archives

Is the relatively frequent disappearance of important data a natural feature of human societies?

Da Vinci, The Battle of Anghiari

(Image credit: Wikipedia)

I’ve always been amazed that our ancestors lost copies of gospels we think existed, Ciceronian tracks we know were read, and Shakespeare plays we know to have been performed. How do such valuable things disappear? Who’s accountable for these losses? Who ever commissioned Vasari paint a fresco over da Vinci’s The Battle of Anghiari in the Palazzo Vecchio’s Salone dei Cinquecento? (No one today would dare destroy the Vasari – a masterwork in its own right – to see if the da Vinci lay underneath; though we’re 95% sure the da Vinci lies under it, I’d say.) In truth, the real history of these lost artifacts is much more complex, and it’s kind of hard to hold anyone accountable for the losses. Different cultures in different times appreciate different treasures from our past. There exists a whole bookshelf’s worth of scholarship about Shakespeare’s only moderate popularity in his own day, explaining perhaps how Love’s Labour’s Won or Cardenio could have fallen through the cracks. Nor should Vasari feel bad for taking a da Vinci battle painting from us. Leonardo was experimenting with a new painting technique after a bad experience with variations of the fresco medium in The Last Supper, and in The Battle of Anghiari we think he used a thick undercoat of something (possibly a wax) to help preserve the finished product. But the medium used in The Battle of Anghiari was even more prone to decomposition than that of The Last Supper, and thus the painting remained damaged and unfinished for over 100 years before Vasari picked up his brush. The drawing above is a 1603 copy by Peter Paul Rubens.

Archiving the Past, Archiving the Future

A stylized image of Bel Geddes' _Futurama_ exhibition.

Image Credit: Laura Thain

Archives are by definition past-oriented.  The very act of “archiving” renders an object an artifact of a specific past, although its orientation within that past depends on the disciplinary practice of the archivist.  20th century archival studies have made considerable movements toward standardization, and alongside this standardization of archival methodologies comes an expansion of that which we consider worthy of being archived.  Thus, we no longer operate under the assumption that 20th century archives will be composed exclusively of objects from a distant, exclusively white Western patriarchal past—we compose queer archives, postcolonial archives, feminist archives, and, perhaps, in the case of Bel Geddes, even archives of the future.   Join me as I explore the idea of a future archive and its relationship to the archival ethos of the Harry Ransom Center, in part by exploring exhibition visitor’s own “visions” of the future.

Image Database Review: New York City Department of Records Online Image Gallery

view of Brooklyn Bridge looking toward Manhattan

Image Credit: Joseph Shelderfer 

During November and December I'll be devoting some blog posts to reviews of image archives recently added to the viz. "Images" resource page. First up is the gallery from the New York City Department of Records released in April 2012. The archive "provides free and open research access to over 800,000 items digitized from the Municipal Archives’ collections, including photographs, maps, motion-pictures and audio recordings." It is from the research perspective that I approach this review. Alan Taylor, at The Atlantic's photography blog In Focus, included some highlights he found while browsing the archive (warning: images include evidence photography from homicide crime scenes). Browsing through the images is certainly a good way to spend some time (perhaps too much time), but the archive is also organized through a series of collections that can help the viewer sift through the nearly one million images from the Big Apple.

The Composition of Popular Romance: Gone with the Wind's Storyboards

Storyboards from the fire sequence in the movie Gone with the Wind, as displayed on the Harry Ransom Center's windows

Image Credit: Rachel Schneider

After a crash of cymbals, the bright brass instruments build to a climax until the violins enter: so begins “Tara’s Theme” from Gone with the Wind. Margaret Mitchell’s 1936 Pulitzer-prize winning novel was a legitimate phenomenon before the movie, but the 1939 film is an artistic achievement on its own merits. Gone with the Wind was one of the first movies chosen for preservation by the National Film Registry in part because of its rich history. Gone with the Wind not only holds the record for the highest box office ever (when adjusted for inflation), but also held the rest for most Academy Awards (10) until 1960. Numerous books and documentaries recount the tangled history of the film’s production, which was plagued with cast battles, multiple directors, expensive delays, screenplay revisions, and a battle with the Hays Office to preserve an infamous final line. Much of the material for this work comes from the Harry Ransom Center’s extensive David O. Selznick Collection, which contains not only the producer’s numerous papers but also various production materials from his films.

Charles Baudelaire’s Les Fleurs du mal: Musings on Contradictions with the Harry Ransom Center’s Etched Window Façade

Baudelaire Les Fleurs du mal cover: snake entwined around a bouquet

Image Credit: The Harry Ransom Center

Two images related to one of the most respected French poets of the nineteenth century, Charles Baudelaire, grace the Harry Ransom Center’s etched glass façade. Yes, the images of a disturbingly beautiful flower bud and a similarly ominous bouquet on the cover for Baudelaire’s 1857’s collection of poetry, Les Fleurs du mal, are on the Ransom Center’s south and north windows because the Center has holdings of Baudelaire’s work in their French Literature collection. But, maybe the Ransom Center’s choice to use Baudelaire twice when there are many other French authors they could have chosen to represent leads us to another reason why Baudelaire is so prominently represented in the Center’s public face. Baudelaire has always been a dialectical figure of contradiction—twentieth-century literary critic and philosopher Walter Benjamin found in Baudelaire the linchpin around which he could situate the conundrum of urbanity in the nineteenth century. In Benjamin’s unfinished magnum opus The Arcades Project (compiled between 1927-1940), Benjamin muses that the “uninterrupted resonance which Les Fleurs du mal has found up through the present day is linked to a certain aspect of the urban scene, one that came to light only with the city’s entry into poetry. It is the aspect least of all expected. What makes itself felt through the evocation of Paris in Baudelaire’s verse is the infirmity and decrepitude of a great city.” The contradictions of the metropolis—the high and the low, the beautiful and the grotesque—are everywhere in Les Fleurs du mal. Like Benjamin, the Ransom Center uses Baudelaire in their window façade as one figure through which we can view the many contradictions of visual representation and archival work.

Images

The following is a list of notable image databases and archives.

Click the 'Review' link to access a viz. review of the database.


General Image Databases

American Memory, hosted by the Library of Congress

British Library Images Online

Calisphere, hosted by the University of California

New York Public Library Digital Archives

Tineye, a reverse search engine through which users can learn more about images they already have

UNESCO Photobank, hosted by the United Nations Educational Scientific and Cultural Organization

US Government Photos and Images


Databases by topic in alphabetical order:

(*) denotes requires subscription or login and (W) denotes has institutional Watermark on images.

Advertising

AdAccess, hosted by Duke

Emergence of Advertising in America, hosted by Duke [viz. review]

African-American History

(W) Calvin Littlejohn Archive, hosted by Center for American History, UT-Austin [viz. review]

John H. White Portrait of Black Chicago, hosted by the National Archives [viz. review]

Art and Photography

(*) ARTstor Digital Library, hosted by ARTstor, Inc. Link for UT login.

(*) CAMIO (Catalogue of Art Museum Images Online), hosted by OCLC. Link for UT login.

Library of Congress, Prints and Photographs

National Veterans Art Museum

Body and Medicine

Historical Anatomies on the Web, hosted by The National Library of Medicine [viz. review]

Dream Anatomies, hosted by The National Library of Medicine [viz. review]

(W) Wellcome Images, hosted by The Wellcome Library, London [viz. Review]

World Health Organization Photo Library [warning: contains images that may be disturbing to non-medical audiences]

Commons & Public Domain Image Databases

Flickr, Creative Commons

Creative Commons Search

Library of Congress Flickr Stream

Search Flickr US Government Works License

Historic Prints

Lewis Walpole Library Digital Collection, hosted by Yale [viz. review]

Catalogue of 18th-Century British Mezzotint Satires in North America, hosted by Lewis and Clark [viz. review]

Labor

Red Scare Archive, hosted by CUNY [viz. review]

Labor Rights Archive, hosted by LaborArts.org [viz. review]

Tamiment Labor Archives Highlights on Flickr

Literature

(*) DASe (Digital Archive Services), hosted by Utexas Liberal Arts ITS

Maps

American Geographical Society Library Digital Map Collection

David Rumsey Map Collection  [viz. review]

Municipal Archives

(W) London Metropolitan Archives COLLAGE Image Database

New York City Municipal Archives Images Gallery [viz. review]

Seattle Municipal Archives

Music

(W) Texas Poster Art, hosted by the Briscoe Center at UT-Austin

National Archives

Images Canada

National Archives (UK) Image Library

National Archives (US) Galleries

Nature

NASA images

European Space Agency Images

NOAA Photo Library [viz. review]

Photography

Life Photo Archive, hosted by Google

William Gedney, hosted by Duke 

(W) (*) Magnum Photos, hosted by Magnum [Viz. Review]

(W) (*) Associated Press, hosted by AP [Review]

Symbols & Iconography

The Noun Project

Technology/Electronic Media

Radical Software, hosted by Radical Software  [Viz. Review]

Texas

Portal to Texas History, hosted by the University of North Texas

Labor Archives

Image Credit: Red Scare archive

The image above-- an anti-labor cartoon claiming that the sloth of American workers (who only want to work a measly 8 hours a day and spend the rest of the day lounging with their pipes) was endangering American competitiveness with Weimar Germany (and we know how well things worked out for them)-- could serve as "exhibit A" in the argument that entrenched interests never view ANY concession as reasonable. The 8-hour work day has by now become such a sacred cow in American society that it seems almost natural, but the 8-hour day did not spring up miraculously on the 8th day of creation. Along with many other rights and protections that we currently take for granted, it was the result of a decades-long struggle of workers against the egregious abuses of industrial captial in the heady days of its American youth. "Exhibit A" comes from Red Scare, an image database hosted by the City University of New York that documents the social upheaval of 1918-1921. Digital archives like Red Scare and Labor Arts preserve and present a history of America's labor movement through photographs, cartoons, fliers, songbooks and other visual artifacts.

Archives and Associated Press

Screen shot of AP images

Image credit: Screen shot of APimages.com

A recent development in Shepard Fairey's ongoing legal battle with the Associated Press sent me thinking through some of the issues surrounding large private, not-for-profit, and commercial archives of stock photography and photojournalism.  Last year, the AP claimed that Fairey violated copyright laws when he based his "Hope" poster for the Obama campaign on one of their photographs.  Fairey countered that he was protected under fair use, but his situation suffered a setback last week when he admitted to knowingly submitting as evidence images that were different than those under consideration in the trial.  While this case raises several interesting questions about the doctrine of fair use and visual allusion, I am also curious about the extent of influence the Associated Press has on our daily interactions with visual images.  How does this massive news agency--with over 10 million images in its library--shape our access to and understanding of contemporary photojournalism?

 

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