This is the seventh and final post in a series about the Art Deco resources at the Cooper Hewitt, Smithsonian Design Museum library. Each post will highlight primary resources which contain the more »
This post was researched entirely from materials in the American Art/Portrait Gallery Library collection. Additionally, the images featured in this post are from exhibition pamphlets in James Van der more »
The Cooper Hewitt, Smithsonian Design Library owns over 4,000 photographs by American photographer and journalist Thérèse Bonney, (1894-1978), who documented life in Paris from 1925-35. In 1929, she and her more »
They’re all over social media – frames, filters, and special camera effects on Snapchat, Instagram, Facebook, and other platforms to help you add pizzazz to your selfies and other photos. But is anything really new these days? We found something that may be the grandfather (or at least great uncle) of social media filters – hand-painted backgrounds for photography studios dating from the early 1900s.
This post was written by Adrian Vaagenes, volunteer in the National Museum of American History library. In the last five years, the Go-Pro, the durable HD camera of daredevils the more »
The blog post, last of three, was written by Xavier Courouble, research assistant for Sailors and Daughters: Early Photography and the Indian Ocean, an online exhibition part of the Smithsonian’s National Museum of African Art’s Connecting the Gems of the Indian Ocean: From Oman to East Africa.
Charles Guillain’s three-volume work, Documents sur l’histoire, la géographie, et le commerce de l’Afrique orientale and the accompanying atlas folio of lithographs and map engravings, Voyage à la côte orientale d’Afrique give an account of travels undertaken in a pre-colonial context, where European explorers politically and logistically depended on the African inhabitants and sovereigns they encountered in Africa. The interactions experienced by Guillain and his African counterparts allowed for a reaffirmation of exploration as an encounter and a partnership rather than as an unequal confrontation constructing insurmountable otherness.
When working a in a library, sometimes you come across a book that demands your attention. I was recently captivated by Color: American Photography Transformed, a gorgeous catalogue from Fort Worth’s Amon Carter Museum of American Art. Nearly every page features large plates of snapshots, advertisements, and artworks. Each seems as fresh and vibrant as they must have appeared to their first viewers.