Shadow Traces Creef, Elena Tajima
04/2022, Letnik:
146
eBook
Images of Japanese and Japanese American women can teach us what it
meant to be visible at specific moments in history. Elena Tajima
Creef employs an Asian American feminist vantage point to examine
...ways of looking at indigenous Japanese Ainu women taking part in
the 1904 Louisiana Purchase Exposition; Japanese immigrant picture
brides of the early twentieth century; interned Nisei women in
World War II camps; and Japanese war brides who immigrated to the
United States in the 1950s. Creef illustrates how an
against-the-grain viewing of these images and other archival
materials offers textual traces that invite us to reconsider the
visual history of these women and other distinct historical groups.
As she shows, using an archival collection's range as a lens and
frame helps us discover new intersections between race, class,
gender, history, and photography.
Innovative and engaging, Shadow Traces illuminates how
photographs shape the history of marginalized people and outlines a
method for using such materials in interdisciplinary research.
Collections Care and Stewardship: Innovative Approaches for Museums considers best practices and innovations related to documenting collections with regard to movement and safe handling of items for ...transport, display, photography, and treatment; collections storage; and information-sharing within and beyond the museum.
The Denver Museum of Nature & Science (DMNS) embarked on a project to plan, build, and move into a new collections storage facility for its 4.3 million objects. The DMNS Zoology Collections, ...numbering over 1.25 specimens and specimen lots, chose to stay open for accessions, loans, visiting researchers, and outreach during the entire process, including the recent move phase of the project rather than "go dark" for an extended time. We will discuss the pros and cons of this decision, challenges for staff and volunteers, and other decisions we had to make along the way. This option may not work for all collections during major moves, but some major benefits to the collection's standing, communication, and outreach were noted and the process went as smoothly as could be desired, even with the occasional unexpected glitches in delivery and installation of storage equipment occurred.
Since 1887 the University Museum has been one of the leading archaeology and anthropology museums in the world and has sponsored field research in every corner of the globe. A key outcome, from its ...first expedition to Nippur, in modern-day Iraq, through more than 300 expeditions in the past century, to its research in fifteen different countries today, has been a wealth of primary photographs capturing both expeditions and excavations and also images of modern peoples on every inhabited continent of our planet. These vintage photographs, carefully selected from hundreds of thousands, range from mundane record-keeping pictures to glorious aesthetic treats, and they are in demand by international scholars and students and researchers worldwide. One of the most powerful of media to convey information about-and to advance understanding of-foreign peoples and places is photography. Soldiers, missionaries, merchants, and other travelers carried out early anthropological photography in distant lands. Field photography was extremely difficult when the Museum began its research program in the late 1880s, requiring the transport of a complete dark room and other heavy equipment. The Museum's intrepid adventurers sought scientific accuracy, with no artifice that may have obscured the realism of the image. An engaging narrative essay highlighting the Museum's fieldwork explains the contexts of the range of photographs from the Museum's Archives and the role of photography in studying human cultures.
In this visually rich volume, Mariah Proctor-Tiffany reconstructs the art collection and material culture of the fourteenth-century French queen Clémence de Hongrie, illuminating the way the ...royal widow gave objects as part of a deliberate strategy to create a lasting legacy for herself and her family in medieval Paris.
After the sudden death of her husband, King Louis X, and the loss of her promised income, young Clémence fought for her high social status by harnessing the visual power of possessions, displaying them, and offering her luxurious objects as gifts. Clémence adeptly performed the role of queen, making a powerful argument for her place at court and her income as she adorned her body, the altars of her chapels, and her dining tables with sculptures, paintings, extravagant textiles, manuscripts, and jewelry—the exclusive accoutrements of royalty. Proctor-Tiffany analyzes the queen’s collection, maps the geographic trajectories of her gifts of art, and interprets Clémence’s generosity using anthropological theories of exchange and gift giving.
Engaging with the art inventory of a medieval French woman, this lavishly illustrated microhistory sheds light on the material and social culture of the late Middle Ages. Scholars and students of medieval art, women’s studies, digital mapping, and the anthropology of ritual and gift giving especially will welcome Proctor-Tiffany’s meticulous research.
Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin ...Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book's nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America). Music, Dance and the Archive interrogates historical practices of access to archives by showing how Indigenous performing artists and community members and academic researchers (Indigenous and non-Indigenous) are collaborating to bring life to objects that have been stored in archives. It not only examines colonial archiving practices but also creative and provocative efforts to redefine the role of archives and to bring them into dialogue with contemporary creative work. Through varied contributions the book seeks to destabilise the very definition of "archives" and to imagine the different forms in which cultural knowledge can be held for current and future Indigenous stakeholders. Music, Dance and the Archive highlights the necessity of relationships, Country and creativity in practising song and dance, and in revitalising practices that have gone out of use.
In the late nineteenth century, Scandinavian urban dwellers developed a passion for a new, utterly modern sort of visual spectacle: objects and effigies brought to life in astonishingly detailed, ...realistic scenes. The period 1880-1910 was the popular high point of mannequin display in Europe. Living Pictures, Missing Persons explores this phenomenon as it unfolded with the rise of wax museums and folk museums in the largest cities of Denmark, Sweden, and Norway. Mark Sandberg asks: Why did modernity generate a cultural fascination with the idea of effigy? He shows that the idea of effigy is also a portal to understanding other aspects of visual entertainment in that period, including the widespread interest in illusionistic scenes and tableaux, in the "portability" of sights, spaces, and entire milieus. Sandberg investigates this transformation of visual culture outside the usual test cases of the largest European metropolises. He argues that Scandinavian spectators desired an unusual degree of authenticity--a cultural preference for naturalism that made its way beyond theater to popular forms of museum display. The Scandinavian wax museums and folk-ethnographic displays of the era helped pre-cinematic spectators work out the social implications of both voyeuristic and immersive display techniques. This careful study thus anticipates some of the central paradoxes of twentieth-century visual culture --but in a time when the mannequin and the physical relic reigned supreme, and in a place where the contrast between tradition and modernity was a high- stakes game.
Tomasz Niewodniczański’s Collection. A Compilation of ManuscriptsTomasz Niewodniczański (1933–2010) was a nuclear physicist and entrepreneur, as well as the owner of one of the largest and most ...valuable collections of Polish memorabilia after World War II. Tomasz Niewodniczański’s collection consists of two parts. The first part comprises maps, and the second part consists of archival materials. In 2009, Niewodniczański made his collection available indefinitely to the Royal Castle in Warsaw. The collection includes parchment and paper documents (14th–19th century), manuscripts and autographs of prominent politicians and artists (approx. 4,700 items), old prints (approx. 1,000 items), books with dedications by writers and poets, bookplates, medals, antique coins, treasury notes and bonds. Cartographic materials constitute a major part of the collection. The nearly 3,000 items include pocket and wall maps depicting primarily the lands of the First Republic (approx. 2500 items), old atlases (40 volumes) and old vistas of Polish cities (approx. 150 prints).
In Śledziejowice, near Wieliczka, the Niedzielski family gathered over the years a valuable collection of old coins, paintings, graphics, artefacts, fabrics, and national memorabilia. The collection ...was kept in the manor house, where the family had lived since 1830. Many of these items came to be in Śledziejowice by way of collecting activity, others came as dowries, some were purchased and others were donated by various benefactors. Their stories are interesting, although we do not know about all of them.The Niedzielskis were wealthy, intelligent and very sociable, which meant that many prominent artists, such as Artur Grottger and Andrzej Grabowski were often guests in Śledziejowice. Their paintings, bearing occasional dedications, decorated the walls of the hospitable manor. There were family portraits on the walls and, next to them, old patriotic and historical scenes, as well as landscapes. In addition to the paintings, there were antique pieces of furniture, magnificent fabrics and valuable decorative items. As often happens in noble houses, weapons, original hussar armour from the 2nd half of the 17th century and (kontusz) sashes were hanging on the walls as a symbolic reminder of the family’s noble origins. There were also souvenirs from trips around Europe, such as items from archaeological excavations and priceless manuscripts acquired in France. Unfortunately, the economic changes from the turn of the century, the destruction caused by the First World War and the subsequent economic crisis, caused the economic and financial situation of the Niedzielski family to deteriorate considerably. From the end of the 19th century onwards, they were forced to sell the most valuable of the collected treasures. In the interwar period, pieces from the collection were transferred or sold to various museums and institutions, where they are still kept today. It is thanks to this that we still know about them. Translated by Kinga N. Kuchta
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