field worried about these resources leaving New York. However, storing such archival collections, administered by the Cooper Hewitt library, had become a challenge in the face of a renovation, and the decision was made to transfer them to the NMAH Archives Center.
On October 21, 2014, Tom Beebe, a virtual whirlwind of enthusiasm, called me, asking if there were ways to publicize our Gene Moore collection, which contained thousands of photographs of Moore’s Tiffany display windows. On December 16 he was in my office to emphasize the point. He had a personal interest in the collection because of his long association with Moore, and had accompanied Moore to donate the collection to the Cooper Hewitt in 1997. Short of an exhibition, which didn’t seem feasible in the foreseeable future, the obvious solution was the digitization of these photographs for online display. Although the Archives Center has always provided scholars and members of the general public with photographic reproductions of items in its collections, first in the form of traditional photographic prints, later as digital images, such copies were usually created on an ad hoc, on-demand basis. Even as the full-scale digitization of entire collections became feasible, the need for limited, on-demand service continued. However, Beebe, as the friend and student of Moore, was anxious to see the entire collection digitized, rather than having it done selectively (and slowly). Tiffany & Co. itself had ordered scans of dozens of the Moore display window photographs only months earlier.
Soon Tom arranged for the design magazine “design:retail” to publicize the collection, and my colleague Kay Peterson in the Archives Center and I worked with editor Alison Medina to supply illustrations from the existing scan file. I also photographed the collection in its Garber Facility storage location. I cringed when I saw the rather sensationalized title of the published article, “The Lost Archives of Gene Moore,” because of course these photographs had never been lost at all. They had been in the care of the Cooper Hewitt Museum from 1997 to 2012, duly cataloged in SIRIS with their location clearly indicated. Within a few months of the transfer of the design collections to us, in collaboration with Stephen Van Dyk at the Cooper Hewitt library, I had edited the SIRIS records to show that they were now available in the NMAH Archives Center. Consulting the database directly or through a Google search would have provided anyone with information about the collection and its location, both before and after the transfer.
Nevertheless, the magazine publicity about the collection to the design community was gratifying. Tom Beebe continued to advocate vigorously for the scanning project, but his enthusiasm was matched by his realism. He knew that the concentrated effort required to digitize a large image collection within a comparatively short time often requires special funding to hire a dedicated project archivist, so he offered to locate potential donors. He found two contributors who also had been friends and admirers of Gene Moore—Daniel Gelman (of Lighting Services Inc) and William Rondina. They provided donations to fund high-priority collection processing and digitization, and we are all delighted that the finding aid and the images are now online in SOVA (Smithsonian Online Virtual Archives). The Archives Center is deeply grateful to Mr. Gelman and Mr. Rondina for their kindness and generosity. To get these images online and linked to the finding aid required image processing by Kay Peterson, while the overall project was coordinated by reference archivist Joe Hursey.
David Haberstich, Curator of Photography
Archives Center, National Museum of American History
Resources
Anonymous, “Gene Moore, In Memoriam, 1910-1998, Visual Store, Alitalia Group, 6/27/2000, http://vmsd.com/index.php/channel/9/id/345 (no longer available online).
Goldman, Judith, Windows at Tiffany’s: the art of Gene Moore; with commentary by Gene Moore; Ruth Eisenstein, ed. New York : H. N. Abrams, 1980.
Moore, Gene, and Hyams, Jay, My time at Tiffany’s. New York : St. Martin's Press, c1990.
Pogrebin, Robin, “Design Museum Archival Shifts Prompt Concern,” New York Times,” Feb. 14, 2006, p. B1+.
Rebholtz, Jenny S. “The Lost Archives of Gene Moore,” design:retail, April/ May 2015, vol. 27, no. 4, pp. 40-46; http://www.nxtbook.com/nxtbooks/designretail/20150405/#/0
Thomas, Robert McG., Jr., “Gene Moore, 88, Window Display Artist, Dies,” New York Times, Nov. 26, 1998, p. C17.
Tiffany display designed by Gene Moore, November 29, 1968. Silver gelatin photographic print, Gene Moore Tiffany and Company Photographs, Archives Center, NMAH, No. AC1280-0001446. |
I learned about Gene Moore’s Tiffany window displays through the collection itself. As I've never had any personal interest in expensive high-fashion jewelry, I probably never peered into Tiffany windows during trips to New York City through the 1990s, when Moore’s striking, sometimes fantastic, often whimsical designs reigned supreme. It was through discussions of cataloging adjustments, since the Smithsonian Libraries’ catalog records for these design archives had to be incorporated into the “Archives, Manuscripts, and Photographic Collections” SIRIS catalog, plus inspection of the photographs themselves, that I became familiar with this collection, one of twelve archival design collections which had been transferred from the Cooper Hewitt, Smithsonian Design Museum in New York City to the NMAH Archives Center in 2012. These transfers were controversial at the time, as documented in the New York Times, because designers and researchers in the field worried about these resources leaving New York. However, storing such archival collections, administered by the Cooper Hewitt library, had become a challenge in the face of a renovation, and the decision was made to transfer them to the NMAH Archives Center.
Tiffany display designed by Gene Moore, November 29, 1968. Silver gelatin photographic print, Gene Moore Tiffany and Company Photographs, Archives Center, NMAH, No. AC1280-0001447. |
On October 21, 2014, Tom Beebe, a virtual whirlwind of enthusiasm, called me, asking if there were ways to publicize our Gene Moore collection, which contained thousands of photographs of Moore’s Tiffany display windows. On December 16 he was in my office to emphasize the point. He had a personal interest in the collection because of his long association with Moore, and had accompanied Moore to donate the collection to the Cooper Hewitt in 1997. Short of an exhibition, which didn’t seem feasible in the foreseeable future, the obvious solution was the digitization of these photographs for online display. Although the Archives Center has always provided scholars and members of the general public with photographic reproductions of items in its collections, first in the form of traditional photographic prints, later as digital images, such copies were usually created on an ad hoc, on-demand basis. Even as the full-scale digitization of entire collections became feasible, the need for limited, on-demand service continued. However, Beebe, as the friend and student of Moore, was anxious to see the entire collection digitized, rather than having it done selectively (and slowly). Tiffany & Co. itself had ordered scans of dozens of the Moore display window photographs only months earlier.
Soon Tom arranged for the design magazine “design:retail” to publicize the collection, and my colleague Kay Peterson in the Archives Center and I worked with editor Alison Medina to supply illustrations from the existing scan file. I also photographed the collection in its Garber Facility storage location. I cringed when I saw the rather sensationalized title of the published article, “The Lost Archives of Gene Moore,” because of course these photographs had never been lost at all. They had been in the care of the Cooper Hewitt Museum from 1997 to 2012, duly cataloged in SIRIS with their location clearly indicated. Within a few months of the transfer of the design collections to us, in collaboration with Stephen Van Dyk at the Cooper Hewitt library, I had edited the SIRIS records to show that they were now available in the NMAH Archives Center. Consulting the database directly or through a Google search would have provided anyone with information about the collection and its location, both before and after the transfer.
Nevertheless, the magazine publicity about the collection to the design community was gratifying. Tom Beebe continued to advocate vigorously for the scanning project, but his enthusiasm was matched by his realism. He knew that the concentrated effort required to digitize a large image collection within a comparatively short time often requires special funding to hire a dedicated project archivist, so he offered to locate potential donors. He found two contributors who also had been friends and admirers of Gene Moore—Daniel Gelman (of Lighting Services Inc) and William Rondina. They provided donations to fund high-priority collection processing and digitization, and we are all delighted that the finding aid and the images are now online in SOVA (Smithsonian Online Virtual Archives). The Archives Center is deeply grateful to Mr. Gelman and Mr. Rondina for their kindness and generosity. To get these images online and linked to the finding aid required image processing by Kay Peterson, while the overall project was coordinated by reference archivist Joe Hursey.
David Haberstich, Curator of Photography
Archives Center, National Museum of American History
Resources
Anonymous, “Gene Moore, In Memoriam, 1910-1998, Visual Store, Alitalia Group, 6/27/2000, http://vmsd.com/index.php/channel/9/id/345 (no longer available online).
Goldman, Judith, Windows at Tiffany’s: the art of Gene Moore; with commentary by Gene Moore; Ruth Eisenstein, ed. New York : H. N. Abrams, 1980.
Moore, Gene, and Hyams, Jay, My time at Tiffany’s. New York : St. Martin's Press, c1990.
Pogrebin, Robin, “Design Museum Archival Shifts Prompt Concern,” New York Times,” Feb. 14, 2006, p. B1+.
Rebholtz, Jenny S. “The Lost Archives of Gene Moore,” design:retail, April/ May 2015, vol. 27, no. 4, pp. 40-46; http://www.nxtbook.com/nxtbooks/designretail/20150405/#/0
Thomas, Robert McG., Jr., “Gene Moore, 88, Window Display Artist, Dies,” New York Times, Nov. 26, 1998, p. C17.
Friday, December 1, 2017
Southwest Archaeology and “The Time of Vietnam”: Part Two
This post is the fourth in a series of blog posts written by George Washington University students in Dr. Joshua A. Bell's anthropology graduate seminar Visual Anthropology: The Social Lives of Images (Anthro 3521/6591), Fall 2016 graduate course. Dr. Bell is the Curator of Globalization in the Smithsonian's National Museum of Natural History's Department of Anthropology. Students in this course chose a collection that features visual materials (drawings, film, photographs, or paintings) from the National Anthropological Archives, and researched its material, thinking through the scale and scope of the collection and situating it within the wider discipline of anthropology. These collections are available for research at the National Anthropological Archives.
While I spent several hours following the roads and mountain ranges of the Zubrow photos, I was drawn mostly to the clocks and counters. I tried to decipher the numbers jotted alongside the counter and across the face of the clock. I got lost in making a chart and reorganizing images by time and by number (the photos are not dated, only time-stamped, and the collection is arranged alphabetically by pueblo name). I found myself wondering what images filled the gaps, and where the planes traveled when they weren’t photographing the American Southwest.
In the 1960s, of course, there are many answers to that question. In the beginning of the decade, U2 spy planes were embroiled in international scandals when one was shot down over the Soviet Union and another over Cuba. A camera aboard a U2 was the one that produced the images that revealed Soviet missile launch facilities in Cuba, leading the Cold War superpowers to the brink of nuclear war in 1962. Looking at some of the images from the Cuban Missile Crisis, one could get lost in the trees dotting the landscape and the tiny roads tracing the land. The Zubrow images seem reminiscent of these spy photos but for the labels and arrows appended by some serviceman or intelligence officer to the latter. In his letter to the NAA archivist, Zubrow (2010) opens his description of the first day that he saw the planes with, “This was the time of Vietnam.” Indeed, just as the chalkboard he saw in the base indicated, U2 planes flew over Cuba, China, Vietnam, the Eastern Bloc, and other parts of the world, conducting surveillance missions around the globe throughout that time period. Asking what pictures were taken between the pueblo settlements of Nambe (where the counter reads 0508-0510, see above) and the settlements in Santa Ana (0591-0593) may lead us to surveillance training in Arizona or to any number of Cold War battlefields.
This military history leaves an unintended trace on the Zubrow photographs. Christopher Pinney (2012, 154) has referred to a “colonial habitus” that attached certain world-views to the camera in India. Likewise, a literal military world-view is attached to these photos through the apparatus of the U2 camera. And while these photographs are a more mundane and chance example of it, there is a long, sordid, and at times conflicting history of anthropology and the military (see Price 2016 for a recent account of this). Cold War politics aside, this also wasn’t the first time that the U.S. government and anthropologists teamed up to photograph the indigenous Native American population, and it certainly wouldn’t be the last. The historical baggage that came with military photography, from the American-Indian Wars to the Cold War, are present in the various images of Zubrow’s Southwest field site—if not on the prints themselves, then in their social biographies. The relations and histories that go into the collection’s biography go far beyond even Zubrow’s fascinating story of academic research, military training missions, and transformed landscape. And it’s a biography that now includes a gray box in Photo Lot 2010-13.
Scott Ross, Ph.D. Student, Anthropology
George Washington University
Bibliography
Edwards, Elizabeth. 2012. “Objects of Affect: Photography Beyond the Image.” Annual Review of Anthropology, 41, 221-234.
Pinney, Christopher. 2012. “Seven Theses on Photography.” Thesis Eleven, 113 (1), 141-156.
Photo Lot 2010-13. “Ezra Zubrow aerial photographs of the Rio Grande Pueblos.” National Anthropological Archives, Smithsonian Institution.
Price, David H. 2016. Cold War Anthropology: The CIA, the Pentagon, and the Growth of Dual Use Anthropology. Durham: Duke University Press.
Zubrow, Ezra B.W. 2007. “Remote Sensing, Fractals, and Cultural Landscapes: An Ethnographic Prolegomenon Using U2 Imagery.” In Remote Sensing in Archaeology, edited by James Wiseman and Farouk El-Baz. New York: Springer, 219-235.
Zubrow, Ezra. 2010. E-mail to NAA archivist Gina Rappaport, April 22. Included in finding aid to Photo Lot 2010-13, “Ezra Zubrow aerial photographs of the Rio Grande Pueblos.” National Anthropological Archives, Smithsonian Institution.
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