9 10 101 https://mirrorofrace.bc.edu/files/original/62b6b67be8e491b4034ddd69300ae305.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 Violence 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 Violence Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ambrotype Factual Commentary Factual Commentary The man identified only as “Abraham, Slave Master” holds a whip clenched tightly in his fist. This is an “occupational” portrait, one where the sitter poses with an object symbolic of his profession. Abraham was probably a slave overseer, or perhaps a slave trader, not a more refined and aristocratic owner of a large and old-family plantation. But the whip is symbolic of more than the job of slave driver: it embodies the fear, the punishment, the pain, the violence that was necessary to enforce slavery’s structure of domination. 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 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 late 1850s Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Cowan’s Auctions, Inc., Cincinnati, OH Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer 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/722a372bf266fba47092b420e77780f2.jpg 2d56e3bc6432f3f8177bd263884f312d 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 Process: carte de visite, albumen print Factual Commentary Factual Commentary The back on this photograph reads, 'Miss Halleon, American Bearded Lady, age 28, Castile, Wyoming County, N.Y.' Like Mungo Park, the 'Spotted Boy' in the previous slide, the ?bearded lady? was also a cause of fascination for the Victorian imagination. Both raised the disruptive possibility that what were assumed to be fixed and natural categories ?&nbsp;race and sex ? might not be as stable as desired by the social structures that depended on these categories being defined, certain, and enduring. The color on this photograph was applied by hand in the photographer?s studio, and the image would have been used for marketing and for sales. 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 6 Title A name given to the resource Miss Halleon, American Bearded Lady Subject The topic of the resource Miss Halleon, American Bearded Lady 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 photographer Unknown Photographer Photographer (Meadville, Pennsylvania) 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/f7554c1adcc35e0b65fb7765ccdff84a.jpg d2b4d340745f0c59a27a03deebac40c1 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 Cabinet photo, albumen print Factual Commentary Factual Commentary Albinos such as Miss Millie La Mar sometimes found work in circus sideshows; some believed that albinos? extreme whiteness granted them supernatural powers, and the circus exploited such superstitions. Nothing more is known about Miss La Mar at the moment, but if any viewers have further information, we would welcome anything that can be documented. 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 Miss Millie La Mar, Mind Reader Subject The topic of the resource Miss Millie La Mar, Mind Reader Creator An entity primarily responsible for making the resource Obermuller and Kern (New York) Date A point or period of time associated with an event in the lifecycle of the resource circa 1890 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/cfdd71cacc6aaa9ab6fb3a0df1f67dfc.jpg dc51b20f8656dab25b086d9452ce9084 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 This family of albinos were performers in a circus such as the one created by P. T. Barnum. The man might be Charles Gohren, who can be seen in Figure 2 in this slideshow. Note the strange ?wild man? costume he is wearing, including an animal skin skirt. This, together with his teased hair, was meant to display him as exotic, perhaps playing on the belief that alibinos were a more primitive form of white people. For an essay on the obsession with forms of primordial whiteness, see the essay <a href=?http://mirrorofrace.org/circassian/? target=?_blank?> ?A Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy?</a> on this site. 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 Family of albino performers Subject The topic of the resource Family of albino performers Creator An entity primarily responsible for making the resource Mathew Brady 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/5464bec9aeb3c05b1e6f782fa32a68fe.jpg c5989d2d00520bafa477c5283ec9fb59 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 The 19th century fascination with permutations of the human body extended as much to people ordinarily categorized as white as to people outside that grouping. P. T. Barnum (1810-1891), the great American huckster and showman, reserved a whole section of his American Museum in New York City for performers of this type and sold souvenir photographs such as this to the public. See the back of the photograph for identification of the performers, although many of these are stage names. Revenue stamps, such as the one on the back of this image, were used from 1864 to 1866 to raise funds to pay for the Civil War. 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 2 Title A name given to the resource Performers in Barnum's American Museum Subject The topic of the resource Performers in Barnum's American Museum Date A point or period of time associated with an event in the lifecycle of the resource circa 1864-66 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 Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer 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/481344c5a17855aa215803b584328361.tif c052ff6369534e4bbb450236e3c66145 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 Tintype Factual Commentary Factual Commentary The Statue of Liberty was erected in 1886 in New York’s harbor. With its place close by Ellis Island, a processing center for immigrant arrivals, it became a symbol of the the hope those immigrants brought with them to America. Here, two African American women pose before a photographer’s painted backdrop of the Statue. Blacks have been coming to America for centuries, but for most over that time, their coming was not a free choice — it was brutally coerced. Yet in this image, there is a glint of hope that there might be a new and freely chosen arrival, even for African Americans already long here, in an America more truly open to all comers. 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 7 Title A name given to the resource Two women with Statue of Liberty backdrop Subject The topic of the resource Two women with Statue of Liberty backdro Date A point or period of time associated with an event in the lifecycle of the resource Date: circa late 1880s to 1890s 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 Creator An entity primarily responsible for making the resource Unknown Photographer Photographer photographer https://mirrorofrace.bc.edu/files/original/8ea31de89716d2fa243785b687cc5475.tif 85967b2840a2336a0774e99099a94a07 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 This portrait is a visual echo of the two previous ones, though it is not a double exposure but rather a father and son from the Pawnee tribe. Like the double exposures, it too marks a cultural transition in identity, but here between generations rather than in a single person. Native Americans are precisely that: <i>native</i> to this land. In a nation of immigrants, they are the exception. And yet, in the harsh irony of history, the son has, in a sense, immigrated to “America” (itself a European name for the so-called New World) by adopting Western dress. For many Native Americans, this cultural colonialism was not a choice, it was forced upon them, though that does not seem to be the case here. Despite all the suffering that transition caused to so many, these two men, at least here, seem entirely self-possessed, in stances that mirror one another. 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 6 Title A name given to the resource Kritkahock George and William Polack, Pawnee father and son Subject The topic of the resource Kritkahock George and William Polack, Pawnee father and son Creator An entity primarily responsible for making the resource Morris (Lawrence, Kansas) Date A point or period of time associated with an event in the lifecycle of the resource Date: circa 1885 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