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In small community museums, truck stops, restaurants, bars,
barbershops, schools, and churches, people create displays to tell
the histories that matter to them. Much of this history is
personal: family history, community history, history of a trade, or
the history of something considered less than genteel. It is often
history based on the historical record, but also based on feelings,
beliefs, and memory. It is neglected history. Private History in
Public is about those history exhibits that complicate the
public/private dichotomy, exhibits that serve to explain
communities, families, and individuals to outsiders and tie
insiders together through a shared narrative of historical
experience. Tammy S. Gordon looks beyond the large professionalized
museum exhibits that have dominated scholarship in museum studies
and public history and offers a new way of understanding the broad
spectrum of exhibition types in the United States.
In small community museums, truck stops, restaurants, bars,
barbershops, schools, and churches, people create displays to tell
the histories that matter to them. Much of this history is
personal: family history, community history, history of a trade, or
the history of something considered less than genteel. It is often
history based on the historical record, but also based on feelings,
beliefs, and memory. It is neglected history. Private History in
Public is about those history exhibits that complicate the
public/private dichotomy, exhibits that serve to explain
communities, families, and individuals to outsiders and tie
insiders together through a shared narrative of historical
experience. Tammy S. Gordon looks beyond the large professionalized
museum exhibits that have dominated scholarship in museum studies
and public history and offers a new way of understanding the broad
spectrum of exhibition types in the United States.
In 1888, the Eastman Dry Plate and Film Company offered the first
portable camera that allowed users to conveniently take photos,
using leisure travel as a primary marketing feature to promote it.
The combination of portability, ease of use, and mass advertising
fed into a national trend of popular photography that drew on
Americans' increasing mobility and leisure time. The Kodak Company
and the first generation of tourist photographers established new
standards for personal archiving that amplified the individual's
role in authoring the national narrative. But not everyone had
equal access to travel and tourism, and many members of the African
American, Native American, and gay and lesbian communities used the
camera to counter the racism, homophobia, and classism that shaped
public spaces.In this groundbreaking history, Tammy S. Gordon tells
the story of the camera's emerging centrality in leisure travel
across the late nineteenth and early twentieth centuries and its
role in "the mass production of memory," a process in which users
crafted a visual archive attesting to their experiences, values,
and circumstances, setting the stage for the customizable visual
culture of the digital age.
In 1888, the Eastman Dry Plate and Film Company offered the first
portable camera that allowed users to conveniently take photos,
using leisure travel as a primary marketing feature to promote it.
The combination of portability, ease of use, and mass advertising
fed into a national trend of popular photography that drew on
Americans' increasing mobility and leisure time. The Kodak Company
and the first generation of tourist photographers established new
standards for personal archiving that amplified the individual's
role in authoring the national narrative. But not everyone had
equal access to travel and tourism, and many members of the African
American, Native American, and gay and lesbian communities used the
camera to counter the racism, homophobia, and classism that shaped
public spaces.In this groundbreaking history, Tammy S. Gordon tells
the story of the camera's emerging centrality in leisure travel
across the late nineteenth and early twentieth centuries and its
role in "the mass production of memory," a process in which users
crafted a visual archive attesting to their experiences, values,
and circumstances, setting the stage for the customizable visual
culture of the digital age.
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