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In a new series for the first day of each month, Hyperallergic is exploring some firsts in art, from the earliest known depictions of things to pioneers in the visual fields.
Winter is now settling over December, with flurries on brisk mornings and heavy snows that muffle the night. It was in this season of cold that Wilson Bentley, a farmer in Jericho, Vermont, attempted to capture the fleeting geometry of the snowflake with his DIY contraption of a microscope combined with a bellows camera. In 1885, at the age of 19, he became the first known person to photograph a snowflake, but it was hardly his last. Working until his death in 1931, Bentley photographed more than 5,000 snowflakes.
After delicately catching a falling snowflake on a tray, Bentley only had a few minutes at best to take his shot, careful all the while to breathe away from the tiny specimen lest the warmth cause it to sublime. In an early 1900s issue of Harper’s Monthly Magazine, he described the quiet frenzy of his winter’s quest:
Quick, the first flakes are coming; the couriers of the coming snow storm. Open the skylight, and directly under it place the carefully prepared blackboard, on whose ebony surface the most minute form of frozen beauty may be welcome from cloud-land. The mysteries of the upper air are about to reveal themselves, if our hands are deft and our eyes quick enough.
Bentley was not a trained scientist, or photographer for that matter, but when his parents gave him a microscope at the age of 15, he was hooked on examining the natural forces of the world. He would also study clouds and frost, yet nothing captured the public imagination like the snowflake photographs.
Professional scientists were rather dismissive of his research, in which he adamantly claimed that no two snowflakes were alike. As Radiolab explored, one German meteorologist named Gustav Hellmann accused him of fraud, after commissioning his own photographer to document snowflakes, revealing images quite different from the perfect crystals in Bentley’s work. The farmer did not attempt to defend the discovered alterations of his images, stating: “A true scientist wishes above all to have his photographs as true to nature as possible, and if retouching will help in this respect, then it is fully justified.”
Today his work is appreciated as much as an artistic archive as a meteorological one. His photographs were recently featured in The Keeper at the New Museum, and his bellows camera and photographs are preserved in an ongoing Snowflake Bentley exhibition at the Jericho Historical Society. His glass-plate photomicrographs were donated to the Buffalo Museum of Science, which has digitized the collection online.
Even altered by the hand of Bentley, these images represent beautiful ghosts from a winter that bristled the air over a century ago. As it happens, it was in one of those harsh storms that Bentley was overtaken by the weather he so loved. After walking six miles home through a blizzard in 1931, the same year his exhaustive Snow Crystals monograph was published, he died of pneumonia on December 23, on the farm, the snow stacking up around him.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…