Edward Sheriff Curtis

Early Life and Photographic Beginnings

• Born: February 16, 1868, Whitewater, Wisconsin
• Parents: Asahel "Johnson" Curtis (Reverend, farmer, Civil War veteran) and Ellen Sheriff.
• Siblings: Raphael, Edward, Eva, and Asahel Curtis.
• Early hardships due to his father's struggles led the family to relocate to Minnesota.
• Left school in the sixth grade but demonstrated an early interest in photography, building his own camera.
• Apprenticed as a photographer in St. Paul, Minnesota, in 1885.
• Moved to Seattle, Washington, in 1887 and established photographic studios, initially partnering with Rasmus Rothi and later Thomas Guptill.

The North American Indian Project

• Genesis: Inspired by his early portraits of Native Americans like Princess Angeline (Kickisomlo), Curtis embarked on a monumental project to document the cultures and traditions of Indigenous peoples in the American West.
• Funding: Secured $75,000 from J.P. Morgan in 1906 to produce a twenty-volume series with approximately 1,500 photographs. Morgan was promised 25 sets and 500 original prints as repayment.
• Scope: The project aimed to capture not just portraits but also ethnographic details of tribal life – traditional clothing, housing, ceremonies, food, recreation, and oral histories. Curtis recorded over 10,000 wax cylinder recordings of Native American languages and music and took more than 40,000 photographic images of over 80 tribes.
• Team: Employed a team including William E. Myers (writer), Bill Phillips (logistics), and Frederick Webb Hodge (anthropologist and editor).
• Publication: Despite the initial plan for five years, the project spanned over two decades and resulted in 222 complete sets being published.

Curtis's Photographic Style and Techniques

• Soft Focus: Curtis employed a soft-focus aesthetic, which was popular at the time, to create images with a dreamlike quality. This style has been both praised for its artistic beauty and criticized for potentially romanticizing or obscuring the realities of Native American life.
• Large Format Photography: Used large format cameras to produce high-quality negatives suitable for photogravure printing.
• Photogravure Printing: A sophisticated printing technique that allowed for detailed reproduction of photographs, capturing subtle tonal variations and textures.
• Staging and Collaboration: While Curtis aimed to document authentic tribal life, some critics argue that his images were staged or influenced by Western artistic conventions. He collaborated with Native American communities, often relying on their knowledge and assistance in recreating traditional scenes.

Legacy and Historical Significance

• Preservation of Indigenous Cultures: Curtis's work is invaluable as a historical record of Native American cultures at a time when many traditions were rapidly disappearing due to assimilation policies and westward expansion.
• Complex Reception: His legacy has been subject to ongoing debate, with some praising his efforts to document Indigenous peoples while others critique the colonial gaze inherent in his project and the potential for misrepresentation or romanticization.
• Influence on Ethnographic Photography: Curtis's ambitious scope and meticulous documentation influenced subsequent generations of ethnographic photographers.
• Exhibitions and Recognition: His work has been exhibited internationally, including at the Rencontres d’Arles festival in France in 1973.
• Death: Died on October 19, 1952.

Beyond Photography: Film and Later Years

• Early Motion Pictures: Curtis experimented with motion pictures as early as 1906.
• In the Land of the Head Hunters (1914): A feature-length film depicting Kwakiutl life, notable for being one of the first films to feature an all-Native American cast.
• Later Career: After the completion of *The North American Indian*, Curtis worked in Hollywood as a portrait photographer and production still photographer.