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Picturing Dogs, Seeing Ourselves
Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject's obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.
eBook
Picturing Dogs, Seeing Ourselves
Dogs are as ubiquitous in American culture as white picket
fences and apple pie, embracing all the meanings of wholesome
domestic life-family, fidelity, comfort, protection, nurturance,
and love-as well as symbolizing some of the less palatable
connotations of home and family, including domination,
subservience, and violence. In Picturing Dogs, Seeing
Ourselves , Ann-Janine Morey presents a collection of antique
photographs of dogs and their owners in order to investigate the
meanings associated with the canine body. Included are
reproductions of 115 postcards, cabinet cards, and cartes de
visite that feature dogs in family and childhood snapshots,
images of hunting, posed studio portraits, and many other settings
between 1860 and 1950. These photographs offer poignant testimony
to the American romance with dogs and show how the dog has become
part of cultural expressions of race, class, and gender.
Animal studies scholars have long argued that our representation
of animals in print and in the visual arts has a profound
connection to our lived cultural identity. Other books have
documented the depiction of dogs in art and photography, but few
have reached beyond the subject's obvious appeal. Picturing
Dogs, Seeing Ourselves draws on animal, visual, and literary
studies to present an original and richly contextualized visual
history of the relationship between Americans and their dogs.
Though the personal stories behind these everyday photographs may
be lost to us, their cultural significance is not.
eBook
HUNTING PICTURES AND DOG STORIES
Hunting pictures are occupational photographs that have enjoyed a long cultural shelf life. Like big fish pictures, their purpose is to document the size and quantity of the hunter’s victory over animals and the natural world. In this chapter, I look at hunting pictures and dog stories about hunting to probe further into the cultural meanings of the hunt and its documentation. These pictures have meaning for our understanding of race and gender. For example, the solemn young boy in figure 86 grasps a 12-gauge shotgun that is taller than he is. Although the image is faded, it appears that
Book Chapter
THE VISUAL RHETORIC OF EVERYDAY PEOPLE
“Am still in Des Moines and working for my pa. I worked in a downtown drug store for some time slinging soda water but the late hours and Sundays left me no time for my family which I send a cut of. Sid.” Posted in 1906 to a Mrs. Chas Vorhies (?), the real photo postcard (RPPC) in figure 13 features a photograph of five neatly dressed young men with a dog seated in the middle of the group, elevated to eye level with the human companions by a crate. Sid captions the image: “Me ’n’ me friends.” The image
Book Chapter
THE GAZE OUTSIDE THE FRAME
In a telephone conversation, an elderly relative discussed her plans to hire someone to help with yard work at her home. After mulling it over, she announced, “I was thinking that we would hire a black boy for the yard work. He would need the money more than a white boy and we could train him to do it the way we wanted. I thought we could talk to the pastor of a black church to get some names.” Having heard other oblique comments like this from her, I did not misunderstand her meaning, which is that black people are
Book Chapter
WOMEN CROSS THE LINE
The emergence of masculinist ideology at the turn of the century is documented and illustrated by hunting photographs. Men were urged to emulate the activities and postures of the rugged outdoor male. Some men and boys did this of necessity, but for others the imperative was less clear cut. If the visual inspiration wasn’t sufficient, or if their own memories of what was entailed were vague, men and boys could consult a burgeoning literature—biographies (perhaps closer to hagiographies) of pioneers and backwoodsmen and tales of the wild life, in particular, dog stories. Larger-than-life dogs became love objects for the
Book Chapter
INTRODUCTION
I come from a family of picture takers and storytellers, and after a while it is difficult to tell the words from the pictures. The pictures begin with my Grandpa Morey, who wasn’t much for words but who had a mechanical and technological intelligence that was quick to recognize the potential of the camera. Like many people of their time, my grandparents were minimally educated but schooled for a lifetime of hard work, stemming from their rural upbringing. Both of my grandparents Morey were employed by the Agricultural and Industrial School in Industry, New York (near Rochester), a facility run
Book Chapter