Performing ArchiveMain MenuVisualizing the “Vanishing Race”: the photogravures of Edward S. CurtisFront Page for Visualizing the "Vanishing Race" pathCurtis' Image and Life: The Network of The North American Indian, Inc.An experiment with data visualization approach to understand and contextualize Curtis' images and his lifeMedia, Technology and MediationsCurtis's Technology, Relationships to Media and StyleContextualizing Curtis, The North American Indian, and Racethe collection of essays from the contributorsConsulting with Tribes as Part of Archive DevelopmentIntroduction to Consulting with Tribes by Ulia GosartContributing ArchivesInformation on how to participate in Performing ArchiveBrowsing the MediaA path of paths that allow users to cut through the collection in a variety of ways.Acknowledgements and Project InformationProject NetworkJacqueline Wernimontbce78f60db1628727fc0b905ad2512506798cac8David J. Kim18723eee6e5a79c8d8823c02b7b02cb2319ee0f1Stephan Schonberg23744229577bdc62e9a8c09d3492541be754e1efAmy Borsukc533a79d33d48cbf428e1160c2edc0b38c50db19Beatrice Schustera02047525b31e94c1336b01e99d7f4f758870500Heather Blackmored0a2bf9f2053b3c0505d20108092251fc75010bfUlia Gosart (Popova)67c984897e6357dbeeac6a13141c0defe5ef3403
In a Piegan Lodge
12018-03-16T21:12:55+00:00Erik Loyer55dd6472105260cc3be28705b8bc4df0ebb52a74294821“In a Piegan Lodge”, 1911, volume 6, portfolio plate 188, photogravure, 46 x 31 cm., Special Collection, Honnold Library, Claremont.plain2018-03-16T21:12:55+00:00Critical Commons19112013-08-16T21:03:11ZImageThe North American IndianErik Loyer55dd6472105260cc3be28705b8bc4df0ebb52a74
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12018-03-16T21:12:55+00:00In a Piegan Lodge1part of Visualizing the "Vanishing Race"plain2018-03-16T21:12:55+00:00
Ken Gonzales-Day, Scripps College
"In a Piegan Lodge" has been widely written on because it is one of the most blatant examples of the kinds of manipulations that took place in the studio. The manipulations could also be seen as a kind of violence, in that they alter and undermine the truth claims of the photographic image. In this example, the original image contained a small round and very modern alarm clock that was sitting on the floor between the two figures. For Curtis, the clock implied modernity, and was removed when the negative was transferred to the brass plate used to make the photogravure. As described previously, the plate was then inked and used to make the final print. In the portfolio print one can clearly see where the correction occurred by the weird spherical blur that appears just left of the elbow of the man on the right. Perhaps at this juncture it would be wise to remind readers, and viewers, that there are actually no “photographs” in The North American Indian and that all the images are direct prints from the copper plates. The original image was shot on a glass dry-plate negative and then transferred to the copper plate by hand. The copper plate was then inked and then cleaned before each new print, and finally printed on paper. See the two images side by side here.