Archives Scrapbooks

The image shows an open magazine, "Afterimage," from March 1977, lying on a flat surface. The left page (page 18) contains an article discussing the Fogg Museum's photography collection. The text mentions curators John A. and David Pratt, and their views on the collection, which includes works by photographers like Walker Evans, Paul Strand, and others. The article discusses the museum's acquisition policies, the challenges of maintaining a balanced collection, and the integration of photography with other art forms. The right page (page 19) continues the article, with a focus on the museum's policy of accepting photographic works as gifts, the role of such works in teaching, and the potential for future growth in the collection. The text also mentions specific photographers and their contributions to the collection. The article is written by Ann Parker, who frequently writes about photography for various publications.

The image shows a page from a magazine or a newspaper titled "Afterimage/March 1977". The page is primarily about discussions on the acquisition and curation of photography in museums, particularly focusing on the Fogg Art Museum at Harvard University.

Key points from the text include:

• In the late 1960s, despite active acquisitions, the Fogg Museum's collection of photography was weak, especially in the nineteenth century, with only a few hundred prints.
• Acquiring photographs of high quality and significance is challenging due to the prevalence of local pursuits and known foreign works.
• David Pratt, the curator of photography at the Fogg, aims to strengthen the collection by concentrating on significant works from the twentieth century.
• Pratt’s approach involves a mix of purchasing and receiving donations, with a focus on works that represent diversity in photographic expression and representation.
• Pratt is particularly interested in works that are not just straightforward depictions but also include symbolic, abstract, and surrealistic elements.

The text also mentions a specific acquisition: photographs by Ben Shahn, which were donated to the museum by his widow in 1969. Pratt discusses the challenges in determining the value of these photographs and the necessity of acquiring more contemporary pieces alongside existing major collections.

The bottom of the page includes an author note by Ann Person, who writes about photography, mentioning her articles in publications such as "Boston Phoenix" and "The New York Times."

The image contains a page from the magazine "Afterimage" dated March 1977, specifically page 19. The article discusses the photography collections and acquisitions policies of the Fogg Art Museum.

Key points from the article include:

1. Collection Strengths and Weaknesses:

   • The Fogg Art Museum's collection is noted to be relatively weak in nineteenth-century material, particularly in the area of color photography. The museum has a collection of around 500 prints, but it is considered weak in this specific area.
   • The museum has a strong collection of twentieth-century work, which is well-known and highly regarded.

2. Curatorial Perspective:

   • Ackley, the curator, views the museum's collection as a result of local pursuits and feels that it is not as strong as it could be in terms of broader historical and thematic representation.
   • Pratt, another curator, emphasizes the educational value of the collection and the importance of diversifying the collection to reflect various expressions and geographic representations.

3. Photograph Acquisition Policy:

   • The Fogg Museum does not necessarily buy photographs, instead often receiving them as gifts.
   • The museum's collection policy aims to acquire a diverse range of photographs, including those that are geographically and thematically varied.

4. Examples of Acquisitions:

   • The museum has acquired a significant number of photographs from notable photographers like Ben Shahn.
   • The collection includes a variety of works by different photographers, such as those by Todd Lincoln, which were tucked away in Harvard's archives and later brought to the museum.

5. Challenges:

   • There is a challenge in determining the extent to which different departments have collected photographs, making it difficult to track the complete scope of the collection.
   • The museum's collection includes around 4,000 photographs, with an additional 400 prints by Pratt.

6. Policy and Future Plans:

   • Pratt is interested in adding more vintage prints and pieces that complement the existing collection.
   • The article suggests that the museum's collection policy is evolving to include a broader range of photographic works, reflecting a more comprehensive approach to photography.

The article is written by Ann Person and was published in "Afterimage" magazine.

The image shows a page from an issue of "Afterimage," dated March 1977. The text discusses the acquisition and curation of photography collections at the Fogg Art Museum at Harvard University.

Key points from the text include:

1. Acquisition and Collection Strengths:

   • The Fogg Museum's photography program has been relatively weak in the 19th and early 20th centuries, with only about 500 prints, most of which are from the 20th century.
   • The museum is actively seeking high-quality vintage pieces, especially from the 19th and early 20th centuries.

2. Curatorial Approach:

   • The curator, David Pratt, prefers to acquire photographs through gifts rather than purchases to maintain a higher quality of work.
   • Pratt is interested in color work, particularly pieces that represent the evolution of color photography.

3. Philosophy on Collection Development:

   • Pratt does not necessarily buy photographs if they have been given to the museum already.
   • He aims to concentrate on the collection's primary concerns, which include diversity in terms of expression, time, and geography.

4. Examples of Collection Highlights:

   • The museum has a significant collection of vintage photographs, including over 4,000 prints.
   • The collection includes works by well-known photographers like Ben Shahn, whose widow presented some works to the museum in 1969.
   • There are examples of works by other notable photographers such as Walker Evans, Todd Webb, and others.

5. Challenges and Future Goals:

   • Pratt faces challenges in determining which pieces to add, given the existing large collection.
   • He is interested in adding more vintage prints, particularly those that complement the museum’s existing collections.

The article also mentions that the Fogg Museum has a policy of not buying photographs if they have already been given to the museum, ensuring that the collection grows through donations rather than purchases. The text is attributed to Ann Person, who writes frequently about photography.

The image shows an open magazine spread from Afterimage, dated March 1977. The article spans two pages and is titled with a section heading partially visible at the top of the right page.

The text discusses the views and activities of ACKLEY (presumably a curator or expert in photography), specifically regarding the collection at the Fogg Museum. Key points from the article include:

1. Collection Composition: Ackley considers the Fogg Museum's photography collection relatively weak in the 19th-century material but strong in high-quality 20th-century pieces. There is a notable absence of color work, which Ackley aims to address by acquiring more color photographs.

2. Curatorial Goals: Ackley intends to expand the collection's diversity, moving beyond straightforward, documentary, and "pretty" images. He is interested in a variety of photographic expressions, including surreal, abstract, and symbolic works.

3. Gift Policy: Ackley mentions that the museum typically doesn't buy photographs but welcomes donations. This policy has led to a diverse but sometimes inconsistent collection, with significant gaps in major masters and movements.

4. Practical Challenges: Determining the value and importance of around 4,000 photographs can be difficult. Ackley is looking to add more vintage prints to the collection.

5. Notable Donations: The article mentions specific contributions, such as a large number of prints by Ben Shahn donated in 1969, and a daguerreotype of Todd Lincoln, which was a significant acquisition.

6. Historical Context: The text touches on the history and growth of the photography collection at the Fogg Museum, including the involvement of various individuals and departments over the years.

The article provides an insightful look into the curatorial strategies and challenges faced by the Fogg Museum in maintaining and expanding its photography collection during the late 1970s.

The image shows a partially opened manila folder containing a document. The visible portion of the document appears to be a printed article or report. The text on the visible part of the document is titled "Afterimage/March 1977" and is numbered "19."

The text discusses the Fogg Art Museum's photography collection and acquisition policies. Key points include:

1. Collection Strengths and Weaknesses: The Fogg's photography collection is described as relatively weak in 19th-century work but strong in 20th-century pieces, particularly in high-quality vintage prints.

2. Acquisition Policy: The museum aims to acquire photographs that are of educational value, with a preference for works that can be used by students and the public. The collection is built primarily through gifts rather than purchases.

3. Curatorial Focus: Both Ackley and Davis Pratt, associate curators of photography at the Fogg, are interested in contemporary photography and works that represent diverse styles and expressions.

4. Recent Acquisitions: The museum recently acquired daguerreotypes of Todd Lincoln and contemporary photographs by Ben Shahn. The collection includes works by major photographers like O'Sullivan and contemporary artists such as Tod Papageorge and Nicholas Nixon.

5. Challenges: The article mentions the difficulty in determining the authenticity and quality of older photographs, especially daguerreotypes.

The document seems to be part of a larger discussion on the state and future of the Fogg Art Museum's photography collection.

This image depicts a printed page that appears to be from a publication, specifically from "Afterimage/March 1977," as noted at the top and bottom right of the page. The page number, 19, is visible in the bottom right corner, suggesting this is a single page from a larger periodical or journal.

The layout consists of multiple columns of text which are likely related to photography or art, based on the context of the publication ("Afterimage" suggests a focus on visual media). Above the main body of text is an opaque, translucent sheet, potentially tracing paper or vellum, partially covering the text and adding a textual element as if it were part of an art project or an effort to preserve the underlying page.

The leftmost columns of the page are mostly obscured by the sheet, but it's clear that the text is fully justified and written in a consistent, professional font. The content of the readable portion seems to discuss various topics related to photography, with references to Harvard's Fogg Art Museum and the Museum of Modern Art (MoMA).

The text on this page also features the names of individuals, possibly artists, curators, or photographic subjects, and discusses acquisitions of works, exhibition history, and possibly the philosophy or strategy behind the curation or presentation of a photography collection. There is also a reference to the quality of photographic prints, using phrases like "grain exposure" and words like "historical," which suggests a focus on technique, quality, and history of photographic works.

At the bottom, there is a paragraph with a different formatting style, which could be a footnote, a highlighted quote, or possibly a separate section of commentary, ending with a credited name – "—Ann Parson."

Overall, the document has an academic or archival feel, and the physical aspects of the page suggest that the image captures material linked to the study or exhibition of photography.

The image shows a page from a book or magazine pasted onto a plain brown paper background, with a translucent sheet partially covering the top part of the page. The visible text at the bottom is from an article dated "Afterimage/March 1977" and spans across two columns on page 19. The article discusses a photography collection, referencing curators, photographers, and museum practices. The text mentions Ackley and Davis Pratt, curators at the Fogg Museum, and their perspectives on the collection, as well as photography by Ben Shahn and others. It notes issues with categorizing and cataloging photographs at Harvard’s museum and archives. The article is signed by Ann Parson, who writes about photography for The Boston Phoenix and The New Boston Review.

The image shows a page from a magazine or newspaper. The page has a brown background and contains text in black font. The text appears to be an article about photography, possibly discussing the history or significance of certain photographs or collections. The article mentions the "Aftermath" magazine, which suggests it may be an excerpt from that publication. The article discusses topics such as the Fogg Art Museum's photography collection, the challenges of preserving and cataloging photographs, and the importance of studying and appreciating photography as an art form.

The image shows a page from a publication titled "Afterimage/March 1977", specifically page 19. The page features a printed article or essay discussing the acquisition policies and philosophy of the Fogg Art Museum regarding photography collections. The text is typewritten and formatted in a standard magazine or journal style, with a clean, professional layout.

Key Observations:

1. Header and Page Number:

   • The top of the page displays the title "Afterimage/March 1977" and the page number "19" in the top-right corner.

2. Content:

   • The article discusses the Fogg Art Museum's approach to collecting photographs, emphasizing its focus on contemporary photography rather than solely on historical or older works.
   • It highlights the museum's policy of acquiring photographs regardless of their medium (e.g., nineteenth vs. twentieth century) and its emphasis on diversity in terms of expression, including abstract, surreal, and symbolic works.
   • The text references Ackley, the museum's curator of photography, who is noted for prioritizing contemporary works and seeking out high-quality vintage pieces.
   • The article also mentions Ben Shahn, whose photographs were presented to the museum by his widow in 1969, and Todd Lincoln, whose daguerreotype was discovered in Harvard's archives.

3. Visual Elements:

   • The page has a light brown or cream-colored background, giving it a vintage or archival appearance.
   • The text is printed in black ink and is neatly aligned, with clear paragraph breaks and indentation for readability.
   • The page appears to be part of a larger document or journal, as indicated by the header and page numbering.

4. Contextual Clues:

   • The article is likely part of a discussion or critique of museum practices in the late 1970s, focusing on the evolving role of photography in art institutions.
   • It references specific individuals (e.g., Ackley, Shahn, Lincoln) and institutions (e.g., Fogg Art Museum, Harvard), suggesting a scholarly or professional audience.

Overall Impression:

The image depicts a page from a scholarly or art-focused publication, discussing museum acquisition policies, particularly in the realm of photography. The content is analytical and reflective of the cultural and institutional practices of the time. The layout and design suggest a formal, academic tone, typical of art journals or museum publications from the late 1970s.