3 10 101 https://mirrorofrace.bc.edu/files/original/953960dd5fadd238081dce9518b00946.tif 0e1a5dfca1339812e9f653dfcaae801f 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 Coming to America 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. Exhibition Name Name of the exhibition in which the item appears Coming to America Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cabinet photograph Factual Commentary Factual Commentary N. A. Morjickian poses here in a double exposure photograph, showing himself in conventional western European clothes on the left and in traditional clothes on the right. In his autobiographical book, life of morjickian , he tells how he was born in Armenia in 1863, came to America, and entered Ohio Wesleyan University in 1882, all of which he obviously took pride in. Does an image like this demonstrate the possibility of integrating an American identity and one from the immigrant’s land of origin, or does it visually underline the schism between the two, and what is the fate of so many immigrants in America: that within a few generations, the former eclipses the latter? 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 Figure 4 Title A name given to the resource N. A. Morjickian Subject The topic of the resource N. A. Morjickian Creator An entity primarily responsible for making the resource G. C. Urlin (Columbus, Ohio) Date A point or period of time associated with an event in the lifecycle of the resource Date: 1886 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/cead6875b57059600833c2714bb7880b.jpg 81aee6ca5a5a3a689815902c4f296c07 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visit, albumen print Factual Commentary Factual Commentary In this photograph from around 1880, Frederick Douglass has chosen the skilled Boston portraitist, George Kendall Warren to take his portrait. 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 Figure 3 Title A name given to the resource Frederick Douglass Subject The topic of the resource Frederick Douglass Creator An entity primarily responsible for making the resource George Kendall Warren (Boston) Date A point or period of time associated with an event in the lifecycle of the resource circa 1880 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/de1872af56c9097e76d6c4cca58fabc2.tif 5be83f8dbc3dd5703cd31902727ffe7a 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cabinet card, albumen print Factual Commentary Factual Commentary Charles Sumner (1811-1874), portrayed here late in life, was a long-serving “Radical Republican” senator from Massachusetts: a staunch opponent of slavery before the Civil War, he lobbied President Lincoln to recruit Black soldiers and to make the abolition of slavery the prime and explicit aim of the war after it started. During the period of Reconstruction after the war, Sumner fought to ensure equal political and social rights for African Americans, and he also opposed discriminatory legislation against Asian immigration. 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 Figure 5 Title A name given to the resource Charles Sumner Subject The topic of the resource Charles Sumner Creator An entity primarily responsible for making the resource George Kendall Warren (Boston) Date A point or period of time associated with an event in the lifecycle of the resource 1874 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 https://mirrorofrace.bc.edu/files/original/3a725112ab774acbd851b59fae77d482.pdf 5aa9fb8b0097db782ff6a1da6e1c5362 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 “True Pictures”: Frederick Douglass on the Promise of Photography Creator An entity primarily responsible for making the resource Gregory Fried https://mirrorofrace.bc.edu/files/original/724f7f16f0ed741997c753b81f98cf47.pdf b2cc584e601cc2cc318cc38bac9fc8b6 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 Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy Subject The topic of the resource A Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy Description An account of the resource What is the mean­ing of mid-nineteenth-cen­tury por­traits of white women with strange names, exotic cos­tumes, and wildly frizzed hair? Creator An entity primarily responsible for making the resource Gregory Fried Date A point or period of time associated with an event in the lifecycle of the resource March 15, 2013 https://mirrorofrace.bc.edu/files/original/c9acbbb0f84e94aa5945f51e8f91bf67.tif b5bc788542c319fb2db636afbc324793 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 tintype Physical Dimensions The actual physical size of the original image “gemtype” (0.75 x 1 inch) in a paper mat, cdv standard Factual Commentary Factual Commentary The photograph above is a tiny tintype portrait of kind known as the “gemtype” (click the image to the left for a close-up). Photographers would use special cameras with as many as 16 lenses to make multiple, postage-stamp-sized photographs on a single thin, metal plate, which the customer could then cut up and give to friends and family. The paper mat holding this one is embossed: “Hathaway, Photographer, Glens Falls,” which is in New York state. We know nothing about the man in the photograph, except that he is almost certainly a white man in “blackface,” which was a costume popularized by the minstrel shows of mid-19th century America. Blackface consisted of blackening a white person’s face with makeup, such as greasepaint or shoe polish, or even burnt cork. In this photograph the man also wears a wig to mimic the hair of African Americans. The minstrel show emerged in the United States in the 1830s and became enormously successful as a form of popular entertainment among whites. White performers, both professional and amateur, would wear blackface and perform satirical skits and musical numbers, posing as African Americans. Interpretive Commentary Interpretive Commentary One thing to notice about this photograph is that it was made in Glen Falls, New York, around the time of the Civil War. The extreme racial stereotyping that characterized the minstrel show was very popular in northern regions, and it is important to bear in mind that this form of racism was widespread in the United States. Blackface and the minstrel show was a form of mock reverse passing from white to black. In actual passing, a person attempts to convince others that they embody a different identity than would normally be ascribed to them. But in blackface, white performers played with taking on the persona of blacks for an audience that would still see them as white. This mock passing played on the fascination with racial boundaries. Comedy works on the borders of hysteria, and blackface touched a nerve by presenting a white person as black, exploiting a deep-seated anxiety about racial identity and purity ― but at the same time, this anxiety would be quelled by the audience knowing the performers was “really” white and by the demeaning representation of blacks, which would reassure them of their distance from the characters depicted. The audience could then return to a reassured sense of possessing their whiteness as a mark of genuine superiority, combined with a feeling of mastery over the black archetypes captured and forced, as the audience saw such performances, to reveal themselves in the caricatured forms of blackface. 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 Figure026 Title A name given to the resource man in blackface 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 1865 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 Hathaway (dates Unknown Photographer Photographer) https://mirrorofrace.bc.edu/files/original/7fcc929ba86042b5e607c166e52e4307.tif 0c31aa29c3f04b464a8fa8e907872248 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 Princess Victoria Kamamalu Ka’ahumanu, 1838-1866, was the sister of King Kamehameha IV, who reigned in Hawai’i from 1854 to 1863. She was the granddaughter of Kamehameha the Great, who founded the kingdom by uniting Hawai’i, and she was presumptive heir to the throne when she died. When her brother the king died in 1863, she was serving the kingdom as Premier (Kuhina Nui), as she had since 1855, and in this role, she had the power to appoint his successor. She named another brother, Lot Kapuaiwa, as king (Kamehameha V), but she herself had in fact been queen regent for the one day (Nov. 30) during which she made this appointment. In this photograph, taken around 1855, she would have been about 17 years old, and probably already serving as Premier. Interpretive Commentary Interpretive Commentary Hawai'i occupies a distinct place in the history of race and identity in American history. In part because the Hawaiians continued under their own rule until the 1890s, with a royal family granted respect by the resident Americans and Europeans, the color prejudice that afflicted the distant mainland did not have the same effect on these islands ― despite the fact that the Hawaiians suffered the effects of colonization. This image in particular illustrates the determination of the Hawaiians to maintain their dignity and autonomy, despite the cultural, economic, and political power of the United States. 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 Figure002 Title A name given to the resource Princess Victoria Kamamalu Subject The topic of the resource Princess Victoria Kamamalu Creator An entity primarily responsible for making the resource Hugo Stangenwald Date A point or period of time associated with an event in the lifecycle of the resource circa 1855 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/8e9a71899332586eabf1e83d57e4ca6e.jpg 6b5d708900698daecb2217d9d2e85391 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 Frontiers of the Human Body 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. Exhibition Name Name of the exhibition in which the item appears Frontiers of the Human Body Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen print Factual Commentary Factual Commentary According to the account on the back of this photograph, Mungo Park was found in 1868 in South Africa. Modern medicine would probably identify his condition as vitiligo, which causes the skin to lose pigmentation, but in the 19th century, when no one understood its scientific cause, there was a fascination with cases where dark-skinned people seemed to be turning as white ?as the skin of the fairest Caucasian,? as W. H. Vosper writes here. Such cases caused anxiety, because they suggested that 'colored' people might become white, or that skin color could be an accidental rather than an essential feature of a person?s physiognomy. This undermined the notion of clear division between the races.. Vosper was a photographer operating in Sydney, Australia; this is possibly a copy photograph by J. D. Dunn. 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 Figure 5 Title A name given to the resource Mungo Park: The Spotted Boy Subject The topic of the resource Mungo Park: The Spotted Boy Creator An entity primarily responsible for making the resource J. D. Dunn (Meadville, Pennsylvania) Date A point or period of time associated with an event in the lifecycle of the resource circa 1875 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/8ebe131736436539cfe746a9c6f7a2d2.jpg d551a70eeafb53d20208ea43aec7aff2 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 Frontiers of the Human Body 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. Exhibition Name Name of the exhibition in which the item appears Frontiers of the Human Body Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen print Factual Commentary Factual Commentary We do not know more about the man sitting for this portrait other than his name, written on the back of the image: Nathan T. Burrows. He was probably a performer, as he poses here with various implements he could use, despite his lack of arms: in one foot he hold a pen and writes on a sheet of paper, an ink pot beside it. He must also have been able to shoot with the pistol propped up by the stool. 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 Figure 1 Title A name given to the resource Nathan T. Burrows Subject The topic of the resource Nathan T. Burrows Creator An entity primarily responsible for making the resource J. H. Dodge (Boston) Date A point or period of time associated with an event in the lifecycle of the resource circa 1865 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/64c59179e808335a8543769e12402e33.jpg 1ce6a2223a1162647d72dc3458e359f9 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 Half Plate (4.25 x 5.5 inches) Factual Commentary Factual Commentary This street scene is by James Presley Ball (1825-1904), a successful African American photographer. Ball learned the daguerreian process in 1845, and then spent most of the next 25 years in Cincinnati, where his business was successful enough to allow him to travel to Europe in 1856. He was an abolitionist, and his large and elegant studios hosted both white and black clients. This scene depicts a street in Ball’s home city, Cincinnati, featuring the building of a candy manufacturer, Myers and Co., Confectioners, along with some of the employers, and perhaps the owner himself (we do not know if Mr. Myers is one of the men standing outside). If you click on the image to the left, you can zoom in to see the extraordinary detail of this daguerreotype, including the writing on the hand-painted signs and a youthful, well-dressed black man, leaning on a post. Barely visible behind him is another black youth in a white shirt, pushing a wheelbarrow with crates of goods on it. On the street is a wagon, where the crates are being loaded for delivery. They are marked “CANDY, Myers & Co., 50 lbs.” Interpretive Commentary Interpretive Commentary J. P. Ball was a remarkably skilled photographer, as this extraordinary daguerreotype demonstrates. In the bright light of full day, Ball produced an image with beautiful tones and contrasts that even captures a sense of movement without the tell-tale blurring of a long exposure time. The resolution and detail in the photograph is exceptional, and such effects required a practitioner who had both the talent to compose a shot and the technical mastery to bring it off, both in preparing the plate and in understanding all the conditions of light and subject matter. Ball’s mastery of the process explains why he was such a successful portrait photographer, too. We cannot know for certain, but it is likely that Myers and Company commissioned J. P. Ball to make this portrait of their business, probably from a sense of pride at is success ― hence the delivery under preparation and the sense of activity. While not exactly a documentary photograph, because it was probably made on commission and not to record historical facts, early images such as this of city life are rare, and J. P. Ball executed this one with great skill. The best scholarly work on James Presley Ball is by Deborah Willis: J. P. Ball: Daguerrean and Studio Photographer (Routledge, 1993). 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 Figure013 Title A name given to the resource Cincinnati street scene Subject The topic of the resource Cincinnati street scene Creator An entity primarily responsible for making the resource James Presley Ball (American, dates uncertain) Date A point or period of time associated with an event in the lifecycle of the resource circa 1850 Type The nature or genre of the resource city scene, commercial Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection