Kuhn Gallery and Library University of Maryland Baltimore County at the
opening of his memorial photography exhibit.
Sleeping Beauties: Memorial Photographs from the Burns Collection
One of the defining images in this exhibition is the tintype of a father
lovingly holding an uncomfortable looking child. The father is
well-dressed and has an air of invincibility that is undermined only by
outsized, swollen fingers. His one hand rests demonstratively on his
knee and the other in a claw-like position distended beyond his son's
clothing rather than affectionately clasping the child. The image does
not cry out that either father or son is deceased, but the father's
fingers are so unnatural that one soon realizes that he is dead. This
portrait, likely the only one ever made of the two together, emphasizes
familial relationship and love as motivations behind the image. In
varying degrees, love, relationships, and grieving more than death, are
the central characteristics of this exhibition.
Another characteristic of the show, also as represented by the portrait
of the father and son, is the changing technology of photography. The
portrait is a tintype, a relatively affordable process in 1875 when the
image was made. Represented in the exhibition are various tintypes, but
also a whole spectrum of photographic processes from the 1840s to the
2000s, including daguerreotypes, ambrotypes, albumen prints, cartes de
visite, cabinet cards, silver gelatin prints, and digitally generated
permanent pigment prints. The exhibition is a veritable history of
photography as seen through memorial photographs. Revealed is that the
look of death has not changed over time, only the way that it is
represented.
The show is organized by themes, including "Adults," "Children,"
"Sleep," "Family and Rituals," "Remembrances," "Images with Images,"
"Eyes Open," and "Decorative Displays." Each section is sequenced
historically to tell a story about the topic from the earliest to the
latest images. The father and son portrait, for example, is in the
section labeled "Adults," because it is the father who is deceased. The
section on "Children" tugs at one's heartstrings so much perhaps because
the images show cute, vulnerable little ones full of human potential not
to be realized. The "Sleep" section shows attempts to make the dead
look like they just happen to be napping. (In the nineteenth century,
death was frequently described as "the long last sleep.") Images of the
spent bodies of children with their eyes closed promote the illusion of
sleep as the children are laid out so naturally in carriages or on beds.
Additional sequences include the "Family and Rituals" section which
shows immediate and extended family members posed with the deceased,
usually in their coffins. These images, of course, would be the last
photographs of the family all together. The "Remembrances" section
includes memorial poem cabinet cards (sometimes with photographs on
them) and memorial ceramic photographs often used on memorial markers.
The Images with Images" section shows photographs with images of a
deceased one in them, or photographs with images associated with someone
who is deceased. This section will fascinate iconologist's, because the
images surrounding those of the dead often comment on and have
especially telling relationships to the dead. The "Eyes Open" section
highlights images that attempt to make the dead look natural and
somewhat as they did in life. Finally, there is the "Decorative
Displays" section which shows photographs of memorial centerpieces that
represent a way of setting off an image or expressing a reverence for
the deceased. Some decorative displays images are commercial, such as
the one for Abraham Lincoln. The imagery was intended for public
consumption for viewing in one's parlor. Others, such as "Tower of
Silence," were intended to be sold to tourists as they visited monuments
to the dead. Finally there were those with the words "Pater," or
"Sister" which were for personal and family purposes.
Photographs have three lives. The first life is the immediate purpose
for which the image was made. In the case of memorial photographs, the
image provides a record of the deceased, a way to express love and
relationship for that person, and to serve as part of the grieving
process. The second life of a photograph is as recent past nostalgia.
Friends and family can look back over time and remember the deceased as
well as good times that were had together. The third (and perhaps the
most important life) is as a communication over the generations. Long
after there is no one alive who remembers the deceased, memorial images
communicate to viewers that the person lived and was regarded highly
enough in life that people wished to remember them after death. Also
memorial images teach succeeding generations that all humanity is
related to each other and are the same in death. Perhaps most of all,
memorial photographs confer upon the dead a kind of immortality. Long
after they are gone, the deceased continue to live on in images. This
exhibition is about all of these things.
Tom Beck
Chief Curator
