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By James C. Faris

This thorough severe exam of photographic practices calls consciousness to the lack of such a lot images to converse the lived stories of local humans or their historical past. Faris's survey, starting with the earliest photos of Navajo in captivity on the Bosque Redondo and together with the main fresh sleek photograph books and calendars, issues up the Western assumptions that experience consistently ruled photographic illustration of Navajo humans. Drawing on exhaustive archival examine to unearth infrequently released photos in addition to unpublished photos by way of recognized photographers, Faris files Navajo resistance to the West's view (and viewfinder) and protracted makes an attempt to beat or brush off such resistance. He demanding situations the photographic heritage of the Navajo humans as offered by means of photographers, historians, and anthropologists, and explores the social and felony stipulations that make such images attainable. Confronting many readers' nostalgic expectancies, Navajo and images will entice all people with an curiosity within the juxtaposition of cultures and photographic critique.

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Navajo and photography: a critical history of the representation of an American people

This thorough severe exam of photographic practices calls consciousness to the shortcoming of such a lot images to speak the lived stories of local humans or their heritage. Faris's survey, starting with the earliest photos of Navajo in captivity on the Bosque Redondo and together with the main contemporary sleek photo books and calendars, issues up the Western assumptions that experience consistently ruled photographic illustration of Navajo humans.

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Extra resources for Navajo and photography: a critical history of the representation of an American people

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I am not a historian and have not attempted to assemble biographical information on photographers except where such issues might bear on an analysis of specific photographs. Moreover, most museums and archives attempt to maintain biographical information on those persons whose photographs they hold, and these may be consulted, as may published biogra- Page xiii phies and sketches. Thus, the charts of the Appendix are not intended to be more than minimally referential. Many readers will be able add entries, and certainly corrections are to be anticipated.

W. James, Edward Curtis, Laura Gilpin, and others whose published materials have been important in defining the major tropes of the photography of Navajo. A final reason for the selection of some photographs is to publish work that is uncharacteristic (J. W. Hildebrand, Milton Snow), non-normalizing, or atypical 3 or that casts new light on the classical receptions of photographs published and considered typical (Curtis, Gilpin). Still another is to indicate something of the dramatically large quantity of photography of Navajo people, as well as the dramatically narrow range of images.

Figure 10.  Fort Worth TX.  NF 5-956. Page 31 Chapter Two The Registers of Photography of Navajo Method As Political Critique Obviously, one cannot see all photography of Navajo; well over 100,000 images are available to public and research scrutiny, scattered in dozens of archival sources and hard-to-find personal collections. But I have attempted to approach the major sources, and have at least sampled a few of the less accessible and less well-known collections and sources. Obviously, thousands remain in personal collections, and new publications with new photographers appear frequently.

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