Contribute by Zoe Smith, IMLS Collections Photographer
Photographing sculptures that have ornate details or a unique shape can cause some logistical issues. For each one, we need to assess how to photograph it individually in the safest way. Occasionally we mount paintings or sculptures to a wall or an easel, use foam blocks to protect the corners, and other times we can place an artwork directly on a table to photograph. For the piece Thomas P. Anshutz by Adam Pietz (accession #1938.6) there were tiny legs underneath the rectangular portion of the work. Because of this, it wouldn’t fit on our easel right side up, so we had to place it on its side. I wanted the lighting of each relief sculpture to be consistent throughout our collection, so I had to get creative with the lighting. I had to place a large soft box above the sculpture facing the hair of Thomas P. Anshutz. Another smaller softbox was below the camera also pointed at the face. I needed a little more highlights on the top and bottom of the piece, so I added a reflector and an umbrella attached to a light set to a low power. The result had a mix of lighting to show the shape and dimension of the relief, and it matched the other relief photographs.
Another setup included hanging a fragile plaster piece by Beatrice Fenton, Life Cast of Emily Clayton Bishop’s Left Hand (accession #1984.43). We screwed into a piece of wood and used white gaff tape to cover the hardware to minimize any unwanted color cast onto the sculpture. Every piece requires a new and challenging setup to get the best results.
Contributed by Zoe Smith, IMLS Museum Collections Assistantand Photographer
A challenge when photographing glazed works of art is the reflective nature of the plexiglass. To minimize reflections, we need to make everything around the camera black. In a previous post, we mentioned the process of using a large black velvet cloth set up on a backdrop. While that setup worked for many of our glazed works, the cloth was too small for our very large works.
Since PAFA does not have a dedicated photography studio, we also wanted to create a more portable solution that would also help us address the reflection issues of oversized works. I did some research and found some DIY ways to make a V Flat. A V Flat is a black piece of foam core that folds in half creating a V shape. Sharon Yoon (Museum Collections Assistant) and I made some mini prototypes to test out a couple ways to make this with materials we had in the museum before we scaled up to create the larger v flats.
Sharon and Zoe
V Flat prototypes
Instead of the foam folding only one way, we wanted to have it be in quarters to make it even more portable and easy to store. To do this we had to find a non-reflective and strong way to fasten two sides together that was removable. We tried Velcro strips, but they weren’t as strong as we wanted. The next method used framing materials we had, this allowed us to pull the pieces together tightly and the entire structure was much more solid. We used black gaff tape to combine all 4 panels and seal off any potential light leaks at the seam. We made three different V Flats that we can now line up and photograph large reflective pieces like this one by Barbara Krueger (accession 1984.19). Here are before and after images to see the differences when using the V flats.
Photograph without V Flats
Photograph with V Flats
Making these DIY V Flats is a versatile solution to many issues we encounter while photographing and allows us to capture each artwork without distractions.
Contribute by Zoe Smith, Project Museum Collections Assistant
This week at PAFA we continued photographing sculptures as a part of the IMLS grant. While some 3D objects are straight forward, the beautiful sculpture Naima by Elizabeth Catlett was quite the challenge to photograph. I had so much fun creating the set up for this piece. We started using the light box that we have been using for smaller pieces, but because this sculpture is so reflective, we could see everything surrounding the object. We had to get creative and use the structure of the lightbox but switch the reflective sides to diffusion material. Our light source needed to be bigger than the object we were photographing and needed to seamlessly surround it. We had to combine multiple pieces of fabric to surround the work, and then we were able to use two soft boxes to get a beautiful quality of light. This piece has been one of my favorites to photograph so far, and I had a great time working with the photographer Adrian Cubillas to figure it out.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Contribute by Zoe Smith, Project Museum Collections Assistant
PAFA’s collection primarily consists of paintings, works on paper, and sculpture. There are some more unique objects in the collection such as medals! PAFA has a discrete collection of medals that were sculpted for the many prizes it awarded artists during its Annual Exhibitions. These objects are much smaller in comparison to the typical objects that we have photographed for the past year. Because of their size, the photography workflow needed to change to obtain a preservation quality image. The project team added a lightbox and new Helicon Focus software. Together, these dramatically improved our capabilities and efficiency.
One of the benefits of using this workflow with the medium format camera is once the photograph is completed, you can zoom in on miniscule details, showcasing the precision and skills of the artist.
The miniatures in the collection are even smaller than the medals–smaller than a quarter! The focus stacking technique allows us to capture stunning details throughout each piece. Using this technology to photograph these objects brings a new life to each piece. This detail from a Temple Trust Fund Medal is less than 2 inches and shows an amazing rendering of PAFA.
About the Institute of Museum and Library Service
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Contributed by Adrian Cubillas, Photographer and Digital Collection Coordinator & Zoe Smith, IMLS Project Museum Collections Assistant
PAFA’s Digital Treasure Trove project and the exhibition Determined to be: The Sculpture of John Rhoden both embody the institution’s mission by expanding the stories of American art. The grant project preserves and makes artworks more accessible to the public, while the exhibition showcases the work of an artist whose contributions challenge conventions and broaden the understanding of American art. Together, these projects reinforce our commitment to inspiring and educating through its world-class museum and school. For the Rhoden exhibition, Dr. Brittany Webb, Evelyn and Will Kaplan Curator of Twentieth Century Art.
John W. Rhoden (1916-2001). Three Headed Lion, 1954. Bronze, The John Walter Rhoden and Richanda Phillips Rhoden Collection, 2019.27.3
Zoe and I had the pleasure of attending the opening of Determined to be: The Sculpture of John Rhoden. We were lucky enough to walk through the exhibit as it was being installed with the curator Dr. Brittany Webb. Getting to see the behind-the-scenes as well as the final exhibit was a great experience that opened my eyes to how much goes into creating such a big show. We also had the amazing opportunity to make some gifs of the sculptures to promote the show! (see below). We loved being able to contribute to such a wonderful project.
Contributed by Hoang Tran, Director of Archives & Collections and Zoe Smith, IMLS Project Museum Collections Assistant
It’s been a busy summer at PAFA. At the end of June, we had to say good-bye to our IMLS Collections Assistant L. L had an amazing job opportunity to work for a local artist as a studio assistant. We wish L all the best and thank them for all their hard work and dedication! L’s work helped us hit major milestones on the project–completing 99% of works on paper photography, completing all subject terms in the catalog records, and pushing us over 60% completion of the project!
We were fortunate to rehire the position quickly. Our new IMLS Collections Assistant is Zoe Smith who started August 21, 2023. Please read Zoe’s introduction blog below:
My name is Zoe Smith, I am a recent graduate of Drexel University where I completed a bachelor of science in photography. I have a love of nature and art that merges into the work that I make. I am passionate for printing my photographs, and experimenting with alternative printing methods. I am extremely excited to use my photographic experience to contribute to the art world by updating PAFA’s amazing collection of art. This task feels exceptionally important to me, and I hope people are able to learn and grow from this fantastic resource.
My work at PAFA consists of assisting in photographing and digitizing the extensive collection of paintings, sculptures, and other works of art. Being able to look into the history of each one of these objects is an immense privilege that I am very much looking forward to.
My first week here I dove right in and began photographing various medallions. The intricate carvings on each of these surfaces have been a fun challenge to photograph. Using a lightbox to evenly light the subject, we have been using multiple exposures to get different parts of the medallion perfectly in focus. This is necessary because of the various depths of the carving on these objects.
After photographing I have been bringing the 2 to 6 exposures into a focus stacking software and combining them into one photo. This technique can be challenging and it has been great training my eye to see the slight differences in focus. I am looking forward to using the same technique on small busts and sculptures. Each artwork poses an exciting new challenge in photographing that has been very rewarding. I love to imagine the thousands of people before me that have had a connection to this art, which deepens my own personal connection to it.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
As the collections team has been photographing some of PAFA’s framed paintings over the last several weeks, we have been able to enjoy documenting the rarely seen reverse side of these works.
In the museum world, we define recto as the front or main image and the verso as the back or reverse secondary image. So why may we want to photograph the verso?
Many paintings in our collection have a long exhibition and ownership history, and this provenance can be followed through various notes, labels, stickers, and other markings on the backs of frames. Pictured below are a few examples of works in the middle of being photographed showing the front side view (recto), followed by the corresponding reverse side of the painting (verso).
Charles Burchfield, End of the Day, 1938. Watercolor over pencil and charcoal on white paper, 28 x 48 in. Joseph E. Temple Fund, 1940.3
John Neagle, The Studious Artist, 1836. Oil on canvas. 30 1/8 x 25 1/16 in. Gift of John Frederick Lewis, 1922.1.3
Thomas Eakins, Walt Whitman, 1887. Oil on canvas, framed-shadow box: 38 1/8 x 32 1/4 x 4 in. General Fund, 1917.1
Francis Martin Drexel, Unidentified Girl, 1818. Oil on canvas, 30 1/8 x 24 1/4 in. Gift of John Frederick Lewis, 1923.8.19
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
As part of our ongoing IMLS grant project to digitize portions of our collection, we are continuing to photograph works in our collection, but we are also beginning to process and edit some of these new images in preparation for their integration into PAFA’s databases.
If you have followed the Museum’s previous digitization initiatives, then you should know that these efforts are resource intensive. It is important that we take the time to digitally capture works of art that represent our collection as true-to-life as possible. To ensure we obtain high quality digital assets, there are two points in the digitization workflow that we focus on: 1. the moment we take the photo 2. the post-production work done after digital capture. For paintings and works on paper, this can be as simple as adjusting for the amount and color of the light, ensuring the work is square to the lens, and cropping as needed. For sculptures and 3-dimensional works, however, there are many additional variables that need addressing, including the consistency of the gradient background.
In a perfect world, the background would appear perfectly consistent across our hundreds of images, but this is not always the case. Often when shooting the images, the accuracy of the represented object must be prioritized over the look of the background, leaving artifacts in the image like folds in the paper or markings from other sculptures. To address this, we must correct these issues in post-production.
For every individual image that requires this correcting, we must break them down into three separate Photoshop layers: (1) an isolated background without the object (2) a copy of this isolated background without the object that has had a gaussian blur applied to it (3) a top layer that has only the isolated object. These layers are then carefully stitched together in such a way that the distractions of the “imperfect” background are fixed, while preserving all the necessary elements of the artwork (the object itself and its shadows) to create a clean, long-lasting, and useful image.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Contributed by the John Rhoden papers team, Kelin Baldridge and Jahna Auerbach
John and Richenda Rhoden, Christmas, 1984
This week, our journey with the John Rhoden collection comes to an end. A year of full immersion in the life of John and Richenda Rhoden has resulted in a project that will soon be open to the public, for researchers, the curious, and everyone in between.
Anyone who works closely with a human subject – archivists, curators, historians, authors, researchers – can relate to the level of attachment that we, the John Rhoden papers team, feel towards John and Richenda Rhoden.
As sad as we are that our journey with the Rhodens has come to an end, we are immensely grateful to have had the opportunity to work so closely with their remaining legacy. Working with their archives, we get a glimpse of how charming and interesting people they truly were. They both lived fascinating lives together.
The physical remnants of one’s life can be incredibly powerful. Though it will never be the case, we feel we knew them personally after connecting with the records they left behind. From the collection, we have been fortunate enough to learn that John Rhoden was a sharp businessman, resilient, joyful, and aware of how he could use his skills to help others. He created a path and a career for himself in an America that did not lend itself to his success.
John Rhoden with Drago Trsar, Ljubljana, Slovenia, circa 1958-1959
The documents and the photographic materials come together in this collection to create a full picture of who John Rhoden was. The papers are deeply rooted in his professional life, but photographs of him smiling and of the way he interacted with those around him hint at the kind of man he was. Like many of us, John loved to document his travels by taking photographs. Browsing through the images, one not only gets transported back in time, but also gets to view the world through John’s lens and perspective–underexposed and all.
The records revealed how kind, joyful, and charismatic both John and Richenda were. They seemed to be the type of people who commanded the attention in a room, and whose presence lifted the mood. What seems to have struck people about the couple was their warmth, openness, and generosity. Both were successful artists and professionals, but what seems to have stuck with people most was their character.
Another notable aspect of this collection is its expanse. Not only does it tell the stories of John and Richenda, it offers a full-color glimpse into the world in the 1950s, it tells the stories of many artists, lost and forgotten to time, it creates connections and networks among people, places, and things that might otherwise have nothing in common. In addition to telling the story of its primary subject, it contains seemingly infinite threads and tangents waiting to be fully explored.
John Rhoden drinking from a porron, France, 1952
As we now open the collection to public use, we wanted to thank the NEH and the incredible support system at PAFA that not only made our work possible, but downright enjoyable, through a global pandemic no less. Furthermore, we want to thank Hoang Tran and Dr. Brittany Webb for being the most incredible collaborators and leaders that two young professionals could ask for.
Though our official work with the Rhodens is ending, we are looking forward to using Hoang’s Rhoden portal and visiting Brittany’s John Rhoden exhibition many times when it opens!
John Rhoden and Reverend Fred Shuttlesworth, 1991-1992
A note from Assistant Archivist, Jahna Auerbach:
The portion of the John Rhoden papers that has had the biggest impact on me is contained in just one box, Richenda Rhoden’s personal papers. From the beginning, I had a personal connection to Richenda because of all of the incredibly endearing photographs of her posing with her various cats.
Richenda Rhoden, 1930s-1940s
As we started digitizing her records, we discovered that this one box of papers is connected to many different parts of history, as discussed in previous blog posts and on the Rhoden portal. Richenda’s parents met at the Carlisle Indian School and her father was the first Native American judge in the state of Washington. Her first husband, Lawrence Lew Kay, who was tragically killed in WWII, has a rich family history rooted in China, and the Chinese community in Seattle, WA.
Richenda was not just defined by the men in her life. She was an incredible person in her own right. She has been described as head-strong, wanting to do things on her own terms, chic, and striking in beauty. John and Richenda never had children, but they dedicated their lives to the community. They always welcomed people into their house whether it was for an annual Christmas party or for the public to see their studio and art that was constantly on display.
Richenda Rhoden, circa 1951-1959
Richenda was an artist like her husband. She only showed a few times in her life, but she painted every day.
Richenda’s portion of the archive has made me question a lot about evidence in the archive. What is present, what is missing, and what does that mean? Richenda lived alone at 23 Cranberry Street for almost 15 years, and yet, we have very little of her own records. Despite all of this we have been able to find a rich history of a woman. Without a doubt, Richenda’s presence is evident and her history is recorded throughout the archive, whether it is in photographs, or labels she put on travel slides.
As Kelin and I wrap up this project, we are floored by the people on our team and members of the community that have helped us. From co-workers, family members translating Mandarin for us, to neighbors of the Rhodens sharing their stories. Lastly, huge thank you to Hoang Tran and Dr. Brittany Webb, who have been helping us and guiding us from day one.
Richenda Rhoden, Indonesia, 1963
This project, Rediscovering John W. Rhoden: Processing, Cataloging, Rehousing, and Digitizing the John W. Rhoden papers, is funded in part by the National Endowment for the Humanities, a federal agency.
ABOUT THE NATIONAL ENDOWMENT FOR THE HUMANITIES
Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at: www.neh.gov.
Contributed by Kelin Baldridge, Project Archivist for the John Rhoden papers
John Rhoden’s later career was buzzing with artistic activity. From the 1970’s onward, he exhibited extensively and completed several major commissions. He exhibited at the University of Pittsburgh, the Whitney Museum, LACMA, the Birmingham Museum of Art, among many others. He completed Nesaika for the African American Museum in Philadelphia, Mitochondria for the Bellevue Hospital Center, Frederick Douglass for Lincoln University, and Reverend Fred Shuttlesworth for the Birmingham Civil Rights Institute.
However, despite this later career chock full of high art commitments, John’s main priority seemed to be his community. He worked for the New York Board of Education, taught classes, shared his artistic knowledge, and, along with Richenda, hosted tours of his home and studio, and organized festivals for the community.
John and Richenda with students from P.S. 8, 1975
Students touring the Rhoden studio and carving pumpkins, 1970s
The Rhodens’ later careers and lives seemed focused on community, friendships, and togetherness. These priorities are a major departure from their early lives as borderline-nomadic jet-setters immersed in the international art scene.
John’s work as an educator is prominently documented in the John Rhoden papers. He was evidently beloved in the community and school system. He seemed to champion the students often underserved by the education system. Time and time again, he is showered with praise for his contributions:
John leading a tour of the Rhoden studio for students of the East Harlem Career Academy, 1977
“Your selfless concern for these students is an indication of your professionalism and your obvious commitment to them. You are an outstanding example of the many fine and dedicated teachers in our system.” – Frank Macchiarola, Chancellor of the New York Board of Education, October 28, 1982
A mural by John Rhoden for the East Harlem Career Academy’s Career Day, 1979
“Through your dynamic leadership, each of these students involved in your projects grew tremendously as students and as persons. It has been a pleasure to work with such a renounded individual such as you. Not only have you given insight into your extensive knowledge of the arts, but into your unselfish devotion to the cause of education for minority students.” – Nellie Jordan, Director of East Harlem Career Academy, June 28, 1977
One of the most touching items from John’s work with the community comes in the form of a two-page, handwritten letter from a student moved by John’s contributions and work in 1978. As the student, Frank Conception, points out, Rhoden had already made it in the art world, and as such, his work with the younger generation is a truly selfless act. He wanted only to share his knowledge and help a new generation of artists (and people) rise up.
Outside of their work in education, the Rhodens maintained a prominent community presence with the founding and organization of the Cranberry Street Festival by Richenda. The Cranberry Street Festival was born from Richenda’s craft stands with the intention of celebrating diversity and bringing together the community. In 2015, she explained what she loves about the festival to the Brooklyn Eagle: “getting people to work together…When they put the thing on it gives people the opportunity to meet together. I like it that a lot of different types of people and nationalities get so they can understand each other.”
Contact sheet with scenes from the Cranberry Street Festival, undated
It is so easy to focus on the major moments in an artist’s career at the expense of their daily contributions to the world around them. John and Richenda Rhoden seemed to commit their careers and lives to improving their community, bringing people together, and lifting up those around them. This personal mission is worthy not only of highlighting, but celebrating as one of the Rhodens’ most significant accomplishments.
This project, Rediscovering John W. Rhoden: Processing, Cataloging, Rehousing, and Digitizing the John W. Rhoden papers, is funded in part by the National Endowment for the Humanities, a federal agency.
ABOUT THE NATIONAL ENDOWMENT FOR THE HUMANITIES
Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at: www.neh.gov.
