2 10 101 https://mirrorofrace.bc.edu/files/original/a652790058d615c09a14b08b420fe54b.pdf af7695569e7125ce491337f072b176e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Louis Agassiz: Full Face and Profile Subject The topic of the resource Louis Agassiz: Full Face and Profile Description An account of the resource A bio­graph­i­cal approach to pho­tographs of slaves, con­sid­er­ing the images in rela­tion to the per­sonal and pro­fes­sional atti­tudes of the nat­u­ral­ist who com­mis­sioned them. Creator An entity primarily responsible for making the resource Molly Rogers Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2012 https://mirrorofrace.bc.edu/files/original/8bf03874b480258ca7c1ed56864955fe.pdf 7482b1f736b0cab6288418d0a07db967 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fair Women and Transformed into Negresses Description An account of the resource A med­i­ta­tion on writ­ing about oppressed indi­vid­u­als pho­tographed for sci­en­tific pur­poses, and whether it is pos­si­ble to lib­er­ate such peo­ple through an act of imagination. Creator An entity primarily responsible for making the resource Molly Rogers Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2012 Type The nature or genre of the resource Essay https://mirrorofrace.bc.edu/files/original/860c715ef17d283fe1a82af08c2212b0.pdf 82569662b446f005c4dcba682b13d1f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A White Slave Girl: “Mulatto Raised by Charles Sumner” Subject The topic of the resource A White Slave Girl: “Mulatto Raised by Charles Sumner” Description An account of the resource A nar­ra­tive of dis­cov­ery about one of the first pho­tographs used to pro­mote the abo­li­tion­ist cause. Creator An entity primarily responsible for making the resource Joan Gage Abstract A summary of the resource. A nar­ra­tive of dis­cov­ery about one of the first pho­tographs used to pro­mote the abo­li­tion­ist cause. https://mirrorofrace.bc.edu/files/original/7d88c10e589242cc38924581e3ebacb9.pdf c3df88ae8efbaafd6b330fbdef3a0144 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Spirit Photograph Description An account of the resource An analy­sis of a “spirit pho­to­graph,” a form of pho­tog­ra­phy thought to bridge this world and the next. Creator An entity primarily responsible for making the resource Shawn Michelle Smith Date A point or period of time associated with an event in the lifecycle of the resource December 17, 2011 https://mirrorofrace.bc.edu/files/original/62fade620a54b00970dfb82bc922e346.jpg 45beb16fa420ba5af1c9cde821932749 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ambrotype Physical Dimensions The actual physical size of the original image Sixth Plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary In the case, behind the image, is an original period inscription in pencil: "Abraham, Slave Master." There is no more information about this person, apart from the details of the image itself. We can date the image, based on the type of photographic process (ambrotype) as well as the clothing style, to the late 1850s, possibly a bit earlier or later. In his hand, Abraham holds a long-handled, braided leather whip. This detail, combined with the title "Slave Master," probably indicates that this is an occupational portrait and that he was a slave overseer rather a slave owner. If he were the propertied owner of slaves, he would probably not be identified simply as "Abraham." The overseer was charged with the day-to-day supervision and discipline of the slaves (hence the symbolism of the whip) on larger properties where the owner both needed and could afford to employ others to manage the workforce. Interpretive Commentary Interpretive Commentary There is a strange irony to the "Slave Master" in this photograph being named "Abraham" at just about the time that another Abraham, Abraham Lincoln, was being elected to the Presidency of the United States, the Abraham whose Emancipation Proclamation of January 1, 1863 would soon bring an end to the careers of all slave overseers. The irony is compounded by the resonance of the name with the Abraham whom three religions - Judaism, Christianity, and Islam - consider the origin of their monotheistic faiths, religions which, at their best, see that faith as a foundation for freedom. What makes this photograph so powerfully terrible is the coiled brutality that looms behind it, past the stillness of the image: in the tightly clenched hand that grips the whip, in the icy stare of what must have been bright blue eyes, given how light they are in this black white photograph. This is an occupational image, one in which the person portrayed chose to sit with a tool of the trade that most fully symbolized and embodied his identity and profession, and so it is fair to conclude that Abraham took genuine pride in his ability to wield this whip effectively in the everyday duties of his work. It is worth asking, how far have we truly come from a world in which such brutality and dehumanization could be a matter of professional pride? For a slideshow of images that explore the violence, both explicit and implied, in this period of American history, see here. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure100 Title A name given to the resource Abraham, Slave Master Subject The topic of the resource Abraham, Slave Master Date A point or period of time associated with an event in the lifecycle of the resource circa late 1850s Type The nature or genre of the resource Studio Portrait, Occupational Rights Holder A person or organization owning or managing rights over the resource. Cowans Auctions, Inc., Cincinnati, OH Collection Creator An entity primarily responsible for making the resource Unknown Photographer https://mirrorofrace.bc.edu/files/original/af24d6c88fe59bccc20093cb567fdb79.jpg 38601c61421433e58def77da3e88d22d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Daguerreotype Physical Dimensions The actual physical size of the original image Sixth Plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary Benjamin Drew (1812-1908) was an abolitionist native to Plymouth, Massachusetts. He was an active participant in the work of the Underground Railroad. In 1856, Drew published an influential book entitled A North-Side View of Slavery. The Refugee: Narratives of Fugitive Slaves in Canada Related by Themselves. The book was highly unusual in that Drew interviewed former slaves who had escaped to Canada, and then published their accounts (including the one by Harriet Tubman) more or less in their own words. The book is still in print, and it can also be viewed in its entirety online here. Drew wrote his book in part as a response to another book, one published by Nehemiah Adams, A South-Side View of Slavery; or, Three Months at the South in 1854. Adams, a northerner, wrote a defense of what he deemed to be the moral benefits of slavery for the slaves themselves and against the radicalism of abolitionism that would threaten the unity of the nation. A complete scan of the Adams book may be read online here. The paper pasted on the inside cover of the case reads as follows: "Benj. Drew (3rd), Born Nov. 28, 1812. This picture taken in Plymouth, when he was about 25. For Chas. Davis Drew. From his Grandpa Drew, Oct. 7, 1877." So, it seems this photograph was given as a present by Benjamin Drew himself to his grandson Charles. But Drew could not have been 25 in this image, because that would have been in 1837, and the announcement of the invention of photography was not made until 1839 in Paris, and the art was not brought to the United States until 1840. The date of this image is closer to 1845, making Drew about 33 here. A portrait of Drew taken in 1900 may be viewed here. Interpretive Commentary Interpretive Commentary What is remarkable about Benjamin Drew’s work as an author is that he endeavored to let free blacks speak with their own voices, giving testimony about their lives under slavery, their escapes, and their experience of life as free people, living in Canada, safe from the threat of kidnapping by slave-catchers. For an exhibition of abolitionists, click here. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure099 Title A name given to the resource Benjamin Drew Subject The topic of the resource Benjamin Drew Date A point or period of time associated with an event in the lifecycle of the resource circa 1845 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection Creator An entity primarily responsible for making the resource Unknown Photographer https://mirrorofrace.bc.edu/files/original/e4dad503533856b0973bbb15910ca658.tif 438bce92861163b917df646467a1fbea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard Factual Commentary Factual Commentary Adah Isaacs Menken (1835-1868) was a dancer, performer and poet. Her origins were obscure even in her lifetime, but she seems to have been born as Adelaide or Ada C. McCord in Louisiana, and she took the stage name Ada Bertha Theodore until her first marriage. She had a short but sensational career as an actress, her fame due as much to her own genius for self-promotion as to talent. Her most famous role was playing a man in Byron’s Mazeppa, wearing a flesh-colored body stocking to appear nearly nude, a shocking thing to do at the time, and this photograph portrays her in that role. Menken wore her hair short, smoked at her press conferences, and flaunted her connections with famous men. She married six times. Her first marriage was to Alexander Isaacs Menken, who was Jewish and for whom she converted; she remained in the faith until her death. Her origins are disputed, with reports of lineage that includes a Spanish Jewish father, a New Orleans creole mother, and a free Black father, among other accounts. Menken seems to have reveled in this kind of dramatic ambiguity. From 1864 to 1866, Menken took her Mazeppa role to London and Paris, where it had enormous success, in part due to her notoriety, but attention waned as the novelty wore off. Menken died in Paris in 1868. The photographer Charles Reutlinger (1816-1881?) was born in Karlsruhe, Germany, and opened a studio in Paris in 1850, where his clients included the upper echelons of society. Menken visited his studio during her European theatrical tour. Menken would have used copies of this carte de visit for publicity and sales for the Mazeppa production. A contemporary (but not necessarily reliable) account of Menken’s life may be read here. A collection of Menken’s poetry, Infelicia, may be read here.Adah Issacs Menken managed to flout many of the most hardened conventions of her time: she converted to marry a Jew, she smoked, she wrote and published on topics a "lady" would not discuss in that era, she appeared on stage nearly nude, she divorced five times, she dressed as a man for roles on the stage -- to name some of her transgressions. Add to this the strong possibility that she was mixed race and her career raises important questions about the performative nature of both racial and gender identity. What did it take to "pass" over these lines as boldly as Menken did? How was it possible for her to have public success at all when she violated some of the most stubborn taboos of her society? Interpretive Commentary Interpretive Commentary Adah Issacs Menken managed to flout many of the most hardened conventions of her time: she converted to Judaism, she smoked, she wrote and published on topics a "lady" would not discuss in that era, she appeared on stage nearly nude, she divorced five times, she dressed as a man for roles on the stage -- to name some of her transgressions. Add to this the strong possibility that she was mixed race and her career raises important questions about the performative nature of both racial and gender identity. What did it take to "pass" over these lines as boldly as Menken did? How was it possible for her to have public success at all when she violated some of the most stubborn taboos of her society? For a valuable study of Menken and her transgressive life and career, see Performing Menken: Adah Isaacs Menken and the Birth of American Celebrity, by Renée Sentilles. A recent (2011) biography for a general audience is A Dangerous Woman: The Life, Loves, and Scandals of Adah Isaacs Menken, 1835-1868, America's Original Superstar, by Michael and Barbara Foster. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure095 Title A name given to the resource Adah Isaacs Menken (1835-68) Subject The topic of the resource Adah Isaacs Menken (1835-68) Creator An entity primarily responsible for making the resource Charles Reutlinger (Paris) Date A point or period of time associated with an event in the lifecycle of the resource circa 1866 Type The nature or genre of the resource studio portrait, theatrical performer Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/9af1ec0e880ec05ba3194bfd7ee1cfb2.tif ebb2d5749cb5d4d902e080bd420d0f99 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data daguerreotype Physical Dimensions The actual physical size of the original image Sixth Plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary In early photographs, people often would pose with objects that had special meaning to them, such as tools of a trade, or, as in this case, a book. This woman holds Frosts Pictorial History of California, by John Frost, first published in 1850. She is probably a “Californio,” a Latina native to California, resident after the American annexation following the Mexican-American War of 1846-48. This daguerreotype dates to the early 1850s, soon after the Gold Rush, the war, and the annexation of California as a state in 1850. Interpretive Commentary Interpretive Commentary The question of how Latinos, or Hispanics, fit in with the American construction of race is a complex one. Latinos have certainly suffered from racial prejudice in this nation’s history, but at the same time, Latinos do not fall neatly into the standard racial categories familiar to America. Some Latinos do indeed have dark skin, but other Latinos also have European, African, Native, and even Asian roots ― or mixtures of these. Latinos often define themselves ethnically and nationally rather than racially. Nevertheless, Latinos from other parts of the Americas, who come to the United States as immigrants, often bring with them very different social constructions of race that vary from country to country. And of course, other Latinos, such as the woman in this daguerreotype, have roots in the territory of the United States that reach back before this nation’s founding. Given this complexity, the Latino experience of the question of race also has the potential to help Americans see how arbitrary race is as a social construction, and so perhaps the growth of Latinos in the United States will contribute to a dissolution of our entrenches racial categories. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure094 Title A name given to the resource woman holding book Subject The topic of the resource unknown Date A point or period of time associated with an event in the lifecycle of the resource circa 1850-1855 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection Creator An entity primarily responsible for making the resource Unknown Photographer https://mirrorofrace.bc.edu/files/original/b37aef2bde0f8141542b00513934112d.tif 7624353e7db127a60cb12fc538aef31c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard, mounted in album page Factual Commentary Factual Commentary Inscribed in period pen on reverse of this carte de visite (circa 1864) is the name “James M. Trotter.” Also inscribed, in period pen on the album page: “James M. Trotter Sergeant 55th Mass.” See image below. There is a printed stamp on the reverse of card, which reads: “Whipple, 297 Washington Street, Boston.” Also present on reverse of card is a 3-cent tax stamp signed in pen “JAW” (John A. Whipple). See below for the back of the card. We can date the image to the period of August 1864 to August of 1866 because the US government required the use of these stamps during that time for the collection of revenue to support the war. According to his enlistment papers (Greg French collection), James Monroe Trotter enlisted on June 11, 1863 and was mustered into company K of the 55th Massachusetts Infantry on June 23, 1863 as a 1st Sergeant. The 55th, like the more famous 54th, was designated as a Colored regiment. Trotter was promoted to Sergeant Major on Nov. 19, 1863 and to 2nd Lieutenant on April 10, 1864. In the photograph, Trotter wears the uniform and officer’s shoulder straps of a 2nd Lieutenant. The image is remarkable for the rarity of African Americans serving as officers in the Union armies, and the even greater rarity of this being documented in a photograph. Trotter was born February 7, 1842 and died Feb. 26, 1892 in Hyde Park, Massachusetts. According to the muster rolls, he was born in Grand Gulf, Mississippi, and enrolled in the Union army in Readville, Massachusetts. His profession is listed as school teacher. He was wounded at the battle of Honey Hill on Nov. 30, 1864. An interesting feature of his enlistment papers is the following remark: “Letters to be directed to Robert Thomas, Parlersburg, Wood Co., Virginia (guardian).” This image reportedly came from the personal album of the French nobleman, the Count de Gasparin, who was sympathetic to the abolitionist cause. James A. Whipple was one of Boston’s leading photographers from 1845 to 1874. Interpretive Commentary Interpretive Commentary There is much that is remarkable about James M. Trotter. Born into slavery, he was one of the first Americans of African descent to attain rank as an officer in the United States army, having fought in the Civil War. He went on to have a career as an author, civil rights advocate, and a public servant. His son, William Monroe Trotter (1872-1934), became an important newspaperman in Boston and a civil rights champion in his own right, helping to found the National Association for the Advancement of Colored People with W.E.B. Du Bois in 1909. An elementary school in Boston, the Trotter Innovation School, is named after William Trotter. The Mirror of Race has published an essay by Erina Duganne on the topic of "Black Civil War Por­trai­ture in Con­text". We are hoping to publish other essays on topics relating to African Americans fighting for their civil rights, and how that struggle has been reflected in photography. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure086 Title A name given to the resource James M. Trotter Subject The topic of the resource James M. Trotter Creator An entity primarily responsible for making the resource John A. Whipple (American, 1823-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1864-1866 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/d6818c8ab57e03ac3e4ad806d3234d26.tif a1c822862ec4428181c8890810e26af4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard Factual Commentary Factual Commentary This photograph is another in the series of former slaves from the New Orleans area who obtained freedom during the Civil War and participated in one of the first photographic publicity campaigns to support a cause ― in this case, the Union and schools for former slaves. The caption on the front of the card reads: “Learning is Wealth. Wilson, Charley, Rebecca & Rosa. Slaves from New Orleans.” Printed on reverse: “No. 6. / Entered according to Act of Congress, in the year 1864, by S. Tackaberry, in the Clerk’s Office, of the District Court of the United States, for the Southern District of New York. / The nett proceeds from the sale of these Photographs will be devoted to the education of Colored People in the department of the Gulf now under the command of Maj. Gen’l Banks. / Chas. Paxson, Photographer, New York. / N. B. ― All orders must be addressed to H. N. Bent, No. 1 Mercer Street, New York.” Wilson is Wilson Chinn, who appears in another image in this exhibition displaying the chains and implements of punishment used on slaves. For more images in this series of photographs of former slaves, see here. Interpretive Commentary Interpretive Commentary Of all the photographs in the series of former slaves from New Orleans, this is the one that indicates most directly a key goal of the publicity campaign: to provide education for these former slaves. The children gather around Charley, as if in a family. Little Rosa seems exhausted and fed up with must have been a very long day in the photographer’s studio. Although this image might seem innocuous to a modern viewer, it must be remembered that teaching a slave to read was a crime in the slave states. It was understood that literacy was an essential step on the path to liberation and autonomy, which was either a hope or a threat, depending on whether one’s aim was liberty or preserving the domination of the masters. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure085 Title A name given to the resource “Learning is Wealth" Subject The topic of the resource unknown Creator An entity primarily responsible for making the resource Charles Paxson Date A point or period of time associated with an event in the lifecycle of the resource 1864 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection