This article examines the emergence and flowering of visual-literacy discourse in the 1960s, locating it in the photographic milieu of Rochester, New York, whose high-profile institutions—the Kodak Company, Aperture magazine, and the George Eastman House—made significant use of the term. As these institutional actors deployed the term, they also harnessed it to practices involving sequential photography. In doing so, we argue that they established a set of concerns by which photo critics entered into dialogue with photographers and curators, developing perspectives (...) that helped shape photography well into the following decade. (shrink)

Some of the most celebrated images of nineteenth-century American photography emerged from government-sponsored geological surveys whose purpose was to study and document western territories. Timothy H. O'Sullivan and William Bell, two survey photographers who joined expeditions in the 1860s and 1870s, opened the eyes of nineteenth-century Americans to the western frontier. Highlighting a recent Smart Museum of Art acquisition, One/Many brings together an exquisite group of photographs by Bell and O'Sullivan. Particularly noteworthy are their photographic panoramas, assemblages of individual images (...) joined together to form a continuous, horizontal landscape view. These panoramas have not been exhibited in well over a century and have never before been published. For the first time, One/Many investigates their role and purpose both within and outside of the surveys, taking into account the larger context of nineteenth-century modes of viewing. The volume also allows the little-known Bell's work to be better understood next to that of his more famous colleague. (shrink)