• Complain

David Odo - The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs

Here you can read online David Odo - The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: Cambridge, year: 2015, publisher: Harvard University Press, genre: Romance novel. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

No cover
  • Book:
    The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs
  • Author:
  • Publisher:
    Harvard University Press
  • Genre:
  • Year:
    2015
  • City:
    Cambridge
  • Rating:
    5 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 100
    • 1
    • 2
    • 3
    • 4
    • 5

The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

When Japan opened its doors to the West in the 1860s, delicately hand-tinted photographic prints of Japanese people and landscapes were among its earliest and most popular exports. Renowned European photographers Raimund von Stillfried and Felice Beato established studios in Japan in the 1860s; the work was soon taken up by their Japanese proteges and successors Uchida Kuichi, Kusakabe Kimbei, and others. Hundreds of these photographs, collected by travelers from the Boston area, were eventually donated to Harvard s Peabody Museum of Archaeology and Ethnology, where they were archived for their ethnographic content and as scientific evidence of an exotic culture.In this elegant volume, visual anthropologist David Odo examines the Peabody s collection of Japanese photographs and the ways in which such objects were produced, acquired, and circulated in the nineteenth century. His innovative study reveals the images shifting and contingent uses from tourist souvenir to fine art print to anthropological type record were framed by the desires and cultural preconceptions of makers and consumers alike. Understood as both images and objects, the prints embody complex issues of history, culture, representation, and exchange.

David Odo: author's other books


Who wrote The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs? Find out the surname, the name of the author of the book and a list of all author's works by series.

The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
The Journey of A Good Type
From Artistry to Ethnography in Early Japanese Photographs
David Odo
Foreword by Elizabeth Edwards
When Japan opened its doors to the West in the 1860s, delicately hand-tinted photographic prints of Japanese people and landscapes were among its earliest and most popular exports. Renowned European photographers Raimund von Stillfried and Felice Beato established studios in Japan in the 1860s; the work was soon taken up by their Japanese protgs and successors Kuichi Uchida, Kimbei Kusakabe, and others. Hundreds of these photographs, collected by travelers from the Boston area, were eventually donated to Harvards Peabody Museum of Archaeology and Ethnology, where they were archived for their ethnographic content and as scientific evidence of an exotic culture.
In this elegant volume, visual anthropologist David Odo examines the Peabodys collection of Japanese photographs and the ways in which such objects were produced, acquired, and circulated in the nineteenth century. His innovative study reveals how the images shifting and contingent uses from tourist souvenir to fine art print to anthropological type record were framed by the desires and cultural preconceptions of makers and consumers alike. Understood as both images and objects, the prints embody complex issues of history, culture, representation, and exchange.
DAVID ODO is Director of Student Programs and Research Curator of University Collections Initiatives at the Harvard Art Museums and a Lecturer in the Department of Anthropology at Harvard University.
ELIZABETH EDWARDS is Research Professor in Photographic History and Director of the Photographic History Research Centre at De Montfort University in Leicester, England.
Jacket illustrations:
Front: Two women, c. 1870s. Studio of Stillfried & Andersen Co., Raimund von Stillfried, photographer. PM 2003.1.2223.27 (101380029). Courtesy of the Peabody Museum of Archaeology & Ethnology, Harvard University.
Back: Man in samurai armor, c. 1870s. Raimund von Stillfried. PM 2003.1.2223.396 (101170017). Courtesy of the Peabody Museum of Archaeology & Ethnology, Harvard University.
Printed in Canada
Singing Girl A good type 1870s Studio of Stillfried Andersen Co Raimund - photo 1
Singing Girl A good type 1870s Studio of Stillfried Andersen Co Raimund - photo 2
Singing Girl (A good type), 1870s. Studio of Stillfried & Andersen Co., Raimund von Stillfried, photographer. Hand-tinted albumen print on paperboard mount. Print: 19.2 23.7 cm (7 9 in.); mount: 28 35.5 cm (11 14 in.). Collected by William S. Bigelow, 1880s. Gift of Mary Lothrop, 1927. PM 2003.1.2223.310 (101160028).
Peabody Museum Press 11 Divinity Avenue Cambridge Massachusetts 02138 - photo 3
Peabody Museum Press
11 Divinity Avenue, Cambridge, Massachusetts 02138
Copyright 2015 by the President and Fellows of Harvard College
All rights reserved. Published 2015.
Unless otherwise noted, all photographs and illustrations are courtesy of the Peabody Museum of Archaeology and Ethnology, Harvard University. Photographs on are copyright the President and Fellows of Harvard College.
Printed in Canada
ISBN 978-0-87365-411-1
Library of Congress Cataloging-in-Publication Data:
Odo, David.
The journey of a good type: from artistry to ethnography in early Japanese photographs / David Odo; foreword by Elizabeth Edwards.
pages cm
Includes bibliographical references and index.
ISBN 978-0-87365-408-1 (cloth: alk. paper)
1. PhotographyJapan19th centuryHistory. 2. JapanHistory19th centuryPictorial works. 3. JapanHistory19th century. 4. Visual anthropologyJapan19th century. 5. Peabody Museum of Archaeology and EthnologyPhotograph collections. I. Peabody Museum of Archaeology and Ethnology. II. Title.
TR105.O34 2015
770.952dc23 2014044372
Picture 4Picture 5 This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).
CONTENTS
Picture 6
Picture 7
Singing Girl (A good type)
Picture 8
A lmost all museums have photographs in their collections. Over the years these collections have been generated, acquired, and utilized in a myriad of ways. Some collections are the result of intentional and systematic collection, some are the result of ad hoc enthusiasms, yet others are the result of almost accidental photographic accruals around object collections; often, the process is entirely serendipitous. These accumulations and assemblages of photographs exist for a multitude of reasons and fulfill a multitude of roles: as documents and evidence in their own right; to authorize and authenticate other classes of objects; to manage collections; to act as surrogate collections; to salvage material and cultural subjects thought to be disappearing; as objects of art, science, or technology; or even as a simple source of wonder, delight, or curiosity. The photograph collections at the Peabody Museum at Harvard are all these things. In The Journey of A Good Type, David Odo has undertaken the brave task of guiding us through this maze by examining the museums holdings of late nineteenth- and early twentieth-century photographs of Japan, notably those that formed the Bigelow collection, acquired in 1927. While these photographs are amply worthy of attention in their own right, Odo importantly asks what the Japanese photographs tell us more broadly about what photographs do in museums.
Writing about collections history and ethnographies of collections and institutional practices is well established, of course. Scholars have looked at topics as diverse as the seventeenth-century Wunderkammer, the eighteenth-century passion for the classical, and the colonial collections of the nineteenth and early twentieth centuries. However, the history of photograph collecting and photograph collections has received little attention. Possibly this is because the role of photographs in museums has been seen as something ancillary, of marginal statusand indeed interestin relation to the real business of museums. Photographs are merely information, not real collections. Yet we are beginning to realize that such collections have a lot to tell us about museums, their collections overall, and especially the way museums make knowledge.
To understand the mechanisms of nineteenth- and early twentieth-century photographic collecting in institutions such as the Peabody Museum is to understand a lot more than simply a photographic history. Conversely, how many kinds of thing can an object be simultaneously: art, science, document?
The answer is that the meanings of both photograph and collection are made through all those different moments of production and use in some way or other, as the photographs become multiply entangled with shifting values. Indeed, another reason why photograph collections have tended to be marginalized within institutions and within the writing of collections history is that they do not always sustain a specific and unchanging notion of relevance or importance over time. Instead, they drop away into yesterdays science. To our contemporary eye, studio portraits of Japanese figures do not measure up as scientific databut that flux is precisely their interest. The fascinating account here of the division of Bigelows collection between the Peabody, Harvard University, Museum and the Museum of Fine Arts, Boston, speaks volumes because it tells us exactly how the categories of interest and significance were being made at a certain historical moment.
Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs»

Look at similar books to The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs»

Discussion, reviews of the book The Journey of A Good Type: From Artistry to Ethnography in Early Japanese Photographs and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.