HSAR_FINAL

HSAR_FINAL - HSAR 220 American Photos Daguerreotype of...

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Unformatted text preview: HSAR 220 American Photos Daguerreotype of African-born slave Renty J.T. Zealy 1850 Daguerreotype: cannot be reprinted; tinyimmediacy, direct capture of a person Theory of polygenesis this is trying to support: people come from different Adams and Eves Sharpness of daguerreotype: mirror with a memory 1850 compromise: tension around the issue of slavery, yet this photo is ambiguousRentys humanity is apparent, not his otherness Delia, Country Born of African Parents, Daughter of Renty, Congo J.T. Zealy 1850 Photo as part of science: human being as specimen; front and side angles Casting as property the person depicted The violence of photography: flaying, shaving a layer off the person who you capture Delia, Country Born of African Parents, Daughter of Renty, Congo J.T. Zealy 1850 Cartes-de-visite: Fanny Conant with Vashti, a Spirit Girl William H. Mumler 1880 Spirit photography, believed by many Americans at the time Social uses of photography: populist, crude, superstitious in comparison to Bradys sense of dignity and science Emily Dickinson Anonymous 1850 Opposite of photography being used to capture and create celebrity Came of age during the beginnings of photography but resisted it: this is the only know likeness of her Aversion to being photographed and to being published; #288 Im nobody! Abraham Lincoln Matthew Brady 1860 Carte-de-visite photograph: business card image, can be distributed Distributed personhood and superstitionthe person, not just the photo is being spread around the world (would you stab it?) The world around is always making photos of you, the body is always shedding an image of itself (puddles, eyes, etc) Photography as an unnerving mediumthe strange preservation of something long dead carried alive into modern times Photographs of fossilsmetaphor of outlasting Every moment as a Pompeii disaster, a petrified city: death, disaster, freezing Photography and the moon: science yet also supernatural; remote, barren and lifeless, yet also compelling and vivid Thaddeus Hyatt Matthew Brady 1860 Wet-plate processa richer range of tones, shortened exposure time, more detailed image Bradys National Portrait Gallery in Manhattan: origin of fame and celebritypublic likeness Hyatt a millionaire abolitionist Henry J. Raymond Matthew Brady 1860 Bradys attempt to create order from chaosNYC population huge at this point Composition and order of photo, attempt to disseminate order, find a worthy group of leaders Prim and proper righteousness Wilderness Battlefield Anonymous 1865 Solarizedaccidentally exposed to sunlightcreates a day/night eeriness Photography about shaping the world as we see it, this photo suggest the world acts back on us....
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This note was uploaded on 01/26/2010 for the course HSAR 220 at Yale.

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HSAR_FINAL - HSAR 220 American Photos Daguerreotype of...

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