Hobson (2004). The Folks Left Out. (Beyond the Reach of Time and Change)

“Two people of inestimable value and importance to their people and times … Yet there is not a single painting, charcoal or pencil sketch, daguerreotype, photograph, no likeness whatsoever of any sort of either of them in existence. Both are, indeed, products of erasure.” (p 110-111)

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Benjamin (2006). The Work of Art in the Age of Mechanical Reproduction.

“For the first time in the process of pictorial reproduction, photography freed the hand of the most important artistic functions which henceforth devolved only upon the eye looking into a lens. Since the eye perceives more swiftly than the hand can draw, the process of pictorial reproduction was accelerated so enormously that it could keep pace with speech.” (p 19-20)

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Earling (2004). Returning. (Beyond the Reach of Time and Change)

“Out of all the photographs in the collection, it is Kicking Horse Charley who calls to me. I believe he calls to all of us. Kicking Horse Charley is the insistent image, his mouth open, and forever ready to speak. And because he is captured in this moment of intent, he is poised to speak for all time.” (p 101)

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Jojola (2004). Photographs From Hell. (Beyond the Reach of Time and Change)

“Their image was frozen at a moment when mainstream society had just harnessed technology to record something about time and place. It was a conceptual moment in our otherwise media-centric society where the medium is the message and where image-making has been debunked to a level devoid of meaning.” (p 74)

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Haozous (2004). New Definitions. (Beyond the Reach of Time and Change)

“Sam Haozous won the race easily, and excited newspaper reporters gathered around Geronimo with the question: ‘What do you think of your man Sam Haozous?’ The story goes that Geronimo responded by stating, ‘All of my people are just like Sam.'” (p 65)

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Riding In (2004). Legacy of Resistance. (Beyond the Reach of Time and Change)

“To me, most old photographs of Indians are very compelling, but those from the Great Plains especially spark my interest because of the impetus they provide for critical reflection about the past, present, and future of Indians, since there is more to the pictures than mere romantic and static images on inanimate sheets of paper.” (p 52)

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Singer (2004). Facing Ancestry. (Beyond the Reach of Time and Change)

“It is difficult to convey and emphasize the power that even a white photographer [Rinehart] had over Indians, but it is also possible for Native communities to request from photographic archives many of these old images that hold the memory and legacy of our ancestry that belongs to us.” (p 40)

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Blackhawk (2004). Confronting Indian Imagery In Contemporary America. (Beyond the Reach of Time and Change)

“In Detroit, race is everywhere and informs nearly everything, and these markers of difference introduced me to boundaries of inclusion and exclusion, sameness and difference that white students and even adults used to demarcate and control.” (p 27)

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