Eugenics, 'Aristogenics', Photography

Kris Belden-Adams is Associate Professor of Art History at the University of Mississippi, USA.

• 1. Introduction  2. Harvard’s ‘Class’ Portraits: Composite Pictures and a New England ‘Aristogenic’ Agenda  3. A ‘Dandy’ Masculinity?: Establishing and Respecting Cisgender Norms, Using Photography  4. Social Poise, Demure Confidence: Swaying College Women to be the Essential Players in Positive Eugenics  5. Biometrics, Posture Pictures: ‘We Did What We Were Told’  6. Conclusions

"Clearly argued, thoroughly documented book. Highly recommended. Lower-division undergraduates through faculty; professionals; general readers."—Choice"Belden-Adams shows us the importance of reflecting today on photography’s construction of social privilege and investment in American nativism. Ascribing such work to college portraiture from the turn of the twentieth century, she reminds us that our photographic practices have always been political." —Tanya Sheehan, William R. Kenan Jr. Professor of Art, Colby College, USA "Belden-Adams’s exceedingly well-researched book dives deep into the problematic waters of nineteenth-century eugenics photography and related uses of the medium. What she finds is that defining racial, criminal, and honorific types through photography held far more purchase in the US than previously known. But her study also shows that the instability of eugenics logic led to spectacular failures of the resulting pictures, particularly as compared to counter efforts at the subtle queering of photography at the same time among similar constituencies." —Andrés Mario Zervigón, Professor of the History of Photography, Rutgers University, USA