<p>This is a collection of work by Puerto Rican performance artist Papo Calo from the Photographic History Collection. The photographs form the portfolio <em>Photogenics</em> that include images from the series <em>Photo Poems</em>, 1979 and <em>Acting as Behavior</em>, 1982.<br></p> <p>Copyright Papo Calo.</p> <p>For additional images, search collections.si.edu</p> <p>Keywords: performance art, alternative photography, photography projects, photography related to performance art, expression, photography and text, photography and language, Latino photographer</p>

<p>This is a selection of photographs by Will Connell from his series, <em>In Pictures</em>, from the Photographic History Collection. <br></p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: satire, humor, critique, Hollywood, manipulated photography, composite photography, surrealism</p> <p>Will Connell (1898-1961) was an influential photographer, teacher, and author in Southern California known for his often-satirical “modern pictorialist” style, commercial photography work, and mentorship of a generation of photographers. The National Museum of American History’s Photographic History collection received a donation of 11 prints of various subjects from Connell’s wife in 1963. This donation was followed by another, from Connell’s son, in 1977, comprised of the 49 prints published in <em>In Pictures</em>. Connell was born in McPherson, Kansas, but moved to California soon after. </p> <p>As a young man in Los Angeles, Connell came into contact with the thriving California camera clubs of the 1910s and 1920s, and more importantly, the burgeoning Hollywood film industry. After a brief stint in the U.S. Army Signal Corps at the end of the first World War, Connell worked a variety of odd jobs while experimenting in amateur photography. </p> <p>Several motion picture studios hired Connell to photograph actors and actresses in the 1920s and 1930s, and he soon became a professional. Connell’s glamour shots of stars such as Myrna Loy, as well as his growing body of art photography, reveal pictorialist influence, and his work was often exhibited at salons and exhibitions throughout the United States. </p> <p>In the 1930s, Connell began working as a photographer for magazines including the <em>Saturday Evening Post</em>, <em>Colliers</em>, <em>Time</em>, and <em>Vogue</em>, started teaching photography at Art Center College, and continued work at the Los Angeles studio he opened in 1925. Connell spent the rest of his life in Los Angeles, teaching, judging work, producing commercial work, and writing, notably, his "Counsel by Connell" column in <em>US Camera</em>, which he authored for 15 years. </p> <p>His first book, <em>In Pictures</em>, was published in 1937. Now considered a classic work of satire, the book featured montaged, often surreal images that mocked the Hollywood studio system and a public enamored with the motion picture industry. The photographs were published alongside a fictional account of a meeting of Hollywood moguls, written by several of Connell’s friends in the business. While the images appear to be a marked departure from Connell’s earlier soft-focus pictorialism, the sharp, poignant photographs nevertheless retain that movement’s emphasis on composition and communication of a message. <em>In Pictures</em> also pays homage to the film industry where the photographer cut his teeth – many of the images feature close-ups, characteristic stage lighting, and influence of the glamour of Hollywood’s Golden Age. Connell, in his work and teaching until his death in 1961, is cited as an influence on an entire generation of photographers, including Dr. Dain Tasker (COLL.PHOTOS.000031). </p> <p>Connell's  1949 book <em>About Photography</em> outlined an artistic philosophy that stressed a straight-forward, communicative style of photography and expressed the author’s belief that even the most commercial work can have artistic merit. A 1963 monograph in US Camera featured fond remembrances from friends Ansel Adams and Dorothea Lange, among others, who praised Connell for his warm personality and unique work. </p>

<p>The Imogen Cunningham collection consists of thirty gelatin silver photographs, mounted, with label, signed and dated by the photographer, and three platinum prints, mounted and labeled. The subjects in the thirty gelatin silver photographs range from plants to portraiture between 1925 and 1968. The three platinum prints were made in 1912 and are representative of Cunningham’s pictorialist style. They were acquired from the photographer in 1968.<br><br>Keywords: art photography, women photographers, self-portrait, portraits of photographers, Edward Weston, Alfred Stieglitz<br><br>For additional collections, search collections.si.edu.<br><br>The photographs were used in a Smithsonian exhibition titled, “Women, Cameras, and Images I,” November 30, 1968-May 30, 1969, in the Hall of Photography, Museum of History and Technology. The exhibition also included thirty additional photographs lent by Imogen Cunningham, and five lent from the Library of Congress. The “Women, Cameras, and Images” exhibition was a series of five exhibitions featuring the work of female photographers: Cunningham, Betty Hahn, Gayle Smalley, Barbara Morgan, and Janine Niepce.</p>

<p>This is a collection of photographs by Glen Friedman from the Photographic History Collection.<br></p> <p>Copyright Glen Friedman</p> <p>Keywords: Skateboarding, Run-DMC, Hollis, Beastie Boys, Neil Blender, Jay Smith, Black Flag, Cornell West, Rev. Al Sharpton, Ralph Nadar, Lenora Fulani</p>

<p>This is a portfolio collection from the Photographic History Collection of work by Ashley Gilbertson from his series <em>Bedrooms of the Fallen</em>. A specially designed wooden portfolio was created to hold these works. Gilbertson is a member of VII Photo Agency.<br></p> <p>Copyright Ashley Gilbertson</p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: veterans, grief, death, memorial, memory, parents, young people, suicide, bedroom, domestic interior, bedroom decorations, masculine culture, masculinity, American flag, military personnel, Afghanistan veteran, Iraq veteran, photojournalist, photojournalism, documentary photography</p>

<p>This is a collection of work by Lauren Greenfield from the Photographic History Collection. <br></p> <p>Copyright Lauren Greenfield.</p> <p>Keywords: women, girls, body image, body shaming, women's health, women's mental health, eating disorders</p>

<p>This an assortment of photographs by Henry Horenstein from over 150 photographs in the Photographic History Collection. Most are gelatin silver prints, but also, cibachrome, and chromogenic prints.<br></p> <p>A portfolio of photographs created by Horenstein's Rhode Island School of Design (RISD) Professional Practices class in 2010, includes a work by Horenstein (accession 2012.0122). A student work by Horenstein is included in a RISD Photographic Education Society Portfolio from 1971  (accession 2004.3040) along with a work by his professor, Harry Callahan.</p> <p>Keywords: country music, horse racing, gambling, baseball stadium, burlesque, animals, honky-tonk, documentary photography, baseball, music, performers, fans, backstage, Grand Ole Opry, blue grass performer, musical instruments, guitar, slide guitar, harmonica, photojournalism, bars, music park, jukebox</p> <p>Henry Horenstein (1948-) trained in history in the late 1960s at the University of Chicago and with the British historian EP Thompson. Coming of age at time when the new social history focused attention upon anonymous people, the working class and the role of culture, Horenstein took those lessons and applied them to his photography. He earned an MFA in photography from the Rhode Island School of Design (RISD) in 1973. While at RISD Horenstein studied with noted photographers Harry Callahan and Aaron Siskind. It was actually Callahan who encouraged Horenstein to pursue his passions for photography and country music. Since then, Horenstein has made a career of chronicling a series of subcultures including horse-racing and gambling, baseball stadiums, and burlesque performers, as well as being noted for his photographs of animals. His works are found in books, record covers, magazine publications, museum collections, and gallery walls.</p> <p>Horenstein is a professor at RISD. In addition to teaching classes, he is an active photographer always working on photographic and publishing projects. Horenstein is well-published, with over 25 books that either feature his photography or are widely used photography text books. He wrote the first darkroom textbooks, Basic Phtography and Beyond Basic Photgraphy. In Fall 2003, his book Honky-Tonk was published, containing an afterword written by NMAH curator Charlie McGovern. In 2006, NMAH featured the exhibition, Honky-Tonk: Country Music Photographs by Henry Horenstein, 1972-1981.<br><br>The collection consists of subjects such as fans and performers at outdoor music parks, in the parking lot, and performers on stage. Print sizes vary between 8 X 10 and 11X 14. The two 16 X 20 prints are a view of a crowd seen from backstage with JD Crowe & The South in sillouette, and “Bartender,” Wanda Lohnman leaning on the bar at Tootsies Orchid Lounge.<br><br>List of Performers and Venues Depicted in the Collection:<br><br>Venues: Fred’s Lounge in Mamou, LA; The Lonestar Ranch, Reed’s Ferry, NH; Hillbilly Ranch, Boston, MA; Tootsie’s Orchid Lounge in Nashville, TN; The Grand Ole Opry at the Ryman Theater, Nashville, TN.<br><br>Performers: Abshire Nathan; Acuff, Roy; Akeman, David “Stringbean”; Bailey, Deford; Bare, Bobby; Bird, Billy; Blake, Norman; Blue Sky Boys; Brown, Clarence "Gatemouth"; Burns, Jethro; Butler, Carl and Pearl; Carter, Anita;  Carter, Mother Maybelle and Helen Carter; Cash, Tommy; Clements, Vassar; Cline, Curly ; y; Cooper, Carol Lee; Cooper, Stoney and Wilma Lee; Crook Brothers; Curless, Dick; Dickens, Little Jimmy; Flatt, Lester; Floyd, Hamonica Frank; Harkreader, Fiddlin' Sid; Harris, Emmy Lou ; Holcomb, Roscoe; Holy Modal Rounders; Hughes Family Show; Jackson, Stonewall; JD Crowe & the New South; Jennings, Waylon; Johnson Mountain Boys; Jones, George; Jones, Grandpa and Ramona; Kirby, Brother Oswald; Lewis, Jerry Lee; Lilly Brothers; Lilly Family; Lynn, Loretta; Magaha, Mac; Martin, Jimmy; McCoury, Del; Monroe, Bill;  Lester Flatt; Monroe, Bill and Roland White; Monroe, Bill and the Bluegrass Boys; Monroe, Charlie; Moody, ; Clyde; Nixon, Charlie; Osborne Brothers; Parton, Dolly; Parton, Dolly and Porter Wagoner; Pearl, Minnie (Sarah Ophelia Colley) and Peewee King; Riley, Jeannie C.; Ritter, Woodward Maurice “Tex”; Seeger, Pete; Shepherd, Jean; Skaggs, Ricky; Smith, Connie; Snow, Hank; Snow, Rev. Jimmy Rodgers; Stanley, Ralph; Tubb, Ernest; Tubb, Justin; Turner, Grant; Turner, Spyder; Val, Joe; Wagoner, Porter; Warren, Paul; Watson, Arthel Lane “Doc”; Watson, Merle; Wells, Muriel Deason “Kitty”; Whitley, Keith; Williams, Hank Jr.; Wright, Johnny</p>

<p>This is a selection of photography by Gertrude Kasebier from the Photographic History Collection (PHC). The PHC is the only museum collection to hold a significant volume of her works of Native Americans.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: platinum, gum bichromate, Pictorialism, Native Americans, artists, sculptor, motherhood, portraiture, photographic presentation, ledger drawings, side lighting, window light, grief</p>

<p>The Victor Keppler collection at the NMAH Photographic History Collection consists of 84 color carbro prints, four bromide prints, two dye transfer prints, 23 silver gelatin prints, two transparencies, and various additional ephemera.<br></p> <p>For additional materials search, collections.si.edu.</p> <p>Keywords: color carbro pigment prints, <em>Eighth Art</em>, color photography, advertising, <em>Saturday Evening Post</em>, Camel cigarettes, Seagram's 7, calendar, ice skaters, food, ice cream, strawberry shortcake, meat, shellfish, portraiture, travel photography, print culture, Christmas cards</p> <p>Victor Keppler produced the first color photographic cover of two jumping ice skaters for the <em>Saturday Evening Post</em> issued March 6, 1937. He was instrumental in working with print publications to match RGB color of photography to CMYK inks for publication printing. <em>Wine and Cheese </em>was an award winning photograph.</p>

<p>The Margarethe Mather NMAH Photographic History Collection consists of five platinum print photographs from the 1920s. Photographer Margrethe Mather was a model and source of inspiration for Edward Weston and an established pictorialist and a pioneering modernist in her own right.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: women photographers, Pictorialism, platinum photography, palladium photography, Pierrot<em></em></p>

<p>This is an assortment of photographs from the Photographic History Collection by Ray K. Metzker.<br></p> <p>Copyright Ray K. Metzker</p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: modernism, gelatin silver print, street photography, sequencing, narrative, film strip, graphic, breaking the frame, 35mm negative</p>

<p>This is a collection of photographs by Chuck Mintz from his <em>Lustron Stories</em> and <em>Hardware Store</em> series. Mintz uses a large format camera.<br></p> <p>Copyright Chuck Mintz.</p> <p>For more collections, search collections.si.edu</p> <p>Keywords: pre-fab homes, Lustron, hardware store, lumber store, hunting license, BBQ sauce, interior home view, exterior home view, domestic interior, bedroom, living room, home furnishing, books, interior decoration, backyard, hammer, community service, rural supplies</p>