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View the Catalog through the lens THE TROUT GALLERY Dickinson College Studies in Photography Carlisle, Pennsylvania through the lens Studies in Photography March 4 – March 28, 2009 Curated by: Tess Arntsen Kristin Beach Jennings Culver Kendall Friedman Elizabeth Grazioli Flannery Peterson Madelyn Priest Sarah Quin Kristen Rudy Casey Jane Schaffer Lucy Stirn Hana Thomson THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery, Dickinson College, Carlisle, Pennsylvania 17013 Copyright © 2009 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from The Trout Gallery. Design: Kimberley Nichols and Patricia Pohlman, Dickinson College Office of Publications Printing: Triangle Printing, York, Pennsylvania ISBN 978-0-9768488-9-9 1 1 Cover: Jenny Lynn, Two Faces, 1988. Gelatin silver print, 12 ⁄4 x 12 ⁄4 in. The Trout Gallery, Gift of Mark W. Connelly, 2005.5.21 (cat. 29). 1 Back cover: Pete Turner, Road Song, 1967. Digital pigment print, 11 ⁄4 x 17 in. The Trout Gallery, Gift of Mark W. Connelly, 2007.9.3 (cat. 43). 1 1 Title page: Ralph Gibson, Untitled (Striped Nude), 1981. Photogravure, 8 ⁄4 x 5 ⁄2 in. The Trout Gallery, Gift of Mark W. Connelly, 2001.5.5 (cat. 20). 1 Frontispiece: Ralph Gibson, Antiquities Dealer, Rome, 1984. Gelatin silver print, 12 ⁄2 x 1 8 ⁄4 in. The Trout Gallery, Gift of Mark W. Connelly, 2002.16.32 (cat. 22). Acknowledgements Through the Lens: Studies in Photography is a curatorial project by members of the Art Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce students to the practice of preparing an exhibition and catalogue. Working with objects in The Trout Gallery’s permanent collection, the student curators selected the works for the exhibition, organized the material into major themes, and prepared the following essays. Through the Lens is made possible in large measure by the donors who have built The Trout Gallery’s collection of photographs. The works in this exhibition are the generous gifts of Mark and Elaine Connelly, Lawrence and Carol Zicklin, Samuel Moyerman, and the Andy Warhol Foundation. Special thanks is due to Kimberley Nichols and Patricia Pohlman, Office of Publications, Dickinson College, for their skillful design of this catalogue. We thank Andrew Bale for photographing the works for the catalogue and for providing first-hand instruction to the students in the practice of photography. We also extend our gratitude to Tina Maresco, Specialist, Interlibrary Loan Services; James Gerenscer, Archivist, Special Collections; Malinda Triller, Special Collections Librarian; and Christine Bombaro, Research Librarian, Waidner-Spahr Library, Dickinson College. The Trout Gallery is served graciously by members of the Friends of The Trout Gallery and the Exhibition and Collections Committees. Special thanks are due to the staff members of The Trout Gallery who helped make this exhi- bition possible. Stephanie Keifer, the museum’s senior administrative associate, copy-edited the catalogue text and provided essential organizational services. James Bowman prepared the objects and worked with members of the seminar to design and install the exhibition. Wendy Pires and Dottie Reed organized and delivered the various outreach programs to area schools and community centers. Rosalie Lehman, Satsuki Swisher, and Catherine Sacco assisted with the outreach programs and provided essential visitor services. Members of the Art Historical Methods Seminar Phillip Earenfight, Associate Professor of Art History and Director, The Trout Gallery Table of Contents Introduction: The Photographic Collection at The Trout Gallery 6 and Dickinson College Phillip Earenfight Essays Ralph Gibson: The Third Effect 11 Tess Arntsen Lucien Clergue: “Significant Representation” of Women 14 Kristin Beach In An Effort to Find the Other Half: Fragmentation in 19 Contemporary Photography Jennings Culver Jenny Lynn’s Enigmatic Imagery 23 Kendall Friedman Elliott Erwitt: A Keen Sense of the Ridiculous 28 Elizabeth Grazioli Pete Turner: Color Manipulation 33 Flannery Peterson The Cultural Kaleidoscope of Mexico and 38 Manuel Álvarez Bravo’s Photography Madelyn Priest Constructions of Identity: Andy Warhol and His Polaroids 43 Sarah Quin Observing Grace: Kristin Capp’s Hutterite Images 48 Kristen Rudy Eadweard Muybridge: Frozen Moments 53 Casey Jane Schaffer Duane Michals: The Room Where the World Ended 58 Lucy Stirn Andy Warhol’s Absolut Vodka 62 Hana Thomson Exhibition Catalogue 65 The Photographic Collection at The Trout Gallery and Dickinson College Phillip Earenfight, Seminar Advisor and Director, The Trout Gallery During the last decades of the eighteenth century, Thomas the hands of faculty, administrators, and incoming students, Wedgwood, son of the famed Staffordshire potter, experi- carrying daguerreotypes, tintypes, cabinet cards, and cartes- mented with various optical devices and chemicals in an de-visits of family and loved ones (fig. 1). Such imagery was effort to make images through the effects of light. Using a supplemented by the efforts of local photographers, who camera obscura and a solution of silver nitrate on paper, made portraits of the college administrators, faculty, staff, Thomas Wedgwood made what were to be among the first and students.4 Study of the scientific principles of photo- known photographs.1 Although he was unable to “fix” the graphy was introduced to the campus in 1863, with the image—prevent the light-sensitive materials from turning appointment of Charles Francis Himes as Professor of entirely dark—his work laid the foundation for Joseph Natural Science.5 Like many scientists of his day, Himes was Nicéphore Niépce who, by 1825, developed a fixing process interested in photography and experimented with many of and paved the way for the defining work of William Fox the latest advancements in glass plate negatives. Himes’s work Talbot and Louis-Jacques-Mandé Daguerre a decade later.2 combined an interest in the physical properties of light sensi- However, it was not until Daguerre’s work was published in tive materials with an appreciation for the fine arts. Among 1839 that related experiments were conducted in the United the more than four-hundred specimens of Himes’s photo- States.3 graphic work in the Archives and Special Collections at Photography arrived at Dickinson College, as it did Dickinson College, of particular importance are his pho- at many American colleges in the mid-nineteenth century, in tograms made from leaves (fig. 2) and an album of prints Figure 1. H. P. Chapman, Dickinson College President Robert L. Figure 2. Charles Francis Himes, Leaf Print, n.d. Photogram, from Leaf Dashiell, 1871. Albumen print from an album. Archives and Special Collections, Prints or, Glimpses at Photography (Philadelphia: Benerman & Wilson, 1868). Archives Waidner-Spahr Library, Dickinson College. Uncatalogued album, Archives and Special and Special Collections, Waidner-Spahr Library, Dickinson College, Charles Francis Collections, Waidner-Spahr Library, Dickinson College. Himes Family Papers. 6 Figure 3. Charles Francis Himes, Music Hall and Peristyle, World’s Columbian Exposition, Chicago, Illinois, 1893. Albumen print mounted in photo album. Archives and Special Collections, Waidner-Spahr Library, Dickinson College, Charles Francis Himes Family Papers. that he made of the architecture and fairgrounds at the1893 and Special Collections, represent a sophisticated use of photo- Columbian Exposition in Chicago (fig. 3).6 graphs as evidence for cultural and ethnic “cleansing” (fig. 4).7 As Himes conducted his work at Dickinson, Carlisle As Ct. Pratt pioneered the use of photography to docu- became the focus of national attention through the creation of ment forced cultural change over a span of months and years, the Carlisle Indian School in 1879. The school, located on the Eadweard Muybridge developed techniques and equipment grounds of the old army barracks, was designed to assimilate to document the motion of animals over a span of seconds. young Native American boys and girls into white society The results of his groundbreaking work was published in his through a military-style education. Ct. Richard Henry Pratt, extensive study Animal Locomotion, which included 781 sepa- the school’s superintendent, directed Carlisle photographer rate plates representing a wide range of human and animal John N. Choate to make photographs of the Indian children movement. The Trout Gallery at Dickinson College acquired upon arrival (dressed in their traditional blankets and long 114 of the collotype prints from the rare original 1887 edition hair) and several months later (in military uniforms and through the generosity of Samuel Moyerman (cat. 34–38). combed short hair) to document the supposed efficacy of the Muybridge’s work on Animal Locomotion provided a view of school’s educational methods. Such “before and after” photo- the world unseen by the human eye and prepared the basis graphs, several of which are in the Dickinson College Archives for the development of motion pictures.8 7 Figure 4. John N. Choate, Wounded Yellow Robe, Henry Standing Bear, Timber Yellow Robe, Upon their Arrival in Carlisle and
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