Navajo and Photography: A Critical History of the Representation of an American People
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HISTORICALLY, PHOTOGRAPHS have said less about the Navajo than about the photographers of Navajos. In Navajo and Photography James Faris calls attention to the inability of these photographs to communicate either the lived experiences of native people or their history. Beginning with the earliest photographs of Navajos in captivity at Bosque Redondo and including recent glossy picture books and calendars, Faris's survey points up assumptions that have always governed photographic representation of the Navajo people. Full of the work of photographers such as Edward S. Curtis and Laura Gilpin, a...
HISTORICALLY, PHOTOGRAPHS have said less about the Navajo than about the photographers of Navajos. In Navajo and Photography James Faris calls attention to the inability of these photographs to communicate either the lived experiences of native people or their history. Beginning with the earliest photographs of Navajos in captivity at Bosque Redondo and including recent glossy picture books and calendars, Faris's survey points up assumptions that have always governed photographic representation of the Navajo people. Full of the work of photographers such as Edward S. Curtis and Laura Gilpin, as well as photographs by many less-well-known figures, readers will find Navajo and Photography an enlightening juxtaposition of cultures.
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