"Williams' work highlights how photography was indeed a powerful
tool in the construction of the 'primitive Indian' in need of
colonial control and reformation."--Sage Race Relations
Abstracts
"This imaginative book moves well beyond the conventional
biographical approaches to photographers' work and the usual
assumptions about the objectivity of historical photographs to
develop a more subtle argument about how photographs can function
as ideological documents. It is an important contribution to the
field of western history as well as to the history of
photography."--Martha A. Sandweiss, author of Print the Legend:
Photography and the American
West
"Williams does a very admirable job of sorting out the tangled yet
oddly reciprocal mix of ideologies that informs the character of
the photographs. Perhaps just as critically, she shrewdly points
out a glaring void for other scholars to follow and fill in, and
for that I am grateful, because many of the protagonists have yet
come to terms with the presented history."--Larry McNeil, Boise
State University and Tlingit and Nisgaá Nations
"Williams's intricate readings of the intersections of class, race,
gender, economic, religious, and political status return some
measure of control to the photogrpahic subjects and honor the
multiple, vexing reasons for their participation in the
construction of a visual archive that has been broadly used to
disenfranchise Indians."--Lisa MacFarlane, Western American
Literature
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