Mixed Race Studies

Ethnographic Pictorialism: Caroline Gurrey’s Hawaiian Types at the Alaska–Yukon–Pacific Exposition

History of Photography
Volume 36, Issue 2 (May 2012)
pages 172-183
DOI: 10.1080/03087298.2012.654943

Heather Waldroup, Associate Professor of Art History
Appalachian State University, Boone, North Carolina

In 1909, a series of photographs by Honolulu portraitist Caroline Gurrey was exhibited at the Alaska–Yukon–Pacific Exposition (AYPE) in Seattle. The photographs, which combine elements of the Pictorialist style and ethnographic photography, are portraits of young men and women of either Native Hawaiian or mixed-race heritage. The archival record indicates that the photographs were purchased in Honolulu by a member of the Exposition’s administration, and Gurrey’s original intention for them is currently unknown. Nevertheless, the author argues that through their display at the AYPE – an exposition that stressed industry, expansion and commerce as its key themes – Gurrey’s portraits served a significant role in the articulation and visualisation of the Exposition’s central goals and the United States’s desires for settlement of the newly-acquired Territory of Hawaii by bourgeois white agriculturalists.

A portfolio of portraits of Hawaiian teenagers created by Caroline Hawkins Gurrey in 1909 tells a rich story about the intersection of American imperial interests and the persuasive powers of photography in the early twentieth century, Gurrev was already a successful portrait photographer in Honolulu when this portfolio was selected to be exhibited at the Alaska-Yukon-Pacifc Exposition (AYPE) in Seattle during the summer of 1909. She photographed a number of Honolulu’s elite, such as Sanford Dole, using the Pictorialist style, and was known for producing various photographs documenting life in contemporary Hawai‘i. The fifty photographs in the Hawaiian Types’ series—now held at the Smithsonian’s National Anthropological Archives—were chosen and displayed by the AVPE’s administration to illustrate Hawaii’s racial landscape for a very large audience of fairgoer. The photographs’ style which combines tropes of ethnographic photography with the aesthetics of Pictorialism, underscores a key goal ol the AYPE: to combine supposed truth with aesthetic beauty in order to market Hawai‘i to potential settlers of the relatively new American territory…

Read or purchase the article here.

‘Beautiful Hybrids’: Caroline Gurrey’s Photographs of Hawai‘i’s Mixed-race Children

History of Photography
Volume 36, Issue 2 (May 2012)
pages 184-198
DOI: 10.1080/03087298.2012.654947

Anne Maxwell, Associate Professor of English
University of Melbourne, Australia

In the early years of the twentieth century the Hawaiian-based American photographer Caroline Gurrey produced a much praised set of the photographs of Hawai‘i’s ‘mixed race’ children. Critics have noted that stylistically Gurrey’s photographs belong to the pictorialist school and possibly even to the high art style of the Photo-Seccessionists, however research into her background and life, and the contexts in which these photographs were produced and consumed, suggests that if we want a fuller understanding of both Gurrey’s intentions and these photographs’ historical importance, we should also take note of the part they played in the burgeoning eugenics movement and indigenous Hawaiians’ reactions to American imperialism.

According to Naomi Rosenblum, professional women photographers did not emerge until the 1880s, following a shift in attitudes concerning female education and employment opportunities. When this occurred, there was a veritable explosion of female interest in the medium so that bv the early twentieth century not only were there thousands of amateur women photographers but the numbers taking up photography (or professional and artistic reasons were also large. Historians of photography have investigated the achievements of these early women photographers, with the result that over the last decade a rough consensus as to who were the most important has emerged. Not surprisingly, most of those singled out are from the USA, Great Britain, France and Germany, where the technology and the professional and social networks supporting early photography were most advanced. Missing are the professional women photographers who lived and worked in the smaller western and non-western countries adjacent or peripheral to these larger ones. Although fewer in number, these women warrant historical and critical attention, if only because the limited institutional support available in these places meant they had to labour that much harder to achieve recognition.

One such is the Hawai‘i-based American photographer Caroline Gurrey (whose name before marriage was Haskins), who was active during the first two decades of the twentieth century. Gurrey gained limited critical acclaim while she was alive, but because of her Hawaiian location, and because she was obliged to abandon her artistic ambitions for photojournalism, her name has now virtually sunk into oblivion. Of the few contemporary critics who know of Gurrey’s achievements, most agree that her most important works are the artistic portraits of Hawai‘i’s…

Read or purchase the article here.

The Case of Loving v. Bigotry

The New York Times
2012-01-01

Julie Bosman

Photography by: Grey Villet

In 1958, Richard and Mildred Loving were arrested in a nighttime raid in their bedroom by the sheriff of Caroline County, Va. Their crime: being married to each other. The Lovings—Mildred, who was of African-American and Native American descent, and Richard, a bricklayer with a blond buzz cut—were ordered by a judge to leave Virginia for 25 years. In January, the International Center of Photography is mounting a show [2012-01-20 through 2012-05-06] of Grey Villet’s photographs of the couple in 1965. That exhibit is complemented by an HBO documentary, ‘‘The Loving Story,’’ directed by Nancy Buirski, which will be shown on HBO on Feb. 14…

Read the entire text and view the photographs here.

Sigmund Feist and the End of the Idea of the Jews as a Mixed Race

Shpilman Institute for Photography
Blog
2011-12-04

Amos Morris Reich, Senior Lecturer of Jewish History
University of Haifa

Sigmnud Feist (1865-1943) is mostly remembered because of the orphanage for Jewish children that he directed in Berlin, as well as for his work in German linguistics. A collection of recently published letters written to him by 77 of his pupils during their service in the German military during the Great War has brought him back to public attention. But in 1925 he published a widely circulating book entitled Stammeskunde der Juden: Die jüdischen Stämme der Erde in alter und neuer Zeit. Historisch-anthropologisch Skizzen (A History of the Jewish Stock: ancient and modern Jewish tribes of the world. Historical-anthropological Sketches).

While “race” and “type” are central to Feist’s 1925 book on the Jews, in no place does he define them. Indeed, biological and, most notably, Mendelian principles are absent from his discussion. The chapters move from discussion of the Jews as a race in ancient times and the Jews in the Diaspora to a discussion of geographically ordered Jewries, including chapters on the Jews of Palestine, Near East, China, India, Ethiopia, North Africa, Spain, and Ashkenazy Jews, before turning to pseudo- and cryptic- Jews, and ending with a discussion of modern Jews as a race. The book’s structure, therefore, corroborates the argument concerning the heterogeneity of the Jews as geographically spread and as anthropologically diverse and the photographic appendix indicates similarity between Jews and their environments and Jewish anthropological variation…

….After providing historical evidence for mixture between non-Jews and Jews throughout history, his basic thesis throughout the book, Feist asked whether this process had already in ancient times aligned Jews with the peoples among whom they lived. This question, Feist wrote, is not easy to answer because of the scarcity of visual material (Bildmaterial). Feist’s assumption, therefore, was that the question was a visual one.

If we follow Feist’s argumentation here, we see the degree of internalization of widespread assumptions concerning the realistic status of photography with regard to race. Franz Boas, to whom he turns explicitly in his conclusion, ruled out on methodological grounds the ability to know what previous types looked like. Feist here argues differently. Because of the state of empirical evidence, according to Feist, the question pertains to the appearance of Jews in the medieval period. Instead of viewing medieval depictions as proof of the degree of Jewish mixture, Feist asserts that, as opposed to ancient Hittite, Assyrian, and Egyptian monuments, medieval Christian and Muslim chronicles and illustrated Bibles do not provide “truthful depictions of Jewish types” (naturgetreue jüdische Typen). He here mentions several medieval sources, in which, he claims, depicted Jews cannot be identified through their physiognomic features but only through social markers attached to them. While this, precisely, could corroborate his argument concerning Jewish mixture, Feist in fact chooses to rule out the realism of these images. While he does not say so explicitly, it is likely that the reason for this is that the depictions do not resemble the photographs of the old monuments of and the modern photographs of Jews. Based on the assumption that medieval images did not depict Jews realistically, Feist declares that only with early modern painting, specifically with Rembrandt, Rubens, and van Dijk, did representations of Jews regain an ancient realism; only here did the realistic character of Jewish faces and Jewish forms (jüdische Gestalten) reappear in art. The Jewish type, then, is constant – change was only the attribute of artistic representation…

Read the entire article here.

(1)ne Drop: 2012 Tour

(1)ne Drop
National Campus Tour
Fall 2011

In an effort to provide audiences the opportunity to more deeply engage the issues raised by the project, the (1)ne Drop project is going on tour. The producers invite colleges and universities across the country to host a (1)ne Drop exhibit. Each exhibition will be accompanied by a multi-media lecture on skin color politics and Black racial identity by Dr. Yaba Blay, (1)ne Drop Author and Producer…

Topics include:

• “One-Drop: Fact? Fiction? or Fate?”
• “Not Black Enough: The “Other” African American Experience”
• “¿Black?: The Latin American and Caribbean Experience”
• “Light Skin + Long Hair: Challenges to Sistahood”

For more information, click here.

New Photo Essay: (1)ne Drop

(1)ne Drop
2011-09-26

Yaba Blay

Comments by Steven F. Riley: In keeping with the non-commercial aspect of this site, I have modified the fundraising press release to provide informational content about the book project. There is howerver, a short fundraising request at the end of the video.

PHILADELPHIA, PA – Africana Studies scholar Yaba Blay, Ph.D., and award-winning photographer Noelle Théard [photographs] are collaborating on an innovative new project: a photo essay book that explores the “other” faces of Blackness – those folks who may not be immediately recognized, accepted, or embraced as Black in our visually racialized society. Entitled (1)ne Drop, a reference to the historical “one-drop rule,” the project seeks to challenge narrow, yet popular perceptions of what “Blackness” is and what “Blackness” looks like by pairing candid personal narratives with beautifully captured portraits.

“With this project, I wanted to look at the other side, or at least another side. When we talk about skin color politics, for the most part, we only discuss the disadvantages associated with being dark-skinned. We know about the lived experience of being dark-skinned in a society where lighter skin and White skin are privileged,” says Blay, the author for the project.  “This is not to say that that discussion is over or resolved or that we need to stop discussing it. But we also need to start having more balanced and holistic conversations about skin color.”…

From the “About” page.

People of African descent reflect a multiplicity of skin tones and phenotypic characteristics. Often times, however, when met by people who self-identify as “Black,” but do not fit into a stereotypical model of Blackness, many of us not only question their identity, but challenge their Blackness, and thus our potential relationship to them. A creative presentation of historical documentation, personal memoirs, and portraiture, (1)ne Drop literally explores the “other” faces of Blackness—those who may not immediately be recognized, accepted, or embraced as “Black” in this visually racialized society. Through portrait documentaries (book and film), photography exhibitions, and public programming, the project intends to raise social awareness and spark community dialogue about the complexities of Blackness as both an identity and a lived reality.

(1)ne Drop seeks to challenge narrow, yet popular perceptions of what “Blackness” is and what “Blackness” looks like—if we can recalibrate our lenses to see Blackness as a broader category of identity and experience, perhaps we will be able to see ourselves as part of a larger global community. In the end, (1)ne Drop hopes to awaken a long-overdue and much needed dialogue about racial identity and skin color politics.

For more information, click here.

‘Of Many Colors: Portraits of Multiracial Families’ traveling exhibit bridges diverse backgrounds

Daily Bruin
University of California, Los Angeles
2011-05-22

Lenika Cruz

Starting this evening, UCLA will act as a home for 20 families, each with a story to tell about being multiracial Americans.

While these families will not be physically present, their photographs and interviews will be, as part of “Of Many Colors: Portraits of Multiracial Families,” a traveling exhibit that began circulating the country in the early ’90s.

The exhibit came to UCLA from the organization Family Diversity Projects as part of a collaboration between Multiracial Americans of Southern California and UCLA’s Mixed Student Union. An opening reception with a speech from Cultural Affairs Commissioner Kinnery Shah will take place in the Ackerman second floor lounge, after which the exhibit will move to the Kerckhoff Art Gallery until Friday.

The project is the work of Peggy Gillespie and Gigi Kaeser, co-founders of Family Diversity Projects. They interviewed and photographed more than 40 families living in and around Amherst, Mass., who identified as multiracial. One family consisted of a Puerto Rican mother, an African American father and their children, while another family featured Caucasian parents who had adopted children from Peru and China…

Read the entire article here.

Africa’s Legacy in Mexico: The Photographs of Tony Gleaton

Loyola Marymount University, Los Angeles
Laband Art Gallery
2007-09-09 through 2007-11-18

Africa’s Legacy in Mexico features forty-five black and white photographs from a series of portraits of African Mexicans by Tony Gleaton. Taken in the late 1980s and early 1990s, primarily in three villages along the southwestern coast of Mexico, Gleaton’s photographs offer insight into a little-known aspect of Mexican culture. These poignant images focus on the present-day descendants of African slaves who were brought to Mexico by the Spanish colonialists beginning in the 1500s. Though Africans have been part of the cultural fabric of Mexico for five centuries, the official policy of the Mexican government has been to only highlight the country’s mestizo [mixed race] heritage that has resulted from the mixing of indigenous and European peoples. Miriam Jimenez Roman writes that Gleaton’s photographs “force us to rethink many of our preconceptions not only about our southern neighbor but more generally about issues such as race, ethnicity, culture, and national identity.”

View some of the photographs here.

A Visual and Sociological Study of the Hafus

2010-08-07 Through 2010-08-29
Tue-Thu & Sun 12:00-19:00
Fri&Sat 12:00-20:00
(Closed on Mondays and 14, 15, and 16 August )
3331 Arts Chiyoda 6-11-14 Sotokanda, Chiyoda-Ku,Tokyo, 101-0021

Natalie Maya Willer, Photographer

Marcia Yumie Lise, Researcher

The Hafu Project is a visual and sociological study & representation of the so-called “Hafu”s. This is the first public exhibition in Japan. The work provides an unfolding journey of discovery into the intricacies of what it is to be a hafu in modern day Japan as well as on a global scale in a time where culture, nationhood and identity are increasingly fluid.

View the flyer here.

America’s Mixed-Race Kids Examine Their Identity

Voice of America News
2010-05-05

Faiza Elmasry
Washington, DC

Photographs celebrate richness and beauty of multiracial society

At least seven million Americans identify themselves as belonging to more than one race, and interest is rapidly growing in issues of multi-racial identity.

In his new book, “Mixed: [Portraits of Multiracial Kids],” writer and artist Kip Fulbeck presents a collection of portraits celebrating the faces of mixed-race children.

Kip Fulbeck grew up in a multi-racial family.

His father was English, Irish and Welsh. He had a Chinese mother and Chinese step-siblings. At home, he says, he was considered the white kid, but at school he was the Asian kid. Exploring the multi-racial identity has inspired Fulbeck’s works, including his recent photography book…

Read the entire article here.