Exhibiting the museum

Journal of Historical Sociology

Volumn 13, Issue 4, 2000, Pages 391-438

  Prochaska, David ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0039179544     PISSN: 09521909     EISSN: None     Source Type: Journal    
DOI: 10.1111/1467-6443.00125     Document Type: Article

References (132)

1. I thank Richard Gringeri, Jordana Mendelson and Maarten Von de Guchte for helpful comments. For a longer Internet version of this essay with numerous color illustrations, go to http://www.history.uiuc.edu/dprochas/ Iconotheque.html. A shorter version was published in C. Richard King, ed., Postcolonial America (Urbana: University of Illinois Press, 2000), pp. 321-52.
2. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
3. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
4. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
5. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
6. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
7. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
8. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
9. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
10. On visual orientalism, see Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986); John M. MacKenzie, Orientalism: History, Theory and the Arts (Manchester: Manchester University Press, 1995); Zeynep Celik and Leila Kinney, "Ethnography and Exhibitionism at the Expositions Universelles," Assemblage, no. 13 (1991), pp. 35-59; Prochaska, "The Archive of L'Algérie imaginaire," History and Anthropology, vol. 4 (1990), pp. 373-420; and Prochaska, "Telling Photos," in From Orientalism to Colonial Forms of Knowledge, eds. Edmund Burke III and David Prochaska (forthcoming). On Alloula's problematic approach to Algerian women depicted on postcards, see among others Annie Coombes and Steve Edwards, "Site Unseen: Photography in the Colonial Empire, Images of Subconscious Eroticism," Art History, vol. 12 (1989), pp. 510-16; and Irvin Cemil Schick, "Representing Middle Eastern Women," Feminist Studies, vol. 16 (1990), pp. 345-80. On MacKenzie's problematic approach, see Dane Kennedy, "John M. MacKenzie, Orientalism" International History Review, Vol. 18 (1996): 912-14.
11. See Michael Kioni Dudley and Keoni Kealoha Agard, A Call for Hawaiian Sovereignty (Honolulu: Wa Kane O Ka Malo Press, 1993 [1990]). Robert H. Mast and Anne B. Mast, Autobiography of Protest in Hawaii (Honolulu: University of Hawaii Press, 1996); and Noel J. Kent, Hawaii: Islands Under the Influence (Honolulu: University of Hawaii Press, 1993).
12. See Michael Kioni Dudley and Keoni Kealoha Agard, A Call for Hawaiian Sovereignty (Honolulu: Wa Kane O Ka Malo Press, 1993 [1990]). Robert H. Mast and Anne B. Mast, Autobiography of Protest in Hawaii (Honolulu: University of Hawaii Press, 1996); and Noel J. Kent, Hawaii: Islands Under the Influence (Honolulu: University of Hawaii Press, 1993).
13. See Michael Kioni Dudley and Keoni Kealoha Agard, A Call for Hawaiian Sovereignty (Honolulu: Wa Kane O Ka Malo Press, 1993 [1990]). Robert H. Mast and Anne B. Mast, Autobiography of Protest in Hawaii (Honolulu: University of Hawaii Press, 1996); and Noel J. Kent, Hawaii: Islands Under the Influence (Honolulu: University of Hawaii Press, 1993).
14. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
15. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
16. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
17. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
18. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
19. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
20. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
21. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
22. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
23. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
24. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
25. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
26. For background on colonial Hawai'i, see Patrick Kirch and Marshall Sahlins, Anahulu: The Anthropology of History in the Kingdom of Hawaii, 2 vols. (Chicago: University of Chicago Press, 1992); Kirch, Feathered Gods and Fishhooks (Honolulu: University of Hawaii Press, 1985); Sahlins, Islands of History (Chicago: University of Chicago Press, 1985); Sahlins How "Natives" Think: About Captain Cook, For Example (Chicago: University of Chicago Press, 1995); Gananath Obeyesekere, The Apotheosis of Captain Cook: European Mythmaking in the Pacific (Princeton: Princeton University Press, 1992); Valerio Valeri, Kingship and Sacrifice (Chicago: University of Chicago Press, 1985); David Malo, Hawaiian Antiquities (Honolulu: Bishop Museum Press, 1951); John Papa I'i, Fragments of Hawaiian History (Honolulu: Bishop Museum Press, 1983); Ralph Kuykendall, The Hawaiian Kingdom, 3 vols. (Honolulu: University of Hawaii Press, 1938-1967); Lawrence H. Fuchs, Hawaii Pono (Honolulu: Bess Press, 1983 [1961]); Eleanor C. Nordyke, The Peopling of Hawai'i, 2nd ed. (Honolulu: University of Hawaii Press, 1989); Elizabeth Buck, Paradise Remade: The Politics of Culture and History in Hawai'i (Philadelphia: Temple University Press, 1993); and Elvi Whittaker, The Mainland Haole: The White Experience in Hawaii (New York: Columbia University Press, 1986).
27. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
28. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
29. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
30. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
31. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
32. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
33. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
34. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
35. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
36. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
37. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
38. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
39. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
40. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
41. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828),"
42. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
43. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
44. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
45. For orientation, see Nicholas Mirzoeff, ed., The Visual Culture Reader (New York: Routledge, 1998); Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1994); Teresa Brennan and Martin Jay, Vision in Context: Historical and Contemporary Perspectives on Sight (New York: Routledge, 1996); Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1993); Jonathan Crary, Techniques of the Observer (Cambridge: MIT Press, 1990); Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press, 1983); Bryson, Michael Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation (New York: HarperCollins, 1991); Thomas Crow, Modern Art in the Common Culture (New Haven: Yale University Press, 1996); W. J. T. Mitchell, "The Pictorial Turn," pp. 11-34 in his Picture Theory (Chicago: University of Chicago Press, 1994); Nelson Goodman, Languages of Art (New York: Bobbs-Merrill, 1968); Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989); Linda Nochlin, "The Imaginary Orient," pp. 33-59 in The Politics of Vision (New York: Harper & Row, 1989); Carol Squiers, ed., The Critical Image (Seattle: Bay Press, 1990), especially the essays by Christian Metz and Griselda Pollock; and David Prochaska, "Art of Colonialism, Colonialism of Art: The Description de l'Égypte (1809-1828)," L'Esprit Créateur, vol. 34 (1994), 69-91. On EuroAmerican photography, see Rosalind Krauss, "Photography's Discursive Spaces," pp. 131-150 in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985); Krauss and Jane Livingston, L'Amour fou: Photography and Surrealism (New York: Abbeveille, 1985); Abigail Solomon-Godeau, Photography at the Dock (Minneapolis: University of Minnesota Press, 1991); Allan Sekula, "The Body and the Archive," October, no. 39 (1986), pp. 3-64; and Sekula, "The Traffic in Photographs," Art Journal, vol. 41 (1981), pp. 15-25.
46. See Adrienne L. Kaeppler, "Ali'iand Maka'ainana: The Representation of Hawaiians in Museums at Home and Abroad," pp. 458-475 in Ivan Karp, Christine Mullen Kreamer and Steven D. Lavine, Museums and Communities (Washington: Smithsonian Institution Press, 1992); and Roger G. Rose, Hawai'i: The Royal Isles (Honolulu: Bishop Museum Press, 1980). "Exhibitions in Hawai'i are more culturally sensitive" than those outside Hawai'i. Nonetheless, "Hawaiian exhibitions celebrate the history of Hawaiians and are only beginning to celebrate their present. Indeed, most current selections of objects and the manner in which they are exhibited emphasize the romantic notion of an uncontaminated "other" - a Hawai'i that does not exist today and probably never did" (pp. 467-68). This is the case even at the Bishop Museum in Honolulu where exhibits on the lower floor of the great hall give "a late-nineteenth-century view of Hawaiian tradition" (p. 468).
47. See Adrienne L. Kaeppler, "Ali'iand Maka'ainana: The Representation of Hawaiians in Museums at Home and Abroad," pp. 458-475 in Ivan Karp, Christine Mullen Kreamer and Steven D. Lavine, Museums and Communities (Washington: Smithsonian Institution Press, 1992); and Roger G. Rose, Hawai'i: The Royal Isles (Honolulu: Bishop Museum Press, 1980). "Exhibitions in Hawai'i are more culturally sensitive" than those outside Hawai'i. Nonetheless, "Hawaiian exhibitions celebrate the history of Hawaiians and are only beginning to celebrate their present. Indeed, most current selections of objects and the manner in which they are exhibited emphasize the romantic notion of an uncontaminated "other" - a Hawai'i that does not exist today and probably never did" (pp. 467-68). This is the case even at the Bishop Museum in Honolulu where exhibits on the lower floor of the great hall give "a late-nineteenth-century view of Hawaiian tradition" (p. 468).
48. See Adrienne L. Kaeppler, "Ali'iand Maka'ainana: The Representation of Hawaiians in Museums at Home and Abroad," pp. 458-475 in Ivan Karp, Christine Mullen Kreamer and Steven D. Lavine, Museums and Communities (Washington: Smithsonian Institution Press, 1992); and Roger G. Rose, Hawai'i: The Royal Isles (Honolulu: Bishop Museum Press, 1980). "Exhibitions in Hawai'i are more culturally sensitive" than those outside Hawai'i. Nonetheless, "Hawaiian exhibitions celebrate the history of Hawaiians and are only beginning to celebrate their present. Indeed, most current selections of objects and the manner in which they are exhibited emphasize the romantic notion of an uncontaminated "other" - a Hawai'i that does not exist today and probably never did" (pp. 467-68). This is the case even at the Bishop Museum in Honolulu where exhibits on the lower floor of the great hall give "a late-nineteenth-century view of Hawaiian tradition" (p. 468).
49. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
50. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
51. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
52. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
53. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
54. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
55. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
56. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
57. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
58. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
59. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
60. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
61. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
62. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
63. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
64. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
65. Surveys of photography in Hawai'i or in which photographs figure prominently include Joseph Feher, Hawai'i: A Pictorial History (Honolulu: Bishop Museum Press, 1969); Jean Abramson, Photographers of Old Hawaii (Honolulu: Island Heritage, 1976); Palani Vaughan, Na Leo I Ka Makani, Voices of the Wind: Historic Photographs of Hawaiians of Yesteryear (Honolulu: Mutual Publishing, 1987); Joseph G. Mullins, Hawaiian Journey (Honolulu: Mutual Publishing, 1978); E. B. Scott, The Saga of the Sandwich Islands (Crystal Bay, Lake Tahoe, NE: Sierra-Tahoe Publishing Co., 1968); Gail Bartholemew, Maui Remembers: A Local History (Honolulu: Mutual Publishing, 1994); DeSoto Brown, Aloha Waikiki: 100 Years of Pictures from Hawaii's Most Famous Beach (Honolulu: Editions Limited, 1985); Grady Timmons, Waikiki Beachboy (Honolulu: Editions Limited, 1989). On painting in Hawai'i, see David W. Forbes, Encounters with Paradise: Visions of Hawaii and Its People, 1778-1941 (Honolulu: Honolulu Academy of Arts, 1992). Monographs on photographers in Hawai'i include Ray Jerome Baker, Hawaiian Yesterdays: Historical Photographs (Honolulu: Mutual Publishing, 1982); Lynn Ann Davis, A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai'i (Honolulu: Bishop Museum Press, 1988); and Davis, Na Pa'i Ki'i: The Photographers in the Hawaiian Islands, 1845-1900 (Honolulu: Bishop Museum Press, 1980). Among studies of nonwestern photography, see Stephen White, John Thomson: A Window to the Orient (Albuquerque: University of New Mexico Press, 1989); Arthur Oilman, Samuel Bourne: Images of India (Carmel, CA: Friends of Photography, 1983); Clark Worswick, Princely India: Photographs by Raja Deen Dayal, 1884-1910 (New York: Knopf, 1980); Edward Ranney, Publio Lopez Mondejar and Mario Vargas Llosa, Martin Chambi (Washington: Smithsonian Institution Press, 1993); and Roslyn Poignant with Axel Poignant, Encounter at Nagalarramba (Canberra: National Library of Australia, 1996).
66. Works which reproduce Hawai'ian postcards or in which postcards are featured include Jack Edler and Edith Koplin, 26 postcards of Early Hawaii (Honolulu: Maile Press, 1989); Timmons, Waikiki Beachboy; and Desoto Brown, Hawaii Recalls: Selling Romance to America, Nostalgic Images of the Hawaiian Islands (1910-1950) (Honolulu: Editions Limited, 1982). On "imperialist nostalgia," see Renato Rosaldo, "Imperialist nostalgia," pp. 68-87 in Culture and Truth (Boston: Beacon Press, 1989). "Imperialist nostalgia" is the effect produced by some collectors of republished postcards where through careful selection and decontextualizingpractices such as the relative absence of text and lack of contemporary photos, readers and viewers are invited to "mourn the passing of what they themselves have transformed" (p. 69). Although the term was applied originally to the colonial Phillipines, it can be applied equally to Hawai'i.
67. Works which reproduce Hawai'ian postcards or in which postcards are featured include Jack Edler and Edith Koplin, 26 postcards of Early Hawaii (Honolulu: Maile Press, 1989); Timmons, Waikiki Beachboy; and Desoto Brown, Hawaii Recalls: Selling Romance to America, Nostalgic Images of the Hawaiian Islands (1910-1950) (Honolulu: Editions Limited, 1982). On "imperialist nostalgia," see Renato Rosaldo, "Imperialist nostalgia," pp. 68-87 in Culture and Truth (Boston: Beacon Press, 1989). "Imperialist nostalgia" is the effect produced by some collectors of republished postcards where through careful selection and decontextualizingpractices such as the relative absence of text and lack of contemporary photos, readers and viewers are invited to "mourn the passing of what they themselves have transformed" (p. 69). Although the term was applied originally to the colonial Phillipines, it can be applied equally to Hawai'i.
68. Works which reproduce Hawai'ian postcards or in which postcards are featured include Jack Edler and Edith Koplin, 26 postcards of Early Hawaii (Honolulu: Maile Press, 1989); Timmons, Waikiki Beachboy; and Desoto Brown, Hawaii Recalls: Selling Romance to America, Nostalgic Images of the Hawaiian Islands (1910-1950) (Honolulu: Editions Limited, 1982). On "imperialist nostalgia," see Renato Rosaldo, "Imperialist nostalgia," pp. 68-87 in Culture and Truth (Boston: Beacon Press, 1989). "Imperialist nostalgia" is the effect produced by some collectors of republished postcards where through careful selection and decontextualizingpractices such as the relative absence of text and lack of contemporary photos, readers and viewers are invited to "mourn the passing of what they themselves have transformed" (p. 69). Although the term was applied originally to the colonial Phillipines, it can be applied equally to Hawai'i.
69. Works which reproduce Hawai'ian postcards or in which postcards are featured include Jack Edler and Edith Koplin, 26 postcards of Early Hawaii (Honolulu: Maile Press, 1989); Timmons, Waikiki Beachboy; and Desoto Brown, Hawaii Recalls: Selling Romance to America, Nostalgic Images of the Hawaiian Islands (1910-1950) (Honolulu: Editions Limited, 1982). On "imperialist nostalgia," see Renato Rosaldo, "Imperialist nostalgia," pp. 68-87 in Culture and Truth (Boston: Beacon Press, 1989). "Imperialist nostalgia" is the effect produced by some collectors of republished postcards where through careful selection and decontextualizingpractices such as the relative absence of text and lack of contemporary photos, readers and viewers are invited to "mourn the passing of what they themselves have transformed" (p. 69). Although the term was applied originally to the colonial Phillipines, it can be applied equally to Hawai'i.
70. Works which reproduce Hawai'ian postcards or in which postcards are featured include Jack Edler and Edith Koplin, 26 postcards of Early Hawaii (Honolulu: Maile Press, 1989); Timmons, Waikiki Beachboy; and Desoto Brown, Hawaii Recalls: Selling Romance to America, Nostalgic Images of the Hawaiian Islands (1910-1950) (Honolulu: Editions Limited, 1982). On "imperialist nostalgia," see Renato Rosaldo, "Imperialist nostalgia," pp. 68-87 in Culture and Truth (Boston: Beacon Press, 1989). "Imperialist nostalgia" is the effect produced by some collectors of republished postcards where through careful selection and decontextualizingpractices such as the relative absence of text and lack of contemporary photos, readers and viewers are invited to "mourn the passing of what they themselves have transformed" (p. 69). Although the term was applied originally to the colonial Phillipines, it can be applied equally to Hawai'i.
71. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
72. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
73. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
74. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
75. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
76. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
77. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
78. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
79. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New
80. Among the surprisingly few analytic studies which do exist, see Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997); Deborah Poole, Vision, Race and Modernity: A Visual Economy of the Andean Image World (Princeton: Princeton University Press, 1997); Abigail Solomon-Godeau, "A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times," October, no. 18 (1981), 91-107 ; Elizabeth Edwards, ed., Anthropology and Photography, 1860-1920 (New Haven: Yale University Press, 1992) , esp. the essays by Pinney and Faris; Frederick Bohrer, A New Antiquity (forthcoming); Catherine A. Lutz and Jane L. Collins, Reading National Geographic (Chicago: University of Chicago Press, 1993); Alloula, The Colonial Harem; David Prochaska, "L'Algérie imaginaire," History and Anthropology, Prochaska, "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal," African Arts, vol. 24 (1991), pp. 40-47; and Prochaska, "Telling Photos" (forthcoming).
81. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
82. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
83. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
84. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
85. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
86. A focus on the art object - imagery - underscores issues such as iconography, genre, taste, connossieurship, and aesthetics more generally. A discussion of the conditions and context of production raises issues of (mechanical) reproduction, copy, imitation, originality and authenticity. Circulation and reception focus attention on viewer and audience, buyer and market. In addition to works cited above by Krauss, Squier, Sekula and Bryson, see Roland Barthes, "The Photographic Message" and "Rhetoric of the Image," pp. 15-31 and 32-51, respectively, in Image - Music - Text (New York: Farrar, Straus and Giroux, 1977); Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (Schocken Books, 1969); Francis Haskell, "A Turk and His Pictures in Nineteenth Century France" in his Past and Present in Art and Taste (New Haven: Yale University Press, 1987); Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste (Cambridge: Harvard University Press, 1984); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina Press, 1984); and Prochaska, "Orientations" (unpub. ms.).
87. On the construction of postcards, see Prochaska, "L'Algérie imaginaire" and "Fantasia of the Photothéque"; and Virginia Lee-Webb, "Manipulated Images: European Photographs of Pacific Peoples," pp. 175-201 in Elazar Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist Project and the Culture of Modernism (Stanford: Stanford University Press, 1995). Although Lee-Webb is talking about nineteenth-century photographs, much of what she says applies to postcards since "With the rise of the picture postcard, nineteenth-century photographs endured into the twentieth century by being appropriated, repainted, recaptioned, and reproduced for sale as souvenirs" (p. 186).
88. On the construction of postcards, see Prochaska, "L'Algérie imaginaire" and "Fantasia of the Photothéque"; and Virginia Lee-Webb, "Manipulated Images: European Photographs of Pacific Peoples," pp. 175-201 in Elazar Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist Project and the Culture of Modernism (Stanford: Stanford University Press, 1995). Although Lee-Webb is talking about nineteenth-century photographs, much of what she says applies to postcards since "With the rise of the picture postcard, nineteenth-century photographs endured into the twentieth century by being appropriated, repainted, recaptioned, and reproduced for sale as souvenirs" (p. 186).
89. On the construction of postcards, see Prochaska, "L'Algérie imaginaire" and "Fantasia of the Photothéque"; and Virginia Lee-Webb, "Manipulated Images: European Photographs of Pacific Peoples," pp. 175-201 in Elazar Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist Project and the Culture of Modernism (Stanford: Stanford University Press, 1995). Although Lee-Webb is talking about nineteenth-century photographs, much of what she says applies to postcards since "With the rise of the picture postcard, nineteenth-century photographs endured into the twentieth century by being appropriated, repainted, recaptioned, and reproduced for sale as souvenirs" (p. 186).
90. Susan Vogel, et. al., Art/Artifact: African Art in Anthropology Collections, exh. cat., (New York: Center for African Art, 1988); and Lisa G. Corrin, Mining the Museum: An Installation by Fred Wilson, exh. cat. (New York: New Press, 1994). See also Allan Sekula, Fish Story, exh. cat. (Düsseldorf: Richter Verlag, 1995). The museum exhibition closest in theme and content - exoticist photography - but less innovative than the one proposed here is Frederick N. Bohrer, ed., Sevruguin and the Persian Image: Photographs of Iran, 1870-1930 (Washington, D.C.: Smithsonian Institution, 1999). In the second of two exhibit rooms in addition to Sevruguin photographs on the walls, "A final feature of the second room will further enable the viewer to see not only Iran itself, but the archive through which it is viewed. A table in the center of the room will be stacked with laminated reproductions of other Sevruguin images in the Freer/Sackler in collection. Viewers will be able to leaf through the images, and compare and contrast them with the particular photos chosen for display. This activity will allow viewers to go beyond the usual passive manner of viewing an exhibit, by engaging them in the very concerns of display..." (Frederick N. Bohrer, "Freer/Sackler External Exhibition Proposal," ms., April 11, 1996, p. 2.).
91. Susan Vogel, et. al., Art/Artifact: African Art in Anthropology Collections, exh. cat., (New York: Center for African Art, 1988); and Lisa G. Corrin, Mining the Museum: An Installation by Fred Wilson, exh. cat. (New York: New Press, 1994). See also Allan Sekula, Fish Story, exh. cat. (Düsseldorf: Richter Verlag, 1995). The museum exhibition closest in theme and content - exoticist photography - but less innovative than the one proposed here is Frederick N. Bohrer, ed., Sevruguin and the Persian Image: Photographs of Iran, 1870-1930 (Washington, D.C.: Smithsonian Institution, 1999). In the second of two exhibit rooms in addition to Sevruguin photographs on the walls, "A final feature of the second room will further enable the viewer to see not only Iran itself, but the archive through which it is viewed. A table in the center of the room will be stacked with laminated reproductions of other Sevruguin images in the Freer/Sackler in collection. Viewers will be able to leaf through the images, and compare and contrast them with the particular photos chosen for display. This activity will allow viewers to go beyond the usual passive manner of viewing an exhibit, by engaging them in the very concerns of display..." (Frederick N. Bohrer, "Freer/Sackler External Exhibition Proposal," ms., April 11, 1996, p. 2.).
92. Susan Vogel, et. al., Art/Artifact: African Art in Anthropology Collections, exh. cat., (New York: Center for African Art, 1988); and Lisa G. Corrin, Mining the Museum: An Installation by Fred Wilson, exh. cat. (New York: New Press, 1994). See also Allan Sekula, Fish Story, exh. cat. (Düsseldorf: Richter Verlag, 1995). The museum exhibition closest in theme and content - exoticist photography - but less innovative than the one proposed here is Frederick N. Bohrer, ed., Sevruguin and the Persian Image: Photographs of Iran, 1870-1930 (Washington, D.C.: Smithsonian Institution, 1999). In the second of two exhibit rooms in addition to Sevruguin photographs on the walls, "A final feature of the second room will further enable the viewer to see not only Iran itself, but the archive through which it is viewed. A table in the center of the room will be stacked with laminated reproductions of other Sevruguin images in the Freer/Sackler in collection. Viewers will be able to leaf through the images, and compare and contrast them with the particular photos chosen for display. This activity will allow viewers to go beyond the usual passive manner of viewing an exhibit, by engaging them in the very concerns of display..." (Frederick N. Bohrer, "Freer/Sackler External Exhibition Proposal," ms., April 11, 1996, p. 2.).
93. Susan Vogel, et. al., Art/Artifact: African Art in Anthropology Collections, exh. cat., (New York: Center for African Art, 1988); and Lisa G. Corrin, Mining the Museum: An Installation by Fred Wilson, exh. cat. (New York: New Press, 1994). See also Allan Sekula, Fish Story, exh. cat. (Düsseldorf: Richter Verlag, 1995). The museum exhibition closest in theme and content - exoticist photography - but less innovative than the one proposed here is Frederick N. Bohrer, ed., Sevruguin and the Persian Image: Photographs of Iran, 1870-1930 (Washington, D.C.: Smithsonian Institution, 1999). In the second of two exhibit rooms in addition to Sevruguin photographs on the walls, "A final feature of the second room will further enable the viewer to see not only Iran itself, but the archive through which it is viewed. A table in the center of the room will be stacked with laminated reproductions of other Sevruguin images in the Freer/Sackler in collection. Viewers will be able to leaf through the images, and compare and contrast them with the particular photos chosen for display. This activity will allow viewers to go beyond the usual passive manner of viewing an exhibit, by engaging them in the very concerns of display..." (Frederick N. Bohrer, "Freer/Sackler External Exhibition Proposal," ms., April 11, 1996, p. 2.).
94. Susan Vogel, et. al., Art/Artifact: African Art in Anthropology Collections, exh. cat., (New York: Center for African Art, 1988); and Lisa G. Corrin, Mining the Museum: An Installation by Fred Wilson, exh. cat. (New York: New Press, 1994). See also Allan Sekula, Fish Story, exh. cat. (Düsseldorf: Richter Verlag, 1995). The museum exhibition closest in theme and content - exoticist photography - but less innovative than the one proposed here is Frederick N. Bohrer, ed., Sevruguin and the Persian Image: Photographs of Iran, 1870-1930 (Washington, D.C.: Smithsonian Institution, 1999). In the second of two exhibit rooms in addition to Sevruguin photographs on the walls, "A final feature of the second room will further enable the viewer to see not only Iran itself, but the archive through which it is viewed. A table in the center of the room will be stacked with laminated reproductions of other Sevruguin images in the Freer/Sackler in collection. Viewers will be able to leaf through the images, and compare and contrast them with the particular photos chosen for display. This activity will allow viewers to go beyond the usual passive manner of viewing an exhibit, by engaging them in the very concerns of display..." (Frederick N. Bohrer, "Freer/Sackler External Exhibition Proposal," ms., April 11, 1996, p. 2.).
95. Most Teich postcards were commissioned by retail businesses for advertising purposes. They may not include advertising slogans, but their commercial pupose is clear.
96. In no other case of a postcard publisher anywhere in the world that I am aware of do we have extensive information regarding the production process in addition to the final postcard itself. For other postcard publishers researchers are forced to try and reconstruct a catalogue of postcards by tedious, time-consuming, and painstaking searching in public collections and among private collectors, a hit-or-miss process with no guarantee of success. In contrast, we have copies of all 1582 Teich postcards of Hawai'i. Moreover, we can determine the year of production for the vast majority of them, and for which local retailer they were produced. On one of the most ambitious projects to catalogue the output of a postcard publisher, that of Edmond Fortier in Dakar, Senegal, see Philippe David, Inventaire Général des Cartes Postales Fortier, 3 vols. (Paris: chez l'auteur, 1986, 1988).
97. In no other case of a postcard publisher anywhere in the world that I am aware of do we have extensive information regarding the production process in addition to the final postcard itself. For other postcard publishers researchers are forced to try and reconstruct a catalogue of postcards by tedious, time-consuming, and painstaking searching in public collections and among private collectors, a hit-or-miss process with no guarantee of success. In contrast, we have copies of all 1582 Teich postcards of Hawai'i. Moreover, we can determine the year of production for the vast majority of them, and for which local retailer they were produced. On one of the most ambitious projects to catalogue the output of a postcard publisher, that of Edmond Fortier in Dakar, Senegal, see Philippe David, Inventaire Général des Cartes Postales Fortier, 3 vols. (Paris: chez l'auteur, 1986, 1988).
98. "Guide to Dating Curt Teich postcards," typescript, Teich Archives.
99. Again, nothing comparable to these geographical indexes exists for any other postcard publisher that I know. The Teich geographical indexes document not only the retailers who ordered the cards, but also give the name and address of the retailer, the number ordered, and in exceptional cases subsequent reprint information.
100. "The young woman is wearing the traditional Hawaiian attire including the esteemed maile lei, and the ever popular lei-adorned, handmade lauhala hat" (Edler and Koplin, p. 13).
101. Moreover, we know the year of production for the vast majority of them, and along with the job folders and geographical indexes we often know the local retailer for which they were produced.
102. The "grass hut" of the postcard is referred to as a "chicken coop" on the back of the Williams photograph. On Williams see Baker, Hawaiian Yesterdays, pp. 238-39; and "Statement of James A. Williams, Photographer, May 10, 1939," pp. 77-78 of "Race relations, Lind, Baker notes, May 1939" (typescript, Bishop Museum).
103. The "grass hut" of the postcard is referred to as a "chicken coop" on the back of the Williams photograph. On Williams see Baker, Hawaiian Yesterdays, pp. 238-39; and "Statement of James A. Williams, Photographer, May 10, 1939," pp. 77-78 of "Race relations, Lind, Baker notes, May 1939" (typescript, Bishop Museum).
104. See John Falconer, "Ethnographical Photography in India, 1850-1900," History of Photography, vol. 5 (1984), pp. 16-46. For an Ottoman album of generic types produced for the 1873 Vienna worlds fair, see Hamdy Bey and Marie de Launay, Les costumes populaires de la Turquie en 1873 (Constantinople: Imprimerie du 'Levant Times & Shipping Gazette,' 1873). For suggestive reflections on Irving Penn's "ethnographic" types, see Edmund Carpenter, "Love Thy Label as Thyself," pp. 54-62 in Colin Westerbeck, ed., Irving Penn: A Career in Photography (Chicago: Art Institute of Chicago, 1997).
105. See John Falconer, "Ethnographical Photography in India, 1850-1900," History of Photography, vol. 5 (1984), pp. 16-46. For an Ottoman album of generic types produced for the 1873 Vienna worlds fair, see Hamdy Bey and Marie de Launay, Les costumes populaires de la Turquie en 1873 (Constantinople: Imprimerie du 'Levant Times & Shipping Gazette,' 1873). For suggestive reflections on Irving Penn's "ethnographic" types, see Edmund Carpenter, "Love Thy Label as Thyself," pp. 54-62 in Colin Westerbeck, ed., Irving Penn: A Career in Photography (Chicago: Art Institute of Chicago, 1997).
106. See John Falconer, "Ethnographical Photography in India, 1850-1900," History of Photography, vol. 5 (1984), pp. 16-46. For an Ottoman album of generic types produced for the 1873 Vienna worlds fair, see Hamdy Bey and Marie de Launay, Les costumes populaires de la Turquie en 1873 (Constantinople: Imprimerie du 'Levant Times & Shipping Gazette,' 1873). For suggestive reflections on Irving Penn's "ethnographic" types, see Edmund Carpenter, "Love Thy Label as Thyself," pp. 54-62 in Colin Westerbeck, ed., Irving Penn: A Career in Photography (Chicago: Art Institute of Chicago, 1997).
107. Increasingly, anthropologists and other researchers seek this kind of information. In 1994 I showed people living on Lake Turkana in northern Kenya photographs in two pamphlets, and they were able to identify several individuals, an unfortunately high number of whom had died since the photographs had been originally taken. See P. Giuseppe Quattrocchio, El Molo (Turin: Stamperia Artistica Nazionale, n.d.); and Quattrocchio, Rendille (Turin: Stamperia Artistica Nazionale, n.d.).
108. Increasingly, anthropologists and other researchers seek this kind of information. In 1994 I showed people living on Lake Turkana in northern Kenya photographs in two pamphlets, and they were able to identify several individuals, an unfortunately high number of whom had died since the photographs had been originally taken. See P. Giuseppe Quattrocchio, El Molo (Turin: Stamperia Artistica Nazionale, n.d.); and Quattrocchio, Rendille (Turin: Stamperia Artistica Nazionale, n.d.).
109. Original caption: "The Moana Hotel was built in 1895, and is surrounded by lovely palms and tropical foliage, on the beach of Waikiki near Honolulu. It is the exclusive hotel of Honolulu and the home of the many wealthy visitors to the islands. Moonlight bathing, parties, dances and concerts are nightly features of life at the Moana. A beautiful pier extends far into the ocean from the hotle and from its deck can be witnessed the wonderful aquatic sports which occur at all hours on Waikiki Beach." This is also reproduced in Brown, Aloha Waikiki, p. 10.
110. Original caption: "Hawaiian girls all wear a dividend skirt or pa'u when riding. The side saddle is practically unknown in Hawaii. The pa'u or skirt is made so that when the rider advances along the road it streams out, forming a picturesque sight. The Hawaiians, both men and women, are experts on horseback and some of the champion cowboys of the world live in Hawaii."
111. On Char (1889-1976), the son of immigrant sugar field workers, learned photography from Roscoe Perkins, and operated his own studio, City Photo Company, from 1911 to 1954 on Hotel Street in Honolulu where he made more than 90,000 photographs in catering to several ethnic groups (brochure, "The On Char Collection"; Biographical Note, On Char Business Records, manuscript group 184; and How I Became a Photographer, manuscript group 184, box 5, folder 7, all Bishop Museum). "From 1908 until 1938 Morito Koga operated the Koga Arts Studio on the main street of Ola'a, a small sugar town on the island of Hawai'i now known as Kea'au. Most of Koga's customers were the plantation families who lived in the area. Koga made portraits in his studio, photographed festivities in the town or took his equipment out to the plantation camps to photograph families standing in front of their homes." (brochure "The Morito Koga Collection," n.d., Bishop Museum). Tai Sing Loo (b. 1886) was for numerous years the official photographer at Pearl Harbor naval base (Memoirs of Tai Sing Loo, typewritten ms. 1962, Bishop Museum).
112. No. 5, A Hilo Home, Hilo, Hawaii; No. 10, Forest Near Hilo; and No. 23, Water Hyacinths, Hilo were all hand tinted in Japan and published by Hilo Drug Co., Hilo, Hawaii. Others such as Lahaina Hawaii. No, 1; Lahaina Hawaii. No, 2; and Cowt House Lahaina Hawaii all have captions in Japanese as well as English. On the reverse or mailing side it is stated in Japanese that the cards were made at the main branch of the Kamigata-ya store in Ginza, Tokyo, the most westernized section of Tokyo (postcards, Bishop Museum). Thanks to Jason Karlin for the Japanese translations.
113. J. J. Williams won a lucrative contract to make identity photos of contract laborers. "Baker found photographers in Honolulu already [when he arrived in 1908], so went to the outside islands; found no haoles there, only Oriental photographers, mostly Japanese. The ideal photograph at that time, for Japanese, was a very stiff pose. Baker took a different approach; went to the homes of people and got natural shots, intimate, casual." ("Notes taken directly from Mr. Baker, April, 1965," Ms. group 16 [Baker] 1.2, archives, Bishop Museum).
114. I have not yet been able to determine the function of the character boards the individuals are holding. Many early Japanese contract laborers lived at Wainaku village, island of Hawai'i. For photographs of Japanese at Wainaku in the 1890's by C. Furneaux and J. A. Gonsalves, see Franklin Odo and Kazuko Sinoto, A Pictorial History of the Japanese in Hawai'i, 1885-1924 (Honolulu: Bishop Museum Press, 1985), pp. 82-84. This book also includes a facsimile labor contract. The practice of Japanese choosing spouses based on the exchange of photographs is depicted in Picture Bride ( 1994, dir. Kayo Hatta).
115. I have not yet been able to determine the function of the character boards the individuals are holding. Many early Japanese contract laborers lived at Wainaku village, island of Hawai'i. For photographs of Japanese at Wainaku in the 1890's by C. Furneaux and J. A. Gonsalves, see Franklin Odo and Kazuko Sinoto, A Pictorial History of the Japanese in Hawai'i, 1885-1924 (Honolulu: Bishop Museum Press, 1985), pp. 82-84. This book also includes a facsimile labor contract. The practice of Japanese choosing spouses based on the exchange of photographs is depicted in Picture Bride ( 1994, dir. Kayo Hatta).
116. Head and neck leis made of feathers as here were popular with Hawaiian royalty. John Webber (1752-1798) was the official artist on Captain James Cook's third voyage, 1776-1780. See Bernard Smith, European Vision and the South, 2nd ed. (New Haven: Yale University Press, 1985), pp. 108-114, 116, 120, 131, 134, 191, 278, 317-321; and Rüdiger Joppien and Bernard Smith, The Art of Captain Cook's Voyages, vol. 3, (New Haven: Yale University Press, 1988) pp. 171-203.
117. Head and neck leis made of feathers as here were popular with Hawaiian royalty. John Webber (1752-1798) was the official artist on Captain James Cook's third voyage, 1776-1780. See Bernard Smith, European Vision and the South, 2nd ed. (New Haven: Yale University Press, 1985), pp. 108-114, 116, 120, 131, 134, 191, 278, 317-321; and Rüdiger Joppien and Bernard Smith, The Art of Captain Cook's Voyages, vol. 3, (New Haven: Yale University Press, 1988) pp. 171-203.
118. As representations of representatives, exposition postcards constitute third-order simulacra in Baudrillard's terms. See Jean Baudrillard, Simulations (New York: Semiotext(e), 1983). On the 1915 fair, see Burton Benedict, et. al., The Anthropology of World's Fairs: San Francisco's Panama Pacific International Exposition of 1915 (Berkeley: Scolar Press, 1983).
119. As representations of representatives, exposition postcards constitute third-order simulacra in Baudrillard's terms. See Jean Baudrillard, Simulations (New York: Semiotext(e), 1983). On the 1915 fair, see Burton Benedict, et. al., The Anthropology of World's Fairs: San Francisco's Panama Pacific International Exposition of 1915 (Berkeley: Scolar Press, 1983).
120. Gigantism entailed juxtaposing gigantic fruits, vegetables, fish and the like alongside people and machinery, and was especially popular in the United States. See Cynthia Elyce Rubin and Morgan Williams, Larger Than Life: The American Tall-Tale Postcard, 1905-1915 (New York: Abbeville, 1990).
121. "On the beach at Waikiki" was a hapa-haole song that led to a fad for Hawaiian music in 1915 on the mainland. Hapa-haole song style is based on ragtime rhythms and harmonies.
122. Allan Sekula argues that one key way to "read" a photograph is to interpret the context in which it appears or is published. See his "The Traffic in Photographs." I push Sekula's argument a step further here, for what strikes me is the instability of the image, that it literally means something different when placed in a different context.
123. Room four constitutes a "black" region in the terminology of Erving Goffman and Dean MacCannell. On "front" and "back" regions, see Goffman, The Presentation of Self in Everyday Life (Garden City, NY: Doubleday, 1959), pp. 144-145; and MacCannell, The Tourist (New York: Schocken, 1976, 1989), pp. 91-107.
124. Room four constitutes a "black" region in the terminology of Erving Goffman and Dean MacCannell. On "front" and "back" regions, see Goffman, The Presentation of Self in Everyday Life (Garden City, NY: Doubleday, 1959), pp. 144-145; and MacCannell, The Tourist (New York: Schocken, 1976, 1989), pp. 91-107.
125. These are constituted by the nexus of production (room 1), imagery (room 2), and reception (room 3), which echo trends in the "new art history," and which are influenced in turn by especially semiotics and poststructuralism.
126. Along with the "presences" in nineteenth century French Orientalist paintings, Linda Nochlin identifies the "absences". See her "The Imaginary Orient." With few exceptions we lack archival information about both photographers and postcard publishers. Not the name of the photographer -who was generally considered an artisan - but the name of the publisher appears on the card. When postcard stocks were sold it was not uncommon for the new owner to reissue the old cards under his (the publishers were generally male) name. In 1880 James J. Williams bought the studio of another early photographer, Menzies Dickson. Early in the twentieth century Ray Jerome Baker sometimes used William's studio for developing and printing. See Hawaiian Yesterdays, pp. 238-39. Relative absences in extant Hawaiian postcards include ethnic groups (Filipino, Chinese, Samoan), occupations, women, and the built environment.
127. Museum and archival collections of postcards have often been formed more by accident than design. In contrast, avid antiquarians engage in deltiology. Deltiology is thus connected to the history and psychology of collecting. Old postcards are sold by dealers, at flea markets, and expositions. Journals and compilations of particular genres are published. Price guides are regularly updated. In the last two decades prices have increased significantly, and a boomlet of book compilations of old postcards has occurred. Part of this is due to nostalgia for the past, in part it constitutes one variety of imperialist nostalgia. On collecting, see John Elsner and Roger Cardinal, eds., The Cultures of Collecting (Cambridge: Harvard University Press, 1994); and James Clifford, "On Collecting Art and Culture," pp. 215-251 in The Predicament of Culture (Cambridge: Harvard University Press, 1988)
128. Museum and archival collections of postcards have often been formed more by accident than design. In contrast, avid antiquarians engage in deltiology. Deltiology is thus connected to the history and psychology of collecting. Old postcards are sold by dealers, at flea markets, and expositions. Journals and compilations of particular genres are published. Price guides are regularly updated. In the last two decades prices have increased significantly, and a boomlet of book compilations of old postcards has occurred. Part of this is due to nostalgia for the past, in part it constitutes one variety of imperialist nostalgia. On collecting, see John Elsner and Roger Cardinal, eds., The Cultures of Collecting (Cambridge: Harvard University Press, 1994); and James Clifford, "On Collecting Art and Culture," pp. 215-251 in The Predicament of Culture (Cambridge: Harvard University Press, 1988)
129. See Zaid, Wish You Were Here for a rapturous discussion of the aesthetic qualities of interwar Teich linen postcards.
130. Ray Jerome Baker seems to have approached photography as documentation. He was in the habit of making an annual photographic inventory of downtown Honolulu usually on January 2 to "photograph new buildings and other sights that caught his eye" (Baker, Hawaiian Yesterdays, p. 107). In 1941 he published Honolulu Then and Now, subtitled "a photographic record of progress in the City of Honolulu." On document, see Molly Nesbit, "Photography, Art and Modernity," pp. 103-123 in Jean-Claude Lemagny and André Rouillé, eds., A History of Photography (New York: Cambridge University Press, 1987), at pp. 110-113.
131. Ray Jerome Baker seems to have approached photography as documentation. He was in the habit of making an annual photographic inventory of downtown Honolulu usually on January 2 to "photograph new buildings and other sights that caught his eye" (Baker, Hawaiian Yesterdays, p. 107). In 1941 he published Honolulu Then and Now, subtitled "a photographic record of progress in the City of Honolulu." On document, see Molly Nesbit, "Photography, Art and Modernity," pp. 103-123 in Jean-Claude Lemagny and André Rouillé, eds., A History of Photography (New York: Cambridge University Press, 1987), at pp. 110-113.
132. Ray Jerome Baker seems to have approached photography as documentation. He was in the habit of making an annual photographic inventory of downtown Honolulu usually on January 2 to "photograph new buildings and other sights that caught his eye" (Baker, Hawaiian Yesterdays, p. 107). In 1941 he published Honolulu Then and Now, subtitled "a photographic record of progress in the City of Honolulu." On document, see Molly Nesbit, "Photography, Art and Modernity," pp. 103-123 in Jean-Claude Lemagny and André Rouillé, eds., A History of Photography (New York: Cambridge University Press, 1987), at pp. 110-113.