Edward Sheriff Curtis
September 30th 2008 23:25
:
Review | Edward Sheriff Curtis
Edward Sheriff Curtis
by Joanna Cohan Scherer
Published by PHAIDON
Available in all particularly good bookstores
Hardback
250 x 290 mm, 9 7/8 x 11 3/8 in
128 pp
56 black and white illustrations
ISBN 9780714841762
0714841765
The modern viewer of photography may not necessarily understand the actual craft of photography started long long ago, well over a hundred years in fact. Staring in 1896 and continuing until 1927 Edward Sheriff Curtis took many photographs of the Native American Indians. He also photographed society portraits which had become extremely popular in the civilized world; to the extent that portrait venues serving tea and biscuits were almost as plentiful as coffee shops are today.
Most early photographers took portrait and landscape shots, because it was quicker than having a draftsman or an artist create images of the same things. ES Curtis was no exception, although the true legacy he has left, and which is the subject of this remarkable book, are the intimate photographs of Native American Indians either going about their daily routines or sitting passively waiting to be shot as it were.
Apart from the many great ironies to be felt by looking through this work, there is splendid insight into the end of an era. These are sepia toned snapshots of a whole lifestyle on the brink of extinction. The anthropological value of the work is enormous. Photographs of camp sites, household chores, ceremonial garb and hunting expeditions show details that surprise as often as they intrigue.
The beauty of the subjects runs as deep as some of the wrinkles on the faces of these people who are watching their world disappear and a new world order establish itself. This is personalized history, or history close up and personal. The many formal portraits of American Indians reveal an impassive acceptance of their lot. There is also good example of the deceptions possible through capturing an image of realty with photographs that have been doctored to remove certain objects that conflict with the notion of an untamed, unaffected world such as a wind up alarm clock. It is a simple reminder that even though the idea of a photograph not telling a lie has been around for a very long time, it is indeed something of a fib. Fact is photography was readily embraced by magicians and showmen in the early years of developing the craft, and their sole purpose was to create entertainments with this new technology - all smoke and mirrors and trick photography - so despite the desire to accept these images as true - in some cases they were anything but at the time.
Luckily we have this pointed out to us fair and square by anthropologist/author Joanna Cohan Scherer who basically tells it like it is in her detailed biographical introduction to the book and image by image commentary.
Scherer is a significant contributor to a twenty volume encyclopedia of the Native American Indian, and there is no doubt her love of these images grew as she developed writings for that extensive tome.
The quality of the book is extremely high; the images are large enough to view without feeling you need to reach for a magnifying glass to appreciate the details, but not so big that the book becomes prohibitively heavy or big.
It will be of great use to costume designers, anthropological enthusiasts, art lovers, photographers and (really) anyone who has a desire to look into the past.
Although the sociological significance of the images tend towards a sad time in history, where yet another native people are being dislocated from their world, there is a great deal of joy and wonderment to be found here as well. It is an exceptional look at a world long vanished.
David Jobling
by Joanna Cohan Scherer
Published by PHAIDON
Available in all particularly good bookstores
Hardback
250 x 290 mm, 9 7/8 x 11 3/8 in
128 pp
56 black and white illustrations
ISBN 9780714841762
0714841765
The modern viewer of photography may not necessarily understand the actual craft of photography started long long ago, well over a hundred years in fact. Staring in 1896 and continuing until 1927 Edward Sheriff Curtis took many photographs of the Native American Indians. He also photographed society portraits which had become extremely popular in the civilized world; to the extent that portrait venues serving tea and biscuits were almost as plentiful as coffee shops are today.
Most early photographers took portrait and landscape shots, because it was quicker than having a draftsman or an artist create images of the same things. ES Curtis was no exception, although the true legacy he has left, and which is the subject of this remarkable book, are the intimate photographs of Native American Indians either going about their daily routines or sitting passively waiting to be shot as it were.
Apart from the many great ironies to be felt by looking through this work, there is splendid insight into the end of an era. These are sepia toned snapshots of a whole lifestyle on the brink of extinction. The anthropological value of the work is enormous. Photographs of camp sites, household chores, ceremonial garb and hunting expeditions show details that surprise as often as they intrigue.
The beauty of the subjects runs as deep as some of the wrinkles on the faces of these people who are watching their world disappear and a new world order establish itself. This is personalized history, or history close up and personal. The many formal portraits of American Indians reveal an impassive acceptance of their lot. There is also good example of the deceptions possible through capturing an image of realty with photographs that have been doctored to remove certain objects that conflict with the notion of an untamed, unaffected world such as a wind up alarm clock. It is a simple reminder that even though the idea of a photograph not telling a lie has been around for a very long time, it is indeed something of a fib. Fact is photography was readily embraced by magicians and showmen in the early years of developing the craft, and their sole purpose was to create entertainments with this new technology - all smoke and mirrors and trick photography - so despite the desire to accept these images as true - in some cases they were anything but at the time.
Luckily we have this pointed out to us fair and square by anthropologist/author Joanna Cohan Scherer who basically tells it like it is in her detailed biographical introduction to the book and image by image commentary.
Scherer is a significant contributor to a twenty volume encyclopedia of the Native American Indian, and there is no doubt her love of these images grew as she developed writings for that extensive tome.
The quality of the book is extremely high; the images are large enough to view without feeling you need to reach for a magnifying glass to appreciate the details, but not so big that the book becomes prohibitively heavy or big.
It will be of great use to costume designers, anthropological enthusiasts, art lovers, photographers and (really) anyone who has a desire to look into the past.
Although the sociological significance of the images tend towards a sad time in history, where yet another native people are being dislocated from their world, there is a great deal of joy and wonderment to be found here as well. It is an exceptional look at a world long vanished.
David Jobling
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