Archives Scrapbooks

This image displays a printed document, specifically page 19 from the March 1977 issue of a magazine called Afterimage. The page is mounted on a larger, plain brown paper sheet or folder, possibly for archival or presentation purposes.

The document is a single-column article with a clear header at the top indicating the publication name ("Afterimage/March 1977") and page number ("19").

The article discusses the photography collection and curatorial philosophy at the Fogg Museum (Harvard Art Museums, now part of the Harvard Art Museums). Key figures mentioned include:

• David Ackley, who views the collection as relatively weak in nineteenth-century material but strong in twentieth-century work.
• Davis Pratt, the associate curator of photography, whose primary concern is the educational mission of the museum. He focuses on diversity in expression (straight, metaphoric, symbolic, abstract, surrealistic) rather than diversity by name, period, or geography.

The text highlights that the collection has grown mainly through gifts and has not been built primarily through purchase. It notes a policy of not necessarily buying photographs because many have been "given a shot in the arm" by the Museum of Modern Art or other institutions. The article also mentions the acquisition of significant items, such as photographs by Ben Shahn donated in 1969, and references the discovery of a daguerreotype of Todd Lincoln tucked away in an archive.

A brief byline at the bottom credits Ann Parson, who "writes frequently about photography for The Boston Phoenix and The New Boston Review."

Visually, the page is laid flat on a gray background. The top portion of the brown backing sheet is visible beneath a translucent, slightly yellowed piece of paper, which may be a protective cover or a previous attachment (a small piece of tape or adhesive is visible at the very top edge). There is also a small, circular hole punched in the right-hand margin of the brown backing sheet, suggesting it may have been stored in a binder or folder.

Overall, the image captures a historical, archival snapshot of museum policy and collection development in the mid-1970s, preserved in a physical document form.

The image depicts a stack of papers with a newspaper clipping attached to a piece of cardboard at the bottom right corner. The topmost sheet is blank, and the paper beneath it is also plain. The newspaper clipping is from "Afterimage/March 1977" and includes text discussing photography collections, acquisitions, and curatorial practices. The clipping references individuals such as Ackley and Davis Pratt, who are involved in managing and expanding a photography collection at the Fogg Art Museum. The text discusses the collection's focus on twentieth-century work, the acquisition of lesser-known foreign work, and the diversity of expression found within the collection. Additionally, the clipping mentions various pieces of historical and contemporary photography, including works by Ben Shahn and Baxter Snark. The bottom of the clipping credits it to "ANN PARSON writes frequently about photography for The Boston Phoenix and The New Boston Review."

This image shows a document placed on top of a manila folder. The document appears to be a page from a publication titled "Afterimage," dated March 1977. The page is numbered 19 and contains a written article. The text discusses topics related to photography collections, acquisitions, and curatorial practices at institutions like the Fogg Art Museum and the Museum of Fine Arts, Boston. It mentions individuals such as Ackley and Davis Pratt, who are associate curators of photography at the Fogg Art Museum, and their views on the collection and acquisition of photographs. The article also references other photographers and photographers' works, including Ben Shahn, O'Sullivan, and Baxter Snark. The bottom of the page includes a note about the author, Ann Parson, who frequently writes about photography for The Boston Phoenix and The New Boston Review. The document is slightly folded and has a punched hole on the right side, suggesting it was placed in a binder or file.

The image shows a folded piece of paper, probably a page from a book or a document, placed on a gray surface. The paper is folded in half, with the top half folded over the bottom half, and the crease is visible. The paper is white and has some text printed on it, which is partially visible. The text appears to be in a small font and is printed in black ink. The image is taken from a top-down perspective, giving a clear view of the paper and its contents.

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.

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.

A collage-style page with layered papers. A brown manila folder sits on a grey surface, with a large semi-transparent sheet draped over its top edge. The translucent sheet is curling down over the middle of the folder. At the bottom, a small newspaper-style clipping is attached, showing two columns of text and a header that reads “Afterimage/March 1977” with the page number 19 in the lower right. The clipping has a yellowed, aged look, and the overall color palette is warm beige and brown tones.

This image shows an open page of a document or magazine titled Afterimage/March 1977. It appears to be an article or editorial, as it contains printed text over multiple columns. Above the text, a protective translucent sheet—likely tracing or onion skin paper—partially covers the page. The text discusses photography curation, acquisitions, and policies at an art institution, including references to exhibits and specific artworks or artists like Ben Shahn. The brown paper background below the translucent sheet gives it an archival or vintage appearance. There is also a visible hole punch on the right edge of the page, suggesting that it is part of a binder or folder.