A big thanks to Maria at Preservation and Place for awarding me the Illuminating Blogger Award! This award comes from Food Stories and is given to those who contribute illuminating and informative content to the blogosphere.
As per the requirements of receiving of this award, here is a random fact about myself: I absolutely have to listen to audiobooks when I sleep at night because silence freaks me out and music is too audibly exciting. My favorites are all of the Harry Potter books.
And here are my nominees!
Keeping History Alive
The Arts and Cats Movement
Bricks + Mortar
If you are nominated then you have been awarded the Illuminating Blogger Award. Just follow the steps below:
- The nominee should visit the award site (http://foodstoriesblog.com/illuminating-blogger-award/) and leave a comment indicating that they have been nominated and by whom. (This step is so important because it’s the only way that we can create a blogroll of award winners).
- The Nominee should thank the person that nominated them by posting & including a link to their blog.
- The Nominee should include a courtesy link back to the official award site (http://foodstoriesblog.com/illuminating-blogger-award/) in their blog post.
- Share one random thing about yourself in your blog post.
- Select at least five other bloggers that you enjoy reading their illuminating, informative posts and nominate them for the award. Many people indicate that they wish they could nominate more so please feel free to nominate all your favorites.
- Notify your nominees by leaving a comment on their blog, including a link to the award site (http://foodstoriesblog.com/illuminating-blogger-award/).
J.D. Borthwick, “Monte in the Mines” (c. 1851)
Roaring Camp: The Social World of the California Gold Rush by Susan Lee Johnson is an extraordinary contribution to scholarship on the California Gold Rush. The title of the book is a play on the title of the short story “The Luck of Roaring Camp” by Bret Harte and is intended to evoke ideas of the myths tied to the Gold Rush. However, the book is anything but playful: it is an account of a period that was so full of potential for redefining ideas of class, gender, and cultural tolerance, yet the opportunity was lost. The Northern Mines of California are the site of more widely acknowledged Gold Rush narratives; Johnson, however, focuses on the Southern Mines, which were a site of conflicted gender roles due to the mixing of multiple ethnicities and glasses and are comparatively outside of the major history of the Gold Rush. A highly deserving winner of the 2001 Bancroft Prize, Johnson utilizes her position as a New Western historian to persuasively coerce the reader to rethink not only what is acknowledged about the Gold Rush, but also how ethnicity, class and gender influenced notions of social roles even before the advent of postmodernism. Continue reading
Raphael, “School of Athens” (c. 1509)
I recently started using the app Zite on my iPad, a sort of news-related RSS feed which is programmed to cater to your reading tastes the more you use it. I naturally chose Arts and Culture as one of my top categories, and the following article, originally in The Guardian, caught my attention: “History of art: a degree for the elite?” This article was written by Joy Starkey, a third-year Art History undergraduate at Cambridge University. It seems to be more relevant to the British academic and artistic scenes, and consequently, I had a little more trouble relating to it. However, it’s main point was quite clear: art– and therefore Art History– is quite literally put on such a pedestal that it is typically seen as inaccessible for most people, thus its study is believed to be limited to the elite few. And I mean “elite” in the literal sense of the word. According to Starkey, this stereotype is particularly prevalent in England, as Art History is a popular major amongst royals and the wealthy. She additionally points to other key factors in this perceived inaccessibility: the collecting of art tends to be pastime for the rich, art is often seen as cryptic (therefore those who can decipher it clearly are privileged), and art museums– which I should note regularly brush shoulders with the wealthy in order to acquire their art for exhibition loans– are inherently “treasure-oriented” with their presentation of objects on pedestals and white walls. I certainly agree with Starkey that the appreciation and study of art does not have to be limited to the pompous and privileged (I myself come from a thoroughly middle class background). Furthermore, I do not believe that Art History has to be a niche subject, and I wholly agree with her statement that art is “anything but elitist… Art is one of the most vivid ways of viewing history — it is an intimate glimpse into someone’s world.” However, I have to counter-argue that there still are degrees of elitism in the arts sector beyond its financial prevalence as a hobby for the wealthy, and they still pervade academia. Continue reading
A mid-nineteenth century daguerrotype of Native American lodges.
Print the Legend is an impressive contribution on multiple planes, for Martha Sandweiss not only recounts the complex history of the use of photography in the American West between 1840 and 1890, she also guides both the general reader and historian alike in the process of rethinking how we interpret and utilize photography. She posits two ways to think of how we interpret and use photographs as primary source documents: in history, which requires knowledge “about the circumstances of its making, the photographer’s intent, the public function of the image, the ways in which it was received and understood by contemporary audiences” (p. 9) and through history, in which “we must give attention to the shifting fate of the image—the ways in which it might have moved into archives or attics, museums or scrapbooks, and the ways in which it has been reinterpreted over time” (p. 9). The title of the book is a reference to a quote from the 1962 film The Man Who Shot Liberty Vance, in which the newspaper editor states: “This is the West, sir. When the legend becomes a fact print the legend” (p. 324). This highlights Sandweiss’s encompassing theme of the difficulty of promoting photography in the face of more mythologized media such as painting and printmaking. Print the Legend is highly marketable to a wide variety of audiences: her prose is eloquent and easy to read, and the book itself, which is printed on high-quality glossy paper, is aesthetically pleasing and can be distributed in multiple types of settings, such as major bookstores and museums. Sandweiss is currently a history professor at Princeton University, but her background as a photography curator at the Amon Carter Museum in Fort Worth and as a professor of American Studies allows her to tackle her subject matter with a fresh and unique perspective than she in turn is able to effectively communicate to multiple types of readers. Continue reading