Emilie Boone
Biographic Data
| ID | 5455756 |
|---|---|
| NAME | Emilie Boone |
| GIVEN NAMES | Emilie |
| FAMILY NAME | Boone |
| SIGNATURE | BOONE E |
| AFFILIATIONS | Emilie Boone is a PhD Candidate in Art History at Northwestern University. Her research focuses on the photography and art of the African Diaspora. |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Primed to See
An archival encounter in the early 1980s between photographer Jeanne Moutoussamy-Ashe and a compelling body of photographs by Eslanda Goode Robeson serves as a moment of discovery that reinforces the need to narrate the long-standing history of Black women in photography. When Moutoussamy-Ashe found Robeson in the archive, it became the impetus behind Moutoussamy-Ashe’s book Viewfinders: Black Women Photographers, published in 1986. Although the …
Ripples in the Historiography
In 1938, the well-known British photographer Cecil Beaton published his travelogue Cecil Beaton’s New York for American and British audiences. The book was the first to publish and consider works by the African American studio photographer James Van Der Zee. Yet this account of Van Der Zee has been overlooked by scholars and relegated to footnotes, feasibly because of Beaton’s dismissive and tactless consideration of the now highly regarded photo…
A Photo Album's Redrawn Color Line
While art historians have highlighted the reputed freedoms afforded to African Americans—such as painters and sculptors—who traveled abroad to escape racism in the United States, little attention has been paid to vernacular photography or to places beyond a few storied locations. Made partly within the context of the American military base of Camp Gifu, an album by a woman named Darlene Littleton brings attention to the vernacular photographs of …
When Images in Haiti Fail
In 1919, the US Marines took a staged photograph of the recently killed insurgent Charlemagne Péralte in order to impede other oppositional fighters during the US Occupation of Haiti. Local viewers interpreted the reproduced and circulated photograph of Péralte crucified to a door as a sign of his martyrdom and strength. While scholars most often turn to Philomé Obin’s circa 1970 painting Cruxification de Charlemagne Péralte pour la Liberté to di…
Reproducing the New Negro
In the summer of 1924, as a departure from his concentration on portraits in his Harlem studio, James Van Der Zee served as the official photographer for the Pan-Africanist leader Marcus Garvey and his organization, the Universal Negro Improvement Association (UNIA). Many of the resulting photographs were published in the organization’s popular, internationally distributed newspaper, the Negro World. The newsprint medium in which the UNIA photogr…
In Extremis
The Likeness of Fugitivity
In 1861, in his Montreal studio, the Canadian photographer William Notman (1826–1891) took a carte-de-visite portrait of the fugitive African-American John Anderson, who had fled to Canada to escape slavery in the US. Subsequently, examples of this portrait had been sold at abolitionist events. This essay explores visual strategies underlying the production of this image, at a time when Anderson had become the focus of a transatlantic extradition…
No prominent works on this page.
The Likeness of Fugitivity
In 1861, in his Montreal studio, the Canadian photographer William Notman (1826–1891) took a carte-de-visite portrait of the fugitive African-American John Anderson, who had fled to Canada to escape slavery in the US. Subsequently, examples of this portrait had been sold at abolitionist events. This essay explores visual strategies underlying the production of this image, at a time when Anderson had become the focus of a transatlantic extradition…
In Extremis
Reproducing the New Negro
In the summer of 1924, as a departure from his concentration on portraits in his Harlem studio, James Van Der Zee served as the official photographer for the Pan-Africanist leader Marcus Garvey and his organization, the Universal Negro Improvement Association (UNIA). Many of the resulting photographs were published in the organization’s popular, internationally distributed newspaper, the Negro World. The newsprint medium in which the UNIA photogr…
When Images in Haiti Fail
In 1919, the US Marines took a staged photograph of the recently killed insurgent Charlemagne Péralte in order to impede other oppositional fighters during the US Occupation of Haiti. Local viewers interpreted the reproduced and circulated photograph of Péralte crucified to a door as a sign of his martyrdom and strength. While scholars most often turn to Philomé Obin’s circa 1970 painting Cruxification de Charlemagne Péralte pour la Liberté to di…
A Photo Album's Redrawn Color Line
While art historians have highlighted the reputed freedoms afforded to African Americans—such as painters and sculptors—who traveled abroad to escape racism in the United States, little attention has been paid to vernacular photography or to places beyond a few storied locations. Made partly within the context of the American military base of Camp Gifu, an album by a woman named Darlene Littleton brings attention to the vernacular photographs of …
Ripples in the Historiography
In 1938, the well-known British photographer Cecil Beaton published his travelogue Cecil Beaton’s New York for American and British audiences. The book was the first to publish and consider works by the African American studio photographer James Van Der Zee. Yet this account of Van Der Zee has been overlooked by scholars and relegated to footnotes, feasibly because of Beaton’s dismissive and tactless consideration of the now highly regarded photo…
Primed to See
An archival encounter in the early 1980s between photographer Jeanne Moutoussamy-Ashe and a compelling body of photographs by Eslanda Goode Robeson serves as a moment of discovery that reinforces the need to narrate the long-standing history of Black women in photography. When Moutoussamy-Ashe found Robeson in the archive, it became the impetus behind Moutoussamy-Ashe’s book Viewfinders: Black Women Photographers, published in 1986. Although the …
Art (6 works) · History (6 works) · Photography and Visual Culture (6 works) · Art history (5 works) · Visual arts (5 works) · Archaeology (4 works) · Photography (3 works) · Sociology (3 works) · Studio (3 works) · Art, Politics, and Modernism (2 works)