At the Edge of Sight

Shawn Michelle Smith is Associate Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. She is the author of Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (also published by Duke University Press) and American Archives: Gender, Race, and Class in Visual Culture; coauthor of Lynching Photographs; and coeditor of Pictures and Progress: Early Photography and the Making of African American Identity (also published by Duke University Press).

"A beautifully written and deeply original book, At the Edge of Sight integrates historical and theoretical sophistication with the author's distinguished practice of photography in very new ways. Shawn Michelle Smith investigates the medium's patterns of blindness. This negative potential-learning to observe what one is not seeing-is revolutionary, and its profound, peculiar, uncanny force is beautifully invoked throughout."-Laura Wexler, author of Tender Violence: Domestic Visions in an Age of U.S. Imperialism "Shawn Michelle Smith is our foremost scholar of nineteenth- and early-twentieth-century American photography. In this book, she engages with Benjamin's notion of the optical unconscious to think through what's at the 'edge of sight' in the work of photographers and theorists, an approach that allows her to bring together, successfully, a wide range of insights and political formations."-Elspeth H. Brown, author of The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884–1929 "Smith works to expand the field of vision of the photograph, beyond the limitations of the frame. She asks, what is hidden at the edges of photographs?.... I am a sympathetic reader. I too glut myself with old photographs, scanning and enlarging, searching for meaning in a blurred hand, a shadow without identifiable source, a mouth captured mid-word.” - Jenna Brager (The New Inquiry) “At the Edge of Sight achieves an agreeable balance between the beauty of prose and the difficulty of subject matter and is therefore valuable not only for its critical insights but also for its accessible presentational style. Furthermore, Smith accompanies several chapters with her own artworks, which adds a personal note to the writing. The title thus integrates archival research, critical writing with photography and arts practice resulting in a work that offers rewarding general reading as well as useful classroom material." - Jelena Stojkovic (Visual Studies) “This is a solid invitation to rethink one’s own-and history’s-understanding of photography’s vast presence and influence on life. Highly recommended. Lower-level undergraduates and above; general readers." - C. Chiarenza (Choice)  "A provocative idea about the visual and cultural limitations of photography and a model for how to analyze photographs as complex historical documents." - Martha Sandweiss (Journal of American History) “Given this persuasive combination of photographic theory, analysis and practice with history and politics, At the Edge of Sight should appeal not just to art historians and others invested in photographic theory and history, but more broadly to scholars and readers interested in American studies, visual culture, and US history.”   - Marcy J. Dinius (Journal of American Studies)

• List of Illustrations ixAcknowledgments xvIntroduction. First Photographs 1— Excess and Accident 211. Race and Reproduction in Camera Lucida 232. The Politics of Pictorialism: Another Look at F. Holland Day 39— My Muybridge 733. The Space Between: Eadweard Muybridge's Motion Studies 754. Preparing the Way for the Train: Andrew J. Russell 99— When the Train Rolls In 1295. Chansonetta Stanley Emmons's Nostalgic Views 1316. Augustus Washington and the Civil Contract of Photography 165— In the Crowd 1937. Afterimages: Abu Ghraib 195— Untitled (Abu Graib) 213Epilogue. A Parting Glance 215Notes 217Bibliography 265Index 283