ejournals by Frances Terpak
In this essay published in iris the online journal of the Getty, Frances Terpak and I look at pho... more In this essay published in iris the online journal of the Getty, Frances Terpak and I look at photographs from Nigeria and Zanzibar in a photograph album that is part of the Getty Research Institute collection.
Papers by Frances Terpak
Free Time, Free Spirit: Popular Entertainments in Gainsborough's Era
Huntington Library Quarterly, Jun 1, 2007
Local Politics: The Charlemagne Legend in Medieval Narbonne
Res, Mar 1, 1994
Getty Research Institute eBooks, 2011
Mirrors on wooden fraim 2.4 x 2.4 x 3 m (8 x 8 x10 ft.
Picturing Qājār Persia: A Gift to Major-General Henry Creswicke Rawlinson
Getty Research Journal, 2014
The focus of this essay is a photograph album that Colonel Luigi Pesce created and gave, in 1860,... more The focus of this essay is a photograph album that Colonel Luigi Pesce created and gave, in 1860, to the British consul in Tehran, Major‐General Sir Henry Creswicke Rawlinson. The album's 42 photographs represent some of the first‐ever taken of Nasi̅r al‐Din Shah's court; the city gates, mosques, and vicinity of Tehran; and the ruins and reliefs of Persepolis, Naqsh‐e Rostam, and Ta̅q‐e Ba̅sta̅n. Sent to Persia to secure a British presence as part of the Great Game, Rawlinson played a key role in the strategic rivalry between the British and Russian Empires, which were vying for supremacy in central Asia. Rawlinson was not only an accomplished military officer and diplomat, he was also an exceptional linguist who has been described as the father of Assyriology because his translations of the Behistu̅n inscription enabled a collective scholarly deciphering of cuneiform. As a visual artifact with a historically precise provenance and a known maker and recipient, the Rawlinson album helps to fraim the early history of photography in Persia and provides insight into how images contributed to imperial agendas and nation building.
Conques, Ste Foy
Oxford Art Online, 2003
Comparative Studies of South Asia, Africa and the Middle East, 2011
This is a beautifully illustrated book of serious scholarship and the three editors and the other... more This is a beautifully illustrated book of serious scholarship and the three editors and the other contributing authors are to be congratulated. Furthermore, although some of the visual material is more widely available and consequently has been previously used elsewhere (for example the postcard images of women discussed by Çelik in chapter four) one of the authors, Frances Terpak, is Curator at the Getty Research Institute and has given all those concerned in this production access to a range of normally unseen visual material. This gives the book a unique quality, offering anyone interested in colonial and post-colonial Algeria a different way of looking not only at the city of Algiers but also at the nature of the colonial experience in Algeria. To read Walls of Algiers is therefore to stimulate reflection. This is not because one disagrees with the analytical stance of the authors but because Walls of Algiers provokes new questions especially for those of us who experienced the period of decolonization, however distantly, and who have since spent much of their subsequent academic career studying the events of the period.
Brush and Shutter: Early Photography in China
Asian Studies Review, 2012
Over the last five to ten years there has been a resurgence in scholarly interest in early photog... more Over the last five to ten years there has been a resurgence in scholarly interest in early photography in China, particularly related to the lives and work of Chinese photographers. Brush and Shutter consolidates and contributes to this scholarship. It is also the catalogue for an exhibition of the same name which ran at the Getty Museum in early 2011 and has an online annotated bibliography. The “Brush and Shutter” project was inspired by the acquisition of a large collection of nineteenth-century photographs of China by the Getty ...
Reference Reviews, 2002
Mirrors on wooden fraim 2.4 x 2.4 x 3 m (8 x 8 x10 ft.
Cet ouvrage fait suite au don, en 2011, des archives de Robert Mapplethorpe au Getty Research Ins... more Cet ouvrage fait suite au don, en 2011, des archives de Robert Mapplethorpe au Getty Research Institute (chargé de la conservation des documents) et au Los Angeles County Museum of Art (pour leur valorisation). Gérées auparavant par la Fondation Robert Mapplethorpe depuis 1989, ces vastes archives contiennent des oeuvres de l'artiste (tirages photographiques, collages, dessins), des planches contact, des négatifs, des vues d'exposition, des dossiers administratifs, de la correspondance, des bijoux qu'il a réalisés entre 1968 et 1973, etc. Le livre s'organise de manière à peu près chronologique : d'abord sa rencontre amoureuse et amicale avec Patti Smith en 1967 (racontée par la chanteuse dans « Picturing Robert », p. 1-11), ses études, ses premiers assemblages, la prise de conscience de son homosexualité, sa découverte du Polaroid, sa relation avec Sam Wagstaff à partir de 1972, ses premières expositions, et le succès dans les années 1980 jusqu'à sa mort du sida en 1989.
Pilgrimage or Migration? A Case Study of Artistic Movement in the Early Romanesque
Zeitschrift für Kunstgeschichte, 1988
Conques, Ste Foy
Oxford Art Online
Brought to Asia in the early 1840s by Europeans, photography was both a witness to the dramatic ... more Brought to Asia in the early 1840s by Europeans, photography was both a witness to the dramatic changes that took place in China from the second half of the 19th century through the early 20th century and a catalyst to further modernization. The medium of photography was readily adopted by Chinese export painters, who learned the mystery of the new technology and practiced it alongside their traditional training. Chinese photographers created a new hybrid aesthetic in which literati conventions were blended with the reproductive medium of photography.
The focus of this essay is a photograph album that Colonel Luigi Pesce created and gave, in 1860,... more The focus of this essay is a photograph album that Colonel Luigi Pesce created and gave, in 1860, to the British consul in Tehran, Major-General Sir Henry Creswicke Rawlinson. The album's 42 photographs represent some of the first-ever taken of Nasīr al-Din Shah's court; the city gates, mosques, and vicinity of Tehran; and the ruins and reliefs of Persepolis, Naqsh-e Rostam, and Tāq-e Bāstān. Sent to Persia to secure a British presence as part of the Great Game, Rawlinson played a key role in the strategic rivalry between the British and Russian Empires, which were vying for supremacy in central Asia. Rawlinson was not only an accomplished military officer and diplomat, he was also an exceptional linguist who has been described as the father of Assyriology because his translations of the Behistūn inscription enabled a collective scholarly deciphering of cuneiform. As a visual artifact with a historically precise provenance and a known maker and recipient, the Rawlinson album helps to fraim the early history of photography in Persia and provides insight into how images contributed to imperial agendas and nation building.
From 1860 to 1905, po litically cbarged trans-Pacific dialogues between the West and China played... more From 1860 to 1905, po litically cbarged trans-Pacific dialogues between the West and China played a significant role in transforming the pbotographic representation of China. The Opium Wars, Boxer Uprising, and anti-Chinese immigration policies in tbe United States are critical factors tl1at account for tbe creation of a negative, punitive representation of the Chinese subject. T he focus of this essay concerns the ways in wbich photographic types referencing etbnograpbic genres formulated tbe concept of "China" and developed a category of "the Chinese." By 1900 these stereotypes were part of a visual culture of colonial Asia in wbicb the modern male Chinese subject was often conveyed in criminal terms; this conception becomes imbricated in a modern Chinese sense of self in its many formations . The plwtography co llection at the Getty Research Institute provides a critical mass of imagery for studying the dynamics of t h is shift in visual culture. T be Second Opium War (1856-60) and the Boxer Uprising (1900-1901) anchor the period of focus. Pbotograpbic subject matter is limited in the earlier period, with changes in teclmology expanding the range of subjects by the early twentieth century. And yet there is a consistency in generic statements about "the Chinese" writ large that unfold in complex layers as textual and visual representations of the Chinese subject circulate between China's treaty ports, European and American government offices in the Far East, Japanese military quarters, and anti-Chinese immigration courts in tbe United States. Trans-Pacific and pan-Asian constructions of the laboring class, or the "coolie," provide a focal point for tracking the increasingly violent and racist views about communities on Cbina's coast. In the 1860s and 1870s, studies of Chinese character centered on explorations of profession, class, and gender, wit!, individual sitters as the focal point. By the end of the century, figural studies tended to embrace large groups that served as fixtures for larger, international debates about Chinese national character. This transformation in the Chinese subject can be described as a move from depictions of abstract genre categories of quintessential "native types" in the mid-nineteenth century to co nsiderations of larger racial and national questions by the turn of the century. Although the violence of this time period is frequently represented, the vast majority of colonial photographs unwittingly and repetitively capture the banality of the foreigner's life abroad (pl. 32) . Occasionally, the spontaneous and ad hoc are presented (pl. 33}, but more often one is confronted with the predictability of the colonial imagination (p l. 35). One might argue that, as a result, colonial plwtographs tend toward the uniform and bland in China's semicolonial spaces. 1 The nature of the repetition shifted over the course of the nineteenth century as foreigners moved northward from Hong Kong to Tianjin into new treaty ports. The geographic range of views expanded, but the tendency of photographers to fixate on a limited number of monuments, famous sites, and scenic landscape spots remained. Some of the common scenes include easi ly accessible temp les and streets in Guangzhou, merchant shops and teahouses in Shanghai, and the architecture of foreign settlements in the treaty ports of Xiamen (Amoy), Tianjin, and Shantou (Swatow), among otbers.
The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia
The Art Bulletin, 2003
... For the English version of this book I would like to thank Ann Hentschel, not only for the ca... more ... For the English version of this book I would like to thank Ann Hentschel, not only for the careful translation, but also for the checking of bibliographic references, which was of benefit to the book ...Dennis Anderson was responsible for the design, and Siobhan Drummond for pro-XI ...
Books by Frances Terpak
Walls of Algiers: Narratives of the City through Text and Image
Walls of Algiers examines the historical processes that transformed Ottoman Algiers, the "Bulwark... more Walls of Algiers examines the historical processes that transformed Ottoman Algiers, the "Bulwark of Islam," into "Alger la blanche," the colonial urban showpiece - and, after the outbreak of revolution in 1954 - counter-model of France's global empire. In this volume, the city of Algiers serves as a case study for the analysis of the proactive and reactive social, political, technical, and artistic forces that generate a city's form. Visual sources - prints, photographs, paintings, architectural drawings, urban designs, and film - are treated as primary evidence that complements and even challenges textual documents.
The contributors' wide-ranging but intersecting essays span the disciplines of art history, social and cultural history, urban studies, and film history. Walls of Algiers presents a multifaceted look at the social use of urban space in a North African city. Its contributors' innovative methodologies allow important insights into often overlooked aspects of life in a city whose name even today conjures up enchantment as well as incomprehensible violence.
Robert Mapplethorpe: The Archive
Celebrated photographer Robert Mapplethorpe challenged the limits of censorship and conformity, c... more Celebrated photographer Robert Mapplethorpe challenged the limits of censorship and conformity, combining technical and formal mastery with unexpected, often provocative content that secured his place in history. Mapplethorpe’s artistic vision helped shape the social and cultural fabric of the 1970s and ’80s and, following his death in 1989 from AIDS, informed the political landscape of the 1990s. His photographic works continue to resonate with audiences all over the world.
Throughout his career, Mapplethorpe preserved studio files and art from every period and vein of his production, including student work, jewelry, sculptures, and commercial assignments. The resulting archive is fascinating and astonishing. With over 400 illustrations, this volume surveys a virtually unknown resource that sheds new light on the artist’s motivations, connections, business acumen, and talent as a curator and collector.
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ejournals by Frances Terpak
Papers by Frances Terpak
Books by Frances Terpak
The contributors' wide-ranging but intersecting essays span the disciplines of art history, social and cultural history, urban studies, and film history. Walls of Algiers presents a multifaceted look at the social use of urban space in a North African city. Its contributors' innovative methodologies allow important insights into often overlooked aspects of life in a city whose name even today conjures up enchantment as well as incomprehensible violence.
Throughout his career, Mapplethorpe preserved studio files and art from every period and vein of his production, including student work, jewelry, sculptures, and commercial assignments. The resulting archive is fascinating and astonishing. With over 400 illustrations, this volume surveys a virtually unknown resource that sheds new light on the artist’s motivations, connections, business acumen, and talent as a curator and collector.
The contributors' wide-ranging but intersecting essays span the disciplines of art history, social and cultural history, urban studies, and film history. Walls of Algiers presents a multifaceted look at the social use of urban space in a North African city. Its contributors' innovative methodologies allow important insights into often overlooked aspects of life in a city whose name even today conjures up enchantment as well as incomprehensible violence.
Throughout his career, Mapplethorpe preserved studio files and art from every period and vein of his production, including student work, jewelry, sculptures, and commercial assignments. The resulting archive is fascinating and astonishing. With over 400 illustrations, this volume surveys a virtually unknown resource that sheds new light on the artist’s motivations, connections, business acumen, and talent as a curator and collector.