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The Society for Visual Anthropologys

Visual Research Conference: The First
Twenty-Four Years (19852008)
JOANNA COHAN SCHERER

The Society for Visual Anthropologys Visual Research Conference (VRC) has been an active presence at the American
Anthropological Association (AAA) annual meetings since the mid-1980s. Although critical studies and selected
histories of visual anthropology have been written, no history has ever included this Special Event of the AAA. The
absence of the VRC in past studies has prompted this history that reviews the first 24 years, from 1985 to 2008. It
identifies the 166 participants, their 225 presentations, and many of their associated or resulting publications. It
shows that the VRC has stimulated scholarly research in a wide range of anthropological studies, from collaboration
with indigenous community to studies of gesture and primate studies, etc. Through statistics and personal testimony,
this study reveals the value as well as some problems associated with the VRC. [history, presentations, statistics,
VRC (Visual Research Conference)]

Introduction From Pictorializing to Visual Anthropology, in Hand-

book of Methods in Cultural Anthropology, 1998; Jay

V
isual anthropology has come of age. It is now
fully recognized and accepted that anthropolo-
gists use all kinds of images, including still
photography, film, video, and non-camera-generated
images for the description, analysis, communication,
and interpretation of human (and sometimes nonhu-
man) behavior. Research routinely includes the study of
kinesics, proxemics, and related forms of body motion
communication (e.g., gesture, dance, sign language), as
well as visual aspects of culture, including architecture,
indigenous media, art, and material culture. Visual
anthropologists are interested in how aspects of culture
can be pictorially/visually interpreted and expressed,
and how images can be understood as artifacts of
culture. Historical photographs are also seen as a source
of ethnographic data, expanding our horizons beyond
the reach of memory culture.
Critical studies and selected histories of visual
anthropology have been written, and the field has been
invigorated by debate and varying points of view. To
mention a few, Emilie de Brigard, The History of Eth-
nographic Film, in Paul Hockings, ed., Principles of
Visual Anthropology, rev. in 1995; Fadwa El Guindi,
Ruby, The Last 20 Years of Visual AnthropologyA
Critical Review, in Visual Studies, vol. 20, no. 2, Oct.
2005; Rethinking Visual Anthropology, Marcus Banks
and Howard Morphy, eds., 1997; Viewpoints: Visual
Anthropologists at Work, Mary Strong and Laena
Wilder, eds., 2009; and Made to Be Seen: Perspectives
on the History of Visual Anthropology, Marcus Banks
and Jay Ruby, eds., 2011.
Histories of the field, however, have consistently
overlooked the Society for Visual Anthropologys (SVA)
Visual Research Conference (VRC). That absence has
prompted this study.1 The following history looks at the
first 24 years of the VRC (19852008) and identifies
the conference participants as well as many of their
associated or resulting publications. I recognize that
memory is selective, and thus I cited sources whenever
possible.2 This study shows that the VRC has stimulated
scholarly research in a wide range of anthropological
topics. Among many others, these topics include col-
laboration with indigenous people and community
studies, tourism, dance/ceremonies/rituals, family photo
studies, gestures, sign language, Labanotation, and
primate studies. One surprising discovery that has

Visual Anthropology Review, Vol. 28, Issue 2, pp. 83119, ISSN 1058-7187, online ISSN 1548-7458. 2012 by the American Anthropological Association. DOI: 10.1111/j.1548-7458.2012.01118.x.
84 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

FIGURE 1. Tom Blakely (in baseball cap) and Craig Campbell at the 24th VRC in San Francisco. The audience includes Peter Biella, Cynthia
Close, Rafael Domingo, Andrea Heckman, Carol Hermer, and Anne Zeller. Photograph by Jerome Crowder, November 18, 2008.

resulted from this research has been that, although
photographs and films are the basic component of VRC
presentations, few participants or audience members
seem to have visually documented the conference itself.
The images that appear with this article are some of the
only photographs of the VRC that exist. Some photo-
graphs have been lost due to photographers changing
computers, cameras, and equipment. This lack of visuals
from the many conferences is lamented.
The VRCs have been organized and chaired from
the beginning by Dr. Thomas D. Blakely (Figure 1), and
reflect his perseverance and dedication to both SVA
and visual anthropology. I wish to acknowledge the
years of dedication that Blakely has given and is
giving to the continuation of these conferences. The
years of sustained perseverance pulling together the
VRCs have not daunted his enthusiastic spirit. In fact,
that spirit has been a major factor in the success of
the conferences.
Conference Purpose and Scheduling:
Perspectives of the Organizer
Three years after the initiation of the VRC, Blakely
described it in terms that are still relevant today:

Joanna Cohan Scherer is an Emeritus Anthropologist at the Smithsonian Institution (SI) and a former president of the Society for
Visual Anthropology (SVA). She was the anthropologist/illustrations researcher for the 20-volume Handbook of North American
Indians (19782006) at the SI, where she created a collection of over 100,000 images relating to Native Americans currently
housed in the SI National Anthropological Archives. As well as numerous articles and reviews, she is the author of the
award-winning book A Danish Photographer of Idaho Indians: Benedicte Wrensted (Norman: University of Oklahoma Press,
2006). She is an active member of the SVA and currently serves as its historian.
 Society for Visual Anthropologys Visual Research Conference
These conferences have enabled people in the four-
field anthropological study of visual phenomena to
extend discussions on theoretical, methodological,
and substantive topics of mutual interest, with
time also to show each other their visual research
materials at some length. Some of the discussions
have also included direct implications for the
professional practice of anthropology (applied
anthropology).3
Describing the conference in 1998, Blakely wrote:
In the first two days of the American Anthropo-
logical Association annual meeting, the Visual
Research Conference will again provide opportuni-
ties for exploring cutting-edge research in the
anthropological study of visual signification, com-
munication, and representation.4
Twenty-three years later, in 2011, Blakely expanded
his description to include its unique and highly valued
emphasis on audience interaction:
The Visual Research Conference is like a panel
discussion or open roundtable with ALL
participants (including the audience) as poten-
tially contributing in each presentation. Presenters
come with works-in-progress, ready to dialogue,
not to read a paper or show a film with a reason why only 2050 individuals attend some of the
question or two at the end. Visual Research Con-
ference presentations feature much interaction and
feedback from an actively participating audience
working to maximize the productive possibilities of
being co-present with each other. Of course some-
times a presenter or other participant cannot attend
Monday evening through Wednesday early after-
noon, but those who can do should plan to come
on Monday . . . for dinner at 7 p.m. and participate
in the Tuesday and Wednesday presentation to
FULLY contribute to and benefit from this small-
conference experience.5
Beginning with the first conference in 1985, the
VRC has been held on Tuesday and Wednesday morn-
ings prior to the start of the scientific programs at
annual meetings of the American Anthropological
Association (AAA).6 The AAA convenes Wednesday
afternoon through Sunday afternoon, in November or
December. The rationale for the VRC to gather at this
time was described in a letter that Blakely wrote to
SVA President Richard Chalfen. The letter was part of
Blakelys annual report to the SVA Board of Directors
in 1990:
SCHERER 85
Seven or eight years ago, a number of SAVICOM
[Society for the Anthropology of Visual Communi-
cation] (later SVA) and AFRI [Anthropological Film
Research Institute] members started discussing and
tentatively planning a conference for somewhere
in the mountains that would focus on visual
research in anthropology and related disciplines.
Ultimatelyafter a couple of years of intermittent
talk and reflection on this subjectwe decided that
since travel budgets were at a low ebb and national
foundation funding was even more difficult to find,
we would try to hold a conference as an early
Special Event at the AAA meetings a day or two
just before the time when many of us would be
gathering together anyway.7
Blakelys decision to schedule the VRC before the
annual meetings did not meet with unanimous
approval. Chalfen notes that the VRC-AAA programs
made for a very long week and time away from classes
at a crucial time of the year; this also made for increased
expenses (personal communication, July 12, 2009). Jay
Ruby echoed this concern: . . . there is the problem of
timing to attend the conference means leaving home on
a Monday and missing a week of teaching. As Temples
semesters were only 12 weeks long that is simply not a
responsible thing to do (personal communication, July
2, 2009). This scheduling is sometimes cited as the
presentations. Wednesday sessions of the VRC also
often overlap with the first AAA sessions that begin at
noon. This overlap has been a source of concern by
some of the SVA board, but since so many AAA sessions
are concurrent, this criticism has fallen on deaf ears
over the last decade.
The VRC has been a designated Special Event of the
AAA since at least 1987, and it should be noted that it
is only one activity of the SVA that occurs at the yearly
AAA meetings. In addition, the SVA organizes poster
sessions, invited roundtable discussions, workshops,
and invited sessions.
The Conference Format, Selection of
Participants, and Publication of Program
The VRC presentations are very different from AAA
meeting papers. The latter are 15 minutes in length
and rarely allow time for questions. The presentations
at the VRC, in contrast, usually run for 45 minutes,
including as much as 15 minutes for in-depth discus-
sions. This allows feedback to the presenters that
includes suggestions for improvement and challenges
86 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

to the method, theory, or approach. The number of

presenters varies from year to year, but the generosity
of time granted to each is indicated by the fact that
the day-and-a-half-long conference has an average of
only ten presenters.
As indicated by the comments quoted below, both
students and seasoned colleagues find this face-to-face
conversation about their work invigorating. Often pre-
senters, excited by the interaction at the VRC, take their
discussions back to their classrooms, where they share
them with their students, producing spin-off projects. In
2003, Cynthia Gray presented a documentary film about
video as a tool for academic inquiry and communica-
tion. This film was used in a regional forum to stimulate
dialogue about interdisciplinary curricula. As a result of
the feedback she received at the conference, she later FIGURE 2. The partial audience at the 24th VRC in San Francisco,
guided her students in the production of a remarkable right to left: Peter Biella, Karl Heider, Tom Blakely, and Andrea
variety of additional short documentaries.8 Feedback Heckman. Photograph by Jerome Crowder, November 18, 2008.
received at the VRC also improves subsequent formal
presentations. Some participants also give 15-minute
papers on the same topic during the AAA meeting the be chosen from the board. The first co-organizer
same year. One such presenter, Jelani Mahiri, noted that assigned was Peter Biella (Figure 2) in 2000.11
as a result of her VRC presentation, she was able to Pursuing his preference for works-in-progress
make a more concise presentation a few days later and late breaking projects, Blakely would typically
during the AAA meetings as well (personal communi- communicate with participants about four weeks before
cation, July 16, 2009). the VRC meetings. At that time, he would solicit revi-
In the early years of the VRC, Blakely often post- sions to abstracts or titles of presentations. Thus, par-
poned announcing the names of participants, their ticipants could change their topic, direction, point of
abstracts, and presentation times until September or viewor all of the aboveand the presentation would
October. He did this to accommodate late blossoming go forward. Blakely sometimes allowed changes in
research. He wrote: abstracts and participants up to a few days before the
conference began. In the past, attendees first saw the
final schedule and abstracts for the program only when
[On one hand, the selection of participants] is the
Blakely handed them out the first day of the conference.
product of much advance spadework and planning
A preliminary program was sometimes printed in Visual
(sometimes presenters have given us a rain check
Anthropology Review, with a note that interested par-
for two or three years before finally giving a focus-
ticipants should consult the official conference publi-
ing presentation at the conference). On the other
cations for final information.12 More recently, abstracts
hand, we make special efforts to remain flexible
have been placed online on the SVA website (society
and open to spontaneity and serendipity in the final
forvisualanthropology.org).
selection of the program content, since every year
Potential contributors have always sent their
some very interesting work comes to our atten-
abstracts to Blakely, and in recent years to his
tion well after the April 1 deadline for Scientific
co-organizers. This now occurs prior to the March 15th
Program submissions.9
deadline. Since 2003, abstracts have been submitted
online to the organizers, with copies to the SVA presi-
Whatever the merits of this position, in 1999, the SVA dent and secretary. Blakely and his co-organizers pri-
board insisted that Blakely change his selection and oritize the selections and then agree on the final list of
publication of the program timetables to match those of presenters, who are notified well in advance of the
the AAA. The many participants who complained that conference.
the program announcement was too slow and late pre- The informal nature of the VRC organization allows
cipitated this change. The former approach was known for the inclusion of unofficial presentations. Blakely
to be in step with Blakelys favored African time orien- sometimes fits a participant in at the last minute, either
tation.10 The SVA board also insisted that co-organizers because an accepted presenter found they could not
 Society for Visual Anthropologys Visual Research Conference
make it or because the subject was just too interesting,
as he would say, to turn away. Amy Donovan remem-
bered that she was a last-minute invitee to the 1992 or
1996 VRC in San Francisco, where she showed a video
on an exhibition she had created about homeless youth
in San Francisco.13 There is no evidence of Donovans
participation in either the schedule or abstracts, and she
remembers that Blakely squeezed her in at the last
minute. Another contributor, David Plath, a seasoned
professional who presented in four conferences,
remarked:
. . . your list only loosely reflects the times I made
some sort of presentation, and truth tell the memory
cells cant summon up a precise account . . . but [I]
know there were other times when I made a pre-
sentation that may not have been on the official
list, Tom allowing me to do so because there had
been no-shows from the official list. [personal com-
munication, July 14, 2009]
Again, there is no existent record in the program
schedules, abstracts, or post-conference reports that
documents such non-scheduled presentations.14
A few participants expressed the opinion that the
VRC was poorly organized and too informal. Such
informality extended to lack of audience control, and
some participants commented that chatter during their
presentation was disruptive, annoying, and resulted in
their not submitting abstracts for future conferences.
However, the informal organization of the VRC was,
more often than not, applauded. Plath pithily observed:
Its a creatively messy operation, and thats its great
virtue by contrast with the anal-compulsive over-
control exercised by AAA. I quit presenting papers
at the AAA once I discovered the VRC. The obvious
value for me is that Ive had opportunities to hear
reactions to works-in-progress; almost no other
conference allows time for that. [personal commu-
nication, July 14, 2009]
Demographics of Conference Participants
I began this study by making an exhaustive search for
each of the 166 participants listed in the programs of
the VRC from 1985 to 2008, then produced a table (see
Appendix) that includes data on the participants, their
225 presentations, and publications based on these pre-
sentations.15 All the participants were contacted by
e-mail, telephone, mail, and/or Facebook, and much of
the information was reported by the presenters them-
SCHERER 87
selves. In some instances, information was received
from one co-presenter and not the other, but if full
information was obtained, we considered that contact
successful for both co-presenters. Also, even though
some presenters could not be located, we have been able
to find the full information needed to complete this
study through persistent research in journals and
looking at participants vitae online.16 We have com-
plete information for 160 (96.4 percent) of the partici-
pants and incomplete information on the remaining six
(3.6 percent). All participants were asked to comment on
the effectiveness of the VRC, and importantly, whether
their participation resulted in or was based on any sort
of publication.
The information about the participants includes
name, sex, U.S. or non-U.S. residence at the time of the
presentation, field of anthropology (linguistics, cultural
anthropology, physical anthropology, etc.), and status
at the time of each presentation (professor, student,
researcher, filmmaker, independent scholar, etc.). The
table also includes information about participants who
co-presented, gave more than one presentation, were
deceased at the time of this study, and whether infor-
mation is complete. An asterisk after the presenters
name means that the information is incomplete: either
we were unable to locate the individual or the indi-
vidual was deceased, and we were unable to complete
the information through our own research.
Of the 166 participants, 49.4 percent were male
and 50.6 percent female; 82.5 percent were based in
the United States and 17.5 percent were not based
in the United States; 43 (25.9 percent) participants
co-presented; 36 (21.7 percent) presented in more than
one conference; and 5 (3 percent) are deceased. The
participants were asked to identify their fields of anthro-
pology, which most did unambiguously. However, four
individuals identified their field as both cultural and
visual anthropology, and four others as both cultural
anthropology and linguistics.17 The distribution of the
participants was 44 percent cultural anthropology, 23.5
percent visual anthropology, 3.6 percent social anthro-
pology, 4.2 percent applied anthropology, 2.4 percent
both visual and cultural anthropology, 2.4 percent both
cultural anthropology and linguistics, 1.2 percent lin-
guistics and body language (gestures/signs), 0.6 percent
archaeology, 0.6 percent physical anthropology, and
17.5 percent who did not consider themselves anthro-
pologists or whose field is unknown.
Presenters at more than one VRC provided their
professional status at the time of each of the 225 pre-
sentations. Since the professional status of presenters
often changed over time, it is necessary for statistical
purposes to count each participation in a presentation
88 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
separately, giving a total of 253 participations.18 The
professional status was 20.5 percent full professors, 6.7
percent associate professors, 18.5 percent assistant pro-
fessors, 15.8 percent independent scholars, 3.6 percent
filmmaker/photographer, 3.6 percent researchers, 2.4
percent retired, 1.6 percent curators, 25.7 percent stu-
dents, 1.2 percent multiple statuses (filmmaker and pro-
fessor, assistant professor, or independent scholar, etc.),
and 0.4 percent unknown.
The table also lists the 225 presentations from 1985
to 2008 by title, year given, geographic area of the
topic, and whether the presentation resulted in publica-
tion. A few presentations included more than one geo-
graphic area, so a category of multiple geographic
areas was established. Statistically, 70 (31.1 percent) of
the presentations related to North America, 50 (22.2
percent) were worldwide, and 23 (10.2 percent) related
to sub-Saharan Africa. The remaining geographic areas
were 1 (0.4 percent) North Africa, 11 (4.9 percent) South
America, 3 (1.3 percent) Central America and Mexico,
10 (4.5 percent) Europe (including western Russia), 6
(2.7 percent) Middle East, 6 (2.7 percent) China (includ-
ing northern Asia), 13 (5.8 percent) Southeast Asia
(including Indonesia, New Guinea, and Philippines), 5
(2.2 percent) Indian subcontinent, 8 (3.6 percent) Japan
or Korea, 2 (0.9 percent) Oceania (including Micronesia,
Polynesia, and Melanesia), 2 (0.9 percent) Australia and
New Zealand, 12 (5.3 percent) multiple geographic
areas, and 3 (1.3 percent) unknown.
Publications Based on or Resulting from
Conference Presentations
Because the VRC has been ignored in recent histories
of visual anthropology, one of the main goals of this
review was to demonstrate that participation in the
conferences was reflected in a wide variety of publica-
tions. In fact, the 225 presentations are evident in 219
publications: 93 book chapters or journal articles, 34 in
film or video, 30 dissertations or theses (either M.A. or
Ph.D.), 20 university press books, 17 commercial books
or textbooks, 14 electronic media productions, and 11
exhibits.19 Of the presentations, 100 resulted in at least
one publication, 48 can be credited with multiple pub-
lications, 71 resulted in no publications, and for 6 no
publication information is available.
Only publications directly related to the presenta-
tions are included in the bibliography, filmography, list
of exhibits, and list of electronic media. Checks in the
table indicate that one or more publications may be
found in the bibliography. A presenter may have pub-
lished an article, a book, and a film related to a pre-
sentation or one or more articles from a presentation.
Thus, in a number of cases, multiple publications
resulted from or were based on that one presentation.
Sometimes a participant gave a presentation after
recently completing a project, so that the publication
date precedes the presentation. In the table, there is
also a category unpublished, which indicates that the
presentation did not result in any type of publication
that was found. The bibliography and other publication
lists only include materials published prior to June 1,
2012, when research for this study was concluded. I
did not include any publications, films, or dissertations
in progress. While there are many publications result-
ing from the VRC, it must be noted that rarely have
participants acknowledged in their publications the
fact that they presented at the conferences. This lack of
credit is probably more the result of negligence on the
part of the presenters than a comment on the value of
the VRC.
In looking at the publications resulting from the
VRC, it is clear that they are varied and appear in
multiple venues. In some cases, the mere publication of
papers or films introduced at the VRC does not do
justice to their wider significance. An example is
Mathew Barrs 2002 VRC presentation about a tradi-
tional fishing village on the North Carolina coast. Barrs
resulting 2006 film played a significant role in that
states general assembly passing a bill that set aside $70
million to preserve maritime and fishing communities in
the state. A version of Barrs film was later broadcast on
public television nationwide via the National Educa-
tional Telecommunications Association, and was also
shown at numerous film festivals, including one in
Lorient, France, March 2011. The impact of this film
outside academic anthropology is to Barrs credit and is
an indication of the films significance.
In evaluating the value of film publications based
on VRC presentations, one of the individuals who pro-
vided comments was Cynthia Close, formerly the execu-
tive director of the Documentary Educational Resources
(DER). Her comments were centered on the importance,
popularity, and monetary rewards of some of these films
marketed by DER.
John Bishop and Harold Prins film Oh, What a
Blow That Phantom Gave Me! Edmund Carpenter.
This is a major contribution to the history of visual
anthropology and sells fairly well. Andrea Heckman
film Ausangate. Her film received recognition in
both the academic world and the world of popular
culture. It was licensed for broadcast, and sells
relatively well in the educational market as well
as direct to consumers. This is what I call a
 Society for Visual Anthropologys Visual Research Conference
FIGURE 3. Malcolm Collier presenting Inside Views: The Research
and Applied Legacies of John Adairs Film Work at the 14th VRC
in Philadelphia. Photograph by Anne Zeller, December 2, 1998.
cross-over film as it works well in several markets
and on different levels of interest. David Plath
Makikos New World. This is also a crossover film
that did very well in sales the first couple of years
it was released. It tried to appeal to both a popular
audience as well as an academic audience. It was
a very ambitious undertaking for David Plath.
[Regarding] Anne Zellers primate films: I
approached Anne when I first came to DER and saw
her film work. It was not particularly well done
from an artistic or technical POV but there was little
about primates available for academic studyyou
had Jane Goodall and that was about it. Anne was
reluctant and modest recognizing that she was not
a professional filmmaker and not sure if she
should make her work available through a major
distributor like DER. I talked her into it, and now
distribute her entire series of more than a dozen
DVDs on primates. They sell like hot cakes . . .
royalties she shares with her university. They sell
year after year. Obviously they found an immediate
market because they filled a need . . . it found its
rightful audiencea purely academic one. [per-
sonal communication, March 16, 2010]
Based on the entries in the bibliography, filmogra-
phy, and the list of electronic media publications and
exhibits, some of the most productive authors are
Fadwa El Guindi (nine publications), Peter Biella (nine
publications), Adam Kendon (eight publications), Karl
Heider (eight publications), Malcolm Collier (seven pub-
lications; Figure 3), Richard Chalfen (six publications),
Marjorie Goodwin (six publications), and Anne Zeller
(six publications). These presenters at the VRC have
SCHERER 89
made significant contributions to the field of anthro-
pology that are clearly reflected in their many diverse
publications.
Visionary Presentations
Some of the VRC presentations reported on projects
that, in hindsight, were significantly innovative and
far ahead of their time. For example, in 1991, Patrick
Dionne and Raymond Carpentier gave a presentation A
New Electronic Mail Journal: A Project of the Commis-
sion on Visual Anthropology. Dionne made these com-
ments about his project:
In 1991, the Internet existed but not the Web so our
idea was to create an Internet site via an ftp server
just like the comparative literature journal Surfaces,
then published at the University of Montreal,
already had. People would have selected a year and
an issue before downloading articles individually or
news items or reviews bundled in one text for each
kind, all in Word format, which was the main text
standard at the time. The site would also have
included a bulletin board to pass on the news as
soon as we received them and it could also have
been used, for instance, to discuss works in progress
or to help people to connect. It would have been an
adjunct to the paper publication, but I could
imagine that after networks and computers devel-
oped only a little more, it could become, in accor-
dance with the Commissions worldwide mandate,
visual anthropologys main hub. As for audio-
visual media, they remained only a very near
eventuality in 1991. [personal communication,
December 4, 2011, and June 22, 2012]
Unfortunately, the project did not get off the ground
because the head of the commission, Asen Balikci, was
retiring from the University of Montreal, where the
project was conceived. No funding existed to get it up
and running. This was a missed opportunity, but the
project foreshadowed electronic mail journals of today.
Three other presenters who were significantly ahead
of their time in utilizing new technology were Brenda
Farnell (1989 presentation and 1995 CD-ROM publica-
tion), Peter Biella (1991 and 1992 presentations and
1993 publications), and Cynthia Korpan (2005 presen-
tation and 2009 publication). Farnell incorporated her
ethnographic field data in an interactive CD-ROM,
which was also published with a traditional book. The
CD-ROM greatly increased Farnells ability to present
videos of Assiniboine telling stories in Plains Indian
90 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
sign talk, and to analyze these performances using
Labanotation. It also allowed her to more easily share
the results of her work with the indigenous community.
Biella used CDs and computers to incorporate his raw
data from fieldwork among the Maasai both for research
and teaching.20 He demonstrated the potential of exter-
nal storage devices, such as CDs and DVDs, which can
hold an enormous amount of text, sound recordings,
and photographs. Biella also developed a course using
this technology that foreshadowed much of our online
visual anthropology teaching methods today. In Cynthia
Korpans case, her masters thesis, completed in 2009
and available in electronic format, will soon be made
available as a hypermedia document, although the Uni-
versity of Victoria, Department of Anthropology did not
accept that format for her degree. Korpan wrote about
the creation of this document:
My argument was that the community from which
the research [derived], needed to have access to
academic work and that the format was just as
acceptable as the paper/pdf version. For the hyper-
media document I have simply created a more
dynamic document that can be viewed by anyone.
[personal communication, October 3, 2011]21
All of these presentations showed the practicality of
making esoteric anthropological data into user-friendly
materials that then became available not only to the
wider academic community but to indigenous commu-
nities as well.
Conference Longevity and Value
to Participants
Publications are not the only evidence of the wider
significance of the VRC. Clearly, its longevity is also an
indicator of its vitality. From presenters comments, one
can see that the contacts and support that presenters got
from attending the conferences, especially the two-way
interactivity that students and junior scholars had with
senior scholars of the field, stimulated the presenters to
think through problems and helped many to revise their
work into creative final results. Comments received
from the majority of participants show that many sea-
soned professionals as well as students found value in
presenting at the VRC. This was expressed to me
empathically by Anne Zeller,22 who said that the feed-
back she received from her participation in the VRC
(from 1986 through 2009) was especially useful. She
said that she received insightful comments from people
such as Najwa Adra, Tom Blakely, Peter Biella, John
Bishop, Cynthia Close, Malcolm Collier, Howard
Conklin, Fadwa El Guindi, Karl Heider, Carol Hermer,
Allison Jablanko, Adam Kendon, Mary Strong, and me.
These participants encouraged her to continue with her
visual studies on primates (Macaque monkeys and
chimpanzees). The validation she received from col-
leagues, she said, encouraged her to complete her film
research and analysis, to the enhancement of both her
intellectual growth and ultimately her professional
career (see Zeller filmography).
In particular, Zeller cites Blakelys interest in the use
of space, directionality of gaze, and concept of gestural
silence as particularly helpful in her work. It led her to
the realization that various levels of the face in pri-
mates provided different kinds of information in facial
gestures, and that they communicated about their social
selves as well as the messages they were sending.
Kendons work on gesture was influential in Zellers
analysis of threatening, friendly, and cheerful facial
gestures in primates, helping her to convert these facial
gestures into patterns and to research in those patterns
information about social relations.23 Zeller utilized
Jablonkos methodology of analyzing film of work and
dance through a frame-by-frame analysis of individual
movement patterns to help study facial communication
among primates.24 From my work, she learned points for
the analysis of setting, means to extract a wide range of
information from what is seen in an image, and for a
theoretical concern with reciprocity between actor
(subject) and recorder (photographer). Zellers interest in
non-formal art was inspired by Strongs work on group
patterning in murals as accessible, structured, non-
linear productions, and helped Zeller read the spatial
geography of primate artistic work.
The VRC has also helped many young scholars in
their academic pursuit. For example, Wilton Martinez, a
student in 1989, commented:
The conference definitely had a most positive
impact on my academic work and my career. It was
very stimulating to present my research in progress
and receive feedback in the context of the confer-
ence. Those presentations played a key role in my
decision to pursue the project as part of my MA
thesis, then my doctoral research and eventually,
my dissertation. [personal communication, Febru-
ary 9, 2011]
The fact that students had the opportunity to inter-
act with seasoned professionals is a positive aspect of
the VRC that was articulated by many participants.
Victor Fuks, a student in 1988, subsequently published
his presentation, and in a footnote to it remarked:
 Society for Visual Anthropologys Visual Research Conference
This text is a revised version of the paper presented
at the 1988 meeting of the American Anthropologi-
cal Association Visual Research Conference in
Phoenix, Arizona, and I am grateful for the stimu-
lating and helpful suggestions and comments raised
by the audience. I also appreciate the stimulus of
Thomas Blakelys invitation to participate in the
Visual Research Conference. [Fuks 1989:24 n. 1]
To date, as Jay Ruby commented, the contributions
made by the VRC have not been recognized or included
in previous surveys of the history of visual anthropol-
ogy.25 The present study sets the record straight.
Reflections on the SVA VRCs by Participants
I have been a participant observer of many of the VRCs
since their beginning in 1985. Thus, while not a totally
objective observer, I have tried to be as even a com-
piler of the history of the conferences as possible. I
have attempted to balance the statistical data, cited
earlier, with what follows: the voices of 32 of the 166
participants. Included are both positive and negative
comments that I have edited from the replies to my
inquiries. I thank all the individuals who have partici-
pated in this study and for granting me permission to
quote from their replies. In alphabetical order they are
as follows:
Najwa Adra, a presenter in 1999:
What I like about VRC presentations is the collegial
response in an informal setting. It isnt so much
that my presentation helped my career but that
I received good feedback from colleagues that
encouraged me to further develop this topic [of
belly dancing as an urban folk genre]. [personal
communication, June 13, 2009]26
Elisenda Ardevol, a presenter in 1997:
The conferences were very useful to legitimate the
use of visual methods in the field of anthropology
and also in the field of law, social studies and
qualitative methodologies. [personal communica-
tion, September 21, 2009]
Karin Becker, a presenter in 1997:
The SVA conferences were extremely important to
the work I continue to do in visual ethnography,
both in my teaching and research. During my years
as professor of Art Education (Konstfack, College of
Art and Design), I introduced a unit on visual
SCHERER 91
culture studies that build on visual ethnography,
and which the students continue to use in their
theses and art projects, and have also introduced it
into their own teaching in the Swedish grade
schools and high schools. The key elements in it
were to do field documentation and then analyze
the documents, reflecting particularly on the visual
genres that shaped the ways the documentation was
carried out. I also used my 1997 SVA presentation
as my lecture when I interviewed for that position
. . . I am on the board of a Nordic Network of Visual
Studies which has organized a series of workshops
and conferences over the past 6 years, and that
draws heavily on the groundwork laid through the
SVA, as well as visual sociology. [personal commu-
nication, February 24, 2011]
Peter Biella, a presenter in 1991, 1992, 1996, 1999,
2000, and 2006, and with students in 2004 and
2008:
One important function of the VRC is an atmo-
sphere that allows students interested in anthro-
pological film production to meet and observe the
work in progress of professors who teach in
various visual anthropology programs. My presen-
tations have stimulated students in the audience
to apply to my program. In 2006, in San Jose, a
number of my students presented their films. My
program was 5 years old at the time. Several
visual anthropologists at the meetings congratu-
lated me on my students work and began recom-
mending students to come to my program.
Applications increased noticeably. [personal com-
munication, December 14, 2011]
Craig Campbell, a presenter in 2008:
The feedback I received turned out to be an excel-
lent discussion on art and expression in documen-
tary works. It was also an excellent opportunity for
me to discuss anxiety about the use of images that
depict the history of others. [personal communica-
tion, July 12, 2009]
Richard Chalfen, a presenter in 198688, 1992,
1996, and 1998:
I always felt the Visual Research Conference (VRC)
was very successful on several fronts. Tom Blakely
wanted us to have adequate time to offer, witness
and digest a presentation of ideas and data. The
AAA 15-minute time slot was broken! This was
indeed successful and much appreciated by most
of us. I also recall a much-needed congenial
atmosphere-another contrast to other gatherings.
92 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
Tom was skilled at mediating debates and the (very)
few conflicts that emerged. [personal communica-
tion, July 12, 2009]
Jenny Chio, a student presenter in 2007 and 2008:
I really enjoyed the format and felt challenged in a
positive manner throughout the event. It is rare to
have the opportunity to really engage in a discus-
sion about ones work with a specialized, friendly
audience. I was able to test out new ideas and
arguments in both of my talks, and to rethink a
number of my assumptions and expectations about
my research as well. [personal communication,
June 24, 2009]
Malcolm Collier, a presenter in 1988, 1990, 2000,
and with students in 1996, 1998, and 2002:
While not without frustrations and problems, the
Visual Research Conference is the primary reason I
have continued to attend the annual meetings of
the AAA. Appreciation: A) Opportunity to both
present and to see work in progress . . . B) Time
frames that allow for significant presentation of
visual materials . . . C) Opportunity to meet and
have conversations with people over some period of
time, both in the context of the presentations and
across the day and half of the sessions. D) A setting
in which it is easier for students to present and get
feedback on their work. E) A venue in which people
not necessarily in AAA, or even in anthropology at
all, can come, present, listen, participate without
the exclusionary registration/fee processes of the
AAA. This especially includes the opportunity . . . of
having local participants in the visual projects be
part of sessions asmore or lessequals . . . Prob-
lems: A) Presentations without significant visual
content. B) The temptation to have known present-
ers dominate the sessions . . . C) Could be more
tightly run . . . D) . . . need to coach better regarding
how to approach their presentation, emphasizing
importance of visual, need for dialogue, and the
general desirability of in progress, exploratory
material. E) Although the advent of computers, LCD
projectors, etc. has very much improved the situa-
tion, it would be nice to have better ways of pre-
senting still photographs, especially in terms of
display wall spaces and other means of presenting
photographic arrays in a format that allows more
dynamic audience participation. F) Figure out ways
to have presenters from a wider range of regions of
the world. [personal communication, September 29,
2009]
Jerome Crowder, a presenter in 2005:
The most important aspect for me about presenting
at the VRC is meeting the people and being able to
dialogue with other VAs about my work. I found
that my presentation was well received and helped
give me some credibility within the subdiscipline
. . . I have tried to attend the VRC since 2002 . . .
Since 2002 I have witnessed the quality of the
presentations decline significantly, and feel that the
discussion and dialogue generated at the meeting
had been below par . . . it may be time for the SVA
to direct leadership to the VRC and help with
administration and/or support of the Conference.
There needs to be more credibility within the
process, and while it may take a little time to have
a small committee read the applications, it is in the
best interest of the SVA and VRC that innovative,
unique and developing projects get stage-time
during this once-a-year event . . . Id like the VAs to
get it together again and make the VRC something
special and professional. [personal communication,
July 8, 2009]
Brenda Farnell, a student at the time of her 1989
presentation and an assistant professor in 1994:
I participated regularly in the early conferences,
but lost interest since there appeared to be little
interest or useful feedback in my particular area
(movement/body/dance/performance). I came to
feel that the Conference, with the presentations
always selected by the same organizer, was not
representing the best of visual anthropologymore
interesting work was being presented and discussed
at other venues (e.g., at New York University and
British venues). [personal communication, Novem-
ber 3, 2009]
Marc Tizoc Gonzalez, a student presenter in 2000
and 2001:
My SVA presentations were very helpful in devel-
oping the projects that constituted my MA thesis
and earned me college honors from the SFSU
College of Behavioral and Social Sciences in 2002
and to my career thereafter . . . my experiences with
the SVA, especially its relatively longer periods
for individual presentations, provided significant
opportunities to practice public speaking before a
professional audience, which is a skill that I have
continued developing both in scholarly circles, at
law as a practicing attorney and in the classroom.
[personal communication, July 16, 2009, and June
14, 2012]
 Society for Visual Anthropologys Visual Research Conference
Karl G. Heider, a participant in 198689, 1996, and
with students in 1993 and 1994:
As for which [films] have been particularly
innovativeI think first of [David] Plaths
Makikos New World [1999] where he uses actors
and old photographs to illustrate an old document;
and [Andrea] Heckmans film Ausangate, which
together with her Collier-award-winning book
form an exemplary combination of visuals and text.
[personal communication, March 17, 2010]
Carol Hermer, a student during her presentations in
1995 and 1997, and an assistant professor in 2002:
Ive had my misgivings about the VRC over the
years. I think the addition of someone to help Tom
decide on which presentations to choose is crucial,
also the use of the web in submitting presentations
so things dont get lost as in years past. Every year
I try to attend as it is for me the most interesting
part of the meetings. I like the format tremendously.
I dont know how one weeds out the dudsmaybe
including a sample of the visuals in the submission
or asking for a longer abstract. Every year there are
a few fascinating papers and a few terrible ones. I
know Tom likes the idea of late-breaking news but
maybe it has to be pretty clear what people want to
say in April. Perhaps one needs to restrict it to
people actively working in visual anthropology.
Often outsiders think that what they are doing is
path breaking because it is in their fields, but it isnt
for old-hat visual anthro people . . . I would be
terribly upset if it disappeared or became like the
rest of the meetings. [personal communication,
September 16, 2009]
Allison Jablonko, a co-organizer (with Blakely in
198586) for the first 1985 conference in Washing-
ton, DC, and a presenter in 1985, 1994, 1996, 1997,
and 2001:
Presenting at the SVA Conference is a major infu-
sion of energy and focus for the larger conversa-
tion among a large group of people who are
concerned with issues of visual anthropology.
Although . . . I did not move from the stage of
presentation on to the stage of publication, I feel
that this periodic, face-to-face meeting has been
central to the development of the discipline as a
whole. [personal communication, June 12, 2009]
Sabine Jell-Bahlsen, a presenter in 2002:
Our presentation at the visual anthropology
Research Conference had a positive effect on our
SCHERER 93
careers, because the presentation and ensuing dis-
cussion helped to sharpen our ideas on the project,
and then the paper we presented was published in
Visual Anthropology. Publish or perish. [personal
communication, June 25, 2009]
Jayasinhji Jhala, a presenter in 1994:
The Visual Research Conference has been good for
me, my students, and colleagues and for the disci-
pline as a whole. Even when I have not been able to
attend I have only heard positive things about the
proceedings . . . it is incredibly difficult to start and
sustain this type of initiative and offering. It is easy
to tear anything down. [personal communication,
October 14, 2009]
Adam Kendon, a presenter in 1990, 1991, 1993,
1994, and 1998:
The presentation of 1991, which was the first time I
had ever tried to say anything about gesture in
Southern Italy, which I was just then beginning to
study, was very well received and this did give me
a good deal of confidence that it was worth going
on with what I had started. [personal communica-
tion, March 29, 2010]
Patricia G. Lange, a participant in 2008:
I found Thomas Blakelys comments particularly
helpful. He had a way of engaging with my work,
and drawing on what he knew of my linguistic
background to provide insightful suggestions
about where I might productively take the
research. For instance, I tend to like to examine
very small units of linguistic analysis, and he
asked if I had considered finding analogously
small but socially revealing units of behavior in
visual form. Comments that engage most directly
with a creators material are often the most stimu-
lating and helpful . . . I support the conference and
I think it is a wonderful way to obtain feedback
from colleagues to work with the material. I found
the feedback on my work to be interesting. What I
observed, however, was some uncertainty about
how the newer, more experimental material was
received and critiqued . . . Ideally feedback would
offer suggestions that help scholars maintain stan-
dards of excellence while being allowed to push
the envelope. [personal communication, September
18, 2009]
Jacqueline Maingard, a participant in 1995:
My presentation at the Conference had a very
positive effect on both my career and on the project
94 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
itself . . . it was also a useful forum and framework in
which to screen the film [Uku Hamba ZeTo Walk
Naked] and consider my work. The feedback and
discussion was excellent and was also very affirming
at a point when the film had just been produced.
Since then it has had many successful runs in all
kinds of events and screenings all over the world.
[personal communication, February 8, 2011]
Jonathan S. Marion, a participant in 2005 and
2006:
The VRC . . . was invaluable in presenting me a
chance to test run some of my ideas [on competi-
tive ballroom dancing] amongst visual scholars,
and the interactive nature of the VRC allowed for
feedback that helped me refine my own thinking,
approaches, and presentations . . . the VRC essen-
tially served as a springboard for my involvement
in the SVA . . . brought me to the attention of more
established visual scholars including my nomina-
tion and then election to the SVA board . . . people
I met at the VRC formed the majority of those I then
recruited for the 2007 SVA Special Event discus-
sions on visual ethics, which in turn have given rise
to SVA Invited Roundtables on Visual Ethics in both
2008 and 2009. Finally, the open and supportive
nature of the VRC provided an ideal setting to have
some of my visual anthropology students present
their own work. [personal communication, October
22, 2009]
Nancy Marie Mithlo, a presenter in 2006:
My participation at the 2006 SVA Visual Research
Conference was very significantboth for my own
professional development and for advancing the
research goals of the two archival projects I
directedthe Horace Poolaw Photography Project
and the Yeffe Kimball Collection at the Institute of
American Indian Art . . . At the Conference, I was
able to meet these two outstanding scholars [Karl
Heider and Thomas D. Blakely] and ask them
directly questions about my teaching pedagogy
using the textbook [Heider 1997] and other
resources . . . these connections became central to
my professional standing and my ability to con-
tinue the research I was committed to. My students
who attended the Conference were likewise inspired
. . . the Conference made the educational process
come alive for them in a manner similar to the
process of conducting fieldwork, except our field
was the tribe of the SVA . . . I found that the
Conference participants were finely attuned to
the nuances of the theses I wished to forward
in my work, including the significance of eye
contact, posturing and clothing, as well as to more
broadly conceived theoretical concerns such as
staging and performance. I am convinced that
there is nothing more central to our field of
Visual Anthropology than the ability to jointly
interrogate the visual evidence of our work. The
communal, processual discussion is central to the
manner that I pursue my work in the context of
Native American communities and I am grateful to
have had the opportunity to enact this collaborative
exploration of the visual with my professional col-
leagues. [personal communication, September 10,
2009]
Michael Naimark, a presenter in 1996:
My presentation at the SVA Conference had a pro-
found effect on my professional growth . . . I was a
media artist and researcher with a great deal of
respect for the field of visual anthropology . . . The
feedback was an important and refreshing change
from the usual media art and media tech commu-
nities with which I associate. Since then, Ive been
both enthusiastic and critical of the role that
anthropology could play in new media. [personal
communication, July 9, 2009]
J.R. Osborn, a presenter in 2008:
The Visual Research Conference provided a forum
for extended discussion on my project with col-
leagues and critics. I received a good deal of spe-
cific feedback, which has helped me refine the
methodology and apply it to new topics and situ-
ations. My only suggestion for the Conference
would be to focus the discussions toward the
visual tools and methods being shared rather than
the content of the works. [personal communica-
tion, October 7, 2009]
Sara Elizabeth Perry, a student presenter in 2005:
I was very pleased with the critical feedback that I
received during and immediately subsequent to my
presentation, but I am a bit disappointed that the
VRC is not directly linked to opportunities to
publish our research projects either in special VRC-
related volumes, or in the SVA journal, or even
online on the SVA website. I would have liked the
conversation to continue beyond the VRC itself.
[personal communication, June 25, 2009]
Tereza Porybna, a student in 2007:
The main benefit of conferences is the possibility
to meet and talk with colleagues. In my case,
 Society for Visual Anthropologys Visual Research Conference
because visual anthropology is still in its begin-
nings in Czech Republic, it is also a very important
opportunity to catch up with the field . . . this
workshop type of conference style is the most
useful and it would be nice to have more of
these. [personal communication, September 29,
2009]
Jack R. Rollwagen, a retired professor at the time of
his 2006 presentation:
The SVA Research Conference has always had one
or more organizers,27 but (at least during the last
meeting at which I presented) had no CHAIR. The
function of a symposium CHAIR . . . is to keep that
symposium in order, to limit the presenter to the
time allotted for him/her, to keep members of the
audience from interrupting presenters, to respond
to any unusual circumstances, and so forth . . . I
began my presentation, and within five minutes . . .
one of the members of the audience began chal-
lenging anything that I said. I tried to be polite, I
tried to be firm, and I tried to move on with my
presentation, all with no effect . . . neither Tom nor
Joanna intervened to restore order so that I could
complete my presentation . . . My presentation was
ruined because neither of the ORGANIZERS took
the responsibilities of CHAIR of that symposium . . .
The SVA Research Conference MUST have someone
who acts as chair, and someone who has the
strength and willingness to assert themselves in
such a case as I have described. [personal commu-
nication, July 11, 2009]
Lynn Selby, a student presenter in 2001:
I was not integrated into a graduate program at
the time, and as my subsequent enrollment in
graduate school at the University of Texas at
Austin in 2003 did not present the time and types
of networks to help me deepen my relationship
with SVA. I would say that Dr. Peter Biellas active
outreach to students at San Francisco State Uni-
versity was critical to my participation in the SVA
Visual Research Conference, and I am grateful for
his role in recruiting younger scholars into SVA
activities . . . I hope to return to SVA as an active
participant after the later stages of my dissertation
writing, as I am still using ethnographic video as
a research tool, and am creating a short documen-
tary at the end of my research period for the com-
munity which is hosting most of my research so
I can share some of the results of my research
with non-academic community members who
SCHERER 95
FIGURE 4. Jennifer Wolowic presenting Visually, Orally, Rela-
tively: Collaborative Representations of First Nations Youth at
the 24th VRC in San Francisco. Photograph by Jerome Crowder,
November 19, 2008.
have little formal education. [personal communi-
cation, July 8, 2009]
David J. Steele, a presenter in 1986:
[The Conference] provided me an opportunity to
share how I was using visual methods and an eth-
nographic perspective in applied medical and edu-
cational anthropology. Over the years my active
affiliation with the field of anthropology has waned
as I went native in medical education. But I have
had a very rewarding and interesting career and I
bring sensitivities to my work that is derived from
an anthropological perspective. [personal commu-
nication, August 25, 2009]
Drid Williams, a presenter in 1988 and 1990:
I found the Conferences valuable for drawing atten-
tion to the dance and human movement studies by
an audience who was (and still is) interested in the
visual arts . . . but Im still affected by the fact that
many of my audiences feel that they dont know
enough to ask questions, so I dont get all that
much feedback that way. [personal communication,
October 14, 2009]
Jennifer Wolowic (Figure 4), a student presenter in
2008:
[The Conference was] very useful. 10 minutes into
my presentation the head of Documentary Educa-
tional Resources stood up, interrupted my presen-
tation and offered to distribute my film!! Because of
96 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

learning about. I also found the discussions and

presentation at the Conference of the use of pho-
tographs very informative and helpful in my teach-
ing. Work on new media has opened my eyes to the
kinds of archiving and innovative use of material
gathered for other purposes and altogether my
career would not have been the same at all without
this group and this conference. [personal commu-
nication, June 10, 2009]

Notes
1
This study was encouraged by Peter Biella (personal com-
FIGURE 5. Katharine Young presenting Time and the Body: munication, December 11, 2007), who, after the 2007 SVA/
Posture, Memory, and Narrative in Somatic Psychology at the 14th AAA meetings in Washington, DC, suggested that I pursue
VRC in Philadelphia. Photograph by Anne Zeller, December 2, 1998. a challenge that Jay Ruby gave to me. Ruby had remarked
to me that nothing significant had ever come out of the
VRC presentations, and that was why he had never men-
tioned them in his study of the history of visual anthropol-
ogy. Ruby also commented, I have never seen a reference
that my film has since screened at multiple festivals to any SVA conference presentation as a footnote or bibli-
worldwide. ography reference or noted that a published paper started as
a conference presentation (personal communication, July
Katharine Young (Figure 5), a presenter in 1993, 2, 2009).
2
1996, 1998, 1999, and 2008: All the correspondence, e-mails, and copies of the records
on which this history is based are in the authors files, and
I have never had the faintest intimation that any of will be placed in the Smithsonian Institution, National
my presentations at the Visual Research Conference Anthropological Archives (NAA), along with the records of
have made any difference to my professional career, the society. SVA signed a depository agreement with the
except with respect to my status in the Society for NAA, July 8, 2011. Any readers who find errors or omis-
Visual Anthropology itself, nor with the exception sions are invited to write to the author to place the infor-
of my most recent presentation in 2008, do I feel mation in the record.
3
presenting my material has made any difference to Blakely, Thomas D. 1988. Society for Visual Anthropology
me in my development of the project on which I News: Outgoing Presidents Report, Annual Meeting of the
presented. I found some of the questions in 2008 American Anthropological Association, Chicago, November
1722, 1987. SVA Newsletter 4(1):1314.
very sharp and have them in mind in my reworking 4
From the handout of the 14th Annual VRC, November
of the material. [personal communication, June 12, 30December 2, 1998, in authors possession.
2009] 5
From website of the 27th annual VRC preliminary program,
Anne Zeller, a presenter in 1986, 1990, 1994, 2000, 2011 in Montreal, Canada.
6
2001, and 2007: Locations of SVA Visual Research Conferences/AAA
Meetings:
I strongly feel that the Visual Research Conference 1985 Washington, DC
and the people I met through the Society for Visual 1986 Philadelphia, PA
Anthropology have had a very positive effect on my 1987 Chicago, IL
career . . . I have made 12 teaching videos on mate- 1988 Phoenix, AZ
rial I have gathered and many of the visuals for the 1989 Washington, DC
1990 New Orleans, LA
presentations I made [at the SVA/VRC] were part of
1991 Chicago, IL
the films that are currently distributed by DER and 1992 San Francisco, CA
used by over 100 colleges and universities in North 1993 Washington, DC
America and a few other places. These have been a 1994 Atlanta, GA
big help to the teaching of primate behavior for 1995 Washington, DC
many students who otherwise might not have had 1996 San Francisco, CA
the opportunity to see the behaviors they were 1997 Washington, DC
 Society for Visual Anthropologys Visual Research Conference
1998 Philadelphia, PA
1999 Chicago, IL
2000 San Francisco, CA
2001 Washington, DC
2002 New Orleans, LA
2003 Chicago, IL
2004 Atlanta, GA
2005 Washington, DC
2006 San Jose, CA
2007 Washington, DC
2008 San Francisco, CA
7
Blakely to Chalfen, November 8, 1990. National Anthropo-
logical Archives, Smithsonian Institution, Washington, DC.
8
Samples of the mini-documentaries produced by students
while on campus, University of Wisconsin-Eau Claire (per-
sonal communication, March 21, 2011).
Abstract: Students were required to understand and use
visual anthropological methods as a basis for making
their mini-docs, in addition to learning all technical
aspects of iMovie and presenting their work at the Human
Diversity Expo I organized every semester from 2004 to
2007. We also held the first ever Media Teaches/Film Fes-
tival (using selected work from the following mini-docs)
by education students (future teachers) on the UWEC
campus.
Spring 2004
Koran versus QuRan: Clarifying the View of Islam in the
Chippewa Valley, Nathan Franklin
Coming Together: Ethnography of the Unitarian Univer-
salist Church, Kristin Bogyo, Nathan Fritz, Elizabeth
Hauser, Rebecca Longtin, Andrei Strizek
Fall 2004
En Busca de Trabajo: The Journey of Mexican Workers in
Eleva, Annie Geurkink, Megan Himmer, Kelly Kavanaugh,
Nate Klinger
Spring 2005
GLASS: A Look into the Lives of Queer Youth, Kristin
Choudoir, Kelly Matzke, Kim Wagner
Cheerleading: Breaking the Stereotype, Jeanna Rotunno,
Pat Emlaw, Helen Frankowiak, Kaela Borgen
Fall 2005
Defying Deafness: Sara Obermeye-Tuttle, Stephanie Shult,
Kelsey Lundgren, Kayleen Parker, Cori Seveson
Vision Quest: The Story of Lisa Johnson, Jesse Brink-
mann, Emily Hoverstein, Jeremy Johnson, Brian Lundgren
Spring 2007
On the Margins: Native American Issues at UWEC, Chris-
tina Wood, Rebecca Phelps, Tim Mulrain, Scott Vogel
Jake: An Amish Mans Struggle Between Two Worlds,
Erica Lundberg, Theresa Soules, Elizabeth Soules, Ally
Witkowski
9
Blakely to Chalfen, November 8, 1990.
10
I know African time, I know Polynesian time, I know
Native American time, and, of course there is Draconian
SCHERER 97
time. The difference is not about being late. Not about
calendars. It is about social relations and personal interac-
tions. It is a qualitative difference (Blakely quoted in El
Guindi 2008:25 from a telephone conversation, October
2004). Tom prefers African timea metaphor for a more
relaxed notion of time than that adopted as the ideal in the
West. That is how he conducts the Visual Research Confer-
ence, a successful project he innovated close to two decades
ago for the Society of Visual Anthropology. Almost annu-
ally the Society tries to put pressure on Tom to conduct it
differentlyto follow deadlines, stick to time limits for
presentations, etc. Tom strongly clings to his mode of
operation, which he sums up as African time, using his
long-term ethnographic experience in Africa as a guide for
a workable alternative to the North American notion of
time and space. He challenges the absoluteness and imag-
ined universality of one notion of time and the very idea of
being on time (El Guindi 2008:25).
11
Tom Blakely has been and remains to date the principal
organizer of these conferences. Co-organizers were listed
or suggested for 198586, Allison Jablonko (personal com-
munication, December 2, 2011); 1987, Karl Heider; 2000
02, Peter Biella; 2003, Rolf Husmann and Marcelo Fiorini;
2004, Najwa Adra; and 200608, Joanna C. Scherer. Anne
Zeller, who was president from 2006 to 2007, recalled that
she had been actively participating in the selection of
presenters both during her presidency and before in order
to ensure the proposed timeline for VRC completion, as
well as to reduce the impression that all the decisions on
conference participants were being made by one indi-
vidual, and to continue the noticeable level of student
participation (personal communication, November 16,
2011).
12
For an example, see 1990. AAA Annual Meetings:
Visual Anthropology Events. Visual Anthropology Review
6(2):113.
13
Donovans presentation was expanded and became an
exhibit at the Cesar Chavez Gallery in San Francisco State
University, entitled Refuse and Refuge: Youth at the Edge
of Consumer Society (personal communication, April 27,
2011).
14
We were unable to locate any records that would allow us
to include such unofficial presentations. Presentations that
could not be documented were NOT included in this study,
and the publications based on such presentations were NOT
listed in the bibliography, filmography, electronic media, or
exhibits.
15
The creation of a table and the statistics resulting from it
would not have been possible without the expertise and
patience of my husband, Noel P. Elliott. I am greatly
indebted to him.
16
The gathering of the information for the table (and bib-
liography) was assisted by a number of interns working
with me. My thanks to all these interns: Justine Benanty,
Spring 2009; Emma LeClerc, Spring 2009; Savannah Fet-
teroff, Summer 2009; Madeline Johnson, Fall 2009; Mattie
Wong, Spring 2010; Kayleigh Stack, Winter/Spring 2011;
98 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
Anne Dorland, Fall 2011; Bryanna Goldfinch, Spring
2012; Erin Beasley, Spring 2012; and Amanda Kelch,
Summer 2012.
17
Some participants considered themselves aligned with mul-
tiple fields, or they identified with different fields according
to the topic discussed, such as cultural anthropologist for
one presentation and linguist for another (see C. and M.
Goodwin as examples). It was impossible for some to make
a distinction. Thus, Glen Muschio noted, . . . my degree
was in cultural anthropology, although it dealt with visual
material. By the time I finished my degree I did not feel that
visual anthropology was significantly distinguished from
cultural anthropology (personal communication, August
6, 2011).
18
A problem was encountered in attempting to tally the
statuses (academic levels or professions) of presenters. The
status of those who presented multiple times generally
changed from year to year as their career advanced. A
presenter may have started as a student and later become an
instructor, associate professor, etc. Furthermore, the main
purpose of compiling status data is to characterize the
academic background for each presentation, not simply to
track the presenters. Consequently, it is necessary to list the
status of a presenter separately for each participation in a
presentation. Most of the presentations were given by a sole
presenter; status has been tabulated separately for each of
these 198 participations. Two co-presenters, adding 52
more participations, gave 26 presentations. Finally, one
presentation was given by three co-presenters, adding three
more participations. Thus, the total number of times
someone participated, including all presenters for all pre-
sentations, is 198 + 52 + 3 = 253.
19
We have not included in press publications or any dis-
sertations that were not completed by June 1, 2012.
20
Biella is also working on two films, Maasai Migrants and
Maasai Migrant Trigger Films, which will be available
through DER sometime in 2012 but were not available as of
June 1, 2012.
21
The hypermedia document will be an interactive version,
something like a website that has hyperlinks embedded in
the document that allow the reader to jump to images or
other objects. Additionally, there is film footage that is
in the document that shows [individuals] performing the
plays (personal communication, June 2526, 2012). The
hypermedia document was not available as of June 1, 2012.
22
Zeller, Anne. 2009. Reflections I Couldnt Have Done It
Without You. Paper presented at the Annual Society for
Visual Anthropology Visual Research Conference, Philadel-
phia, November 30December 2; and recording of talk by
Flavia de Paula, December 1; and Anne Zeller, interviews
with the author, June 610, 2011.
23
Anne went on to explain that the upper part of their face
is about the message, and their lower part of their face is
about their social selves. Which is really quite interesting in
terms of codification (de Paula recording from December 1,
2009).
24
According to Anne, The components of the movements
had to be recognized and then the patterning that I was able
to extract was analyzed by the cultural/social aspects of the
animals. I found patterns in various social categories, but
most importantly by kin group membership . . . I did take
from her [Jablonko] suggestions on the choreometric pat-
terns of graphing intensity of movement into a chart that
could visually and graphically represent differences in
threat patterns between different species (Zeller 2009:4,
see endnote 22).
25
In addition to my earlier comments, I wish to point out
that when the journal Visual Studies asked me to review the
last 20 years of visual anthropology, I did not think that the
SVA conference was worth including . . . Should you find as
a result of your survey that some of the presentations from
the conference were published and that they represent a
significant contribution to our field, I would urge you to
publish these results as they should be known (Jay Ruby,
personal communication, July 4, 2009).
26
When Adras video player refused to work, she broke the
usual routine by demonstrating belly dancing herselfa
spirited presentation indeed (Peter Biella, oral communica-
tion, November 2011).
27
Rollwagen is correct in that a number of the conferences
had co-organizers, but speaking as one of them, rarely did
the co-organizer take a leading role in either the selections
of the participants, the organization of the final program, or
the running of the actual program at the meetings. Those
responsibilities were deferred to Blakely as the primary
organizer.
 Society for Visual Anthropologys Visual Research Conference SCHERER 99

Appendix E Europe and Western Russia

ME Middle East
Table of Presenters W Worldwide
U Unknown
Column one of this table alphabetically lists the names Fields
of Anthropology
of the presenters as they appear in the program. Infor- CA Cultural Anthropology
mation for each presenter is given in the next four SocA Social Anthropology
columns: sex, USA/or non-USA, field of anthropology, VA Visual Anthropology
and presenters academic status. Columns six through AA Applied Anthropology
eight give the title of the presentation, year given at the L Linguistics and Body Language (Gestures/
VRC, and the principal geographic area covered by the Signs)
presentation. The remaining eight columns give infor- PA Physical Anthropology
mation about publications that have resulted from or Arch Archaeology
were associated with the presentation. Multiple lines are U Unknown or Not Anthropology
used for presenters who have given more than one
presentation. The entries in the cells of the table have Presenters Status
been abbreviated; the abbreviations are as follows: S Student (includes Undergraduate, Graduate,
Teaching Assistant, Research Assistant)
P Full Professor
Table Abbreviations
AsscP Associate Professor
AsstP Assistant Professor (includes Lecturer,
Geographic Area
Visiting, Adjunct Professor)
NA North America
Ret Retired
SA South America
Res Researcher (post-doctorate fellows)
CAM Central America and Mexico
IS Independent Scholar (may be affiliated with
O Oceania (Micronesia, Polynesia, Melanesia)
an institute, fellow)
SEA Southeast Asia including Indonesia, New
F Filmmaker/Photographer
Guinea, and Philippines
Cu Curator
JK Japan/Korea
U Unknown
C China including Northern Asia
I Indian subcontinent Miscellaneous Abbreviations
A North Africa * Incomplete Information
Afs Sub-Saharan Africa F Female
Au Australia including New Zealand M Male
Table 100

Univ.
Thesis

Article

Comm.
Exhibit

Field of
Geo. Area
Book/Text
Press Book
Unpublished

Male/Female
Dissertation/
Presenters Name

Anthropology

USA/Non-USA
Film and Video

Electronic Media

(Journal or Book)

Presenters Status
in Program Title of Presentation or Subject Year

Adra, Najwa F USA CA AsstP Belly Dancing: Translating the Mundane and Exploring the Exotic 1999 ME Yes
Aguilar, Gaelyn F USA CA S Visual Techniques for Observing, Collection, and Analyzing Folk Dance 1999 E Yes Yes
Aibel, Robert and M USA CA AsstP A Social Approach to Visual Communication: A Community Study 1986 NA Yes Yes
Chris Musello
Ambiee, Jess M USA AA S We Need Doctors, Stat!: Analyzing Physician Volunteerism through Applied 2007 NA Yes
Visual Anthropology
Amidon, Audrey F USA VA Res Re-presenting the Far North: Donald MacMillans Films of Inuit Peoples 2006 NA Yes
Arango, Monica F Non-USA CA AsstP Between Framing and Recalling: A Glimpse of Indigenous Memories (Entre al 2006 SA Yes Yes
L. Espinosa Encuadre y la Remembranza: El Lado Oblicuo de la Memorias Indgenas)
Ardevol, Elisenda F Non-USA CA Res Ethnography of a Learning Process: Ongoing Methodology for Ethnography 1997 E Yes
and Audiovisual Data Construction in Legal Settings
Asch, Timothy* M USA CA P Title Unknown 1985 U
(d. October 3,
1994)
Asch, Timothy* M USA CA P A Photojournalism for Anthropology 1990 W
Askew, Kelly M. F USA CA AsstP Music Videos in Tanzania: An Emergent Genre 2000 Afs Yes
Babb, Seth (see M USA CA S Explicating Graffiti 2001 NA Yes
Gonzalez)
Balikci, Asen M Non-USA CA Ret Visual Anthropology Seminar for the Native Peoples of Siberia 1991 C Yes Yes
Banderali, Clara* F USA CA S The Sorwe in Benin: Towards the Circumcision. . .With Humor 2001 Afs
VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

Barr, Matthew M USA U AsscP Sneads Ferry: Ethnographic Research and Filmmaking in a Traditional 2002 NA Yes
Fishing Village
Becker, Karin F Non-USA CA P Photographs from the Field: A Critical Reevaluation 1997 E Yes
Benthall, Jonathan M Non-USA SocA IS Imagery and Narratives of Disaster and Relief 1992 W Yes
Beresin, Anna F USA VA S Ice Coke, Milk Shake, Foot: Commercial Transformation in an Urban School 1993 NA Yes Yes
Richman Yard
Beresin, Anna F USA VA AsstP Play and Aggression: A Video Ethnographic Analysis of Urban School Yard 1995 NA Yes
Richman Violence
Bessire, Lucas M USA VA S Asking Ayahai: Indigenous Imagery, Shared Anthropology and the 2003 SA Yes
Chronopolitics of Representation
Biella, Peter M USA VA F Maasai Interactive: Research and Teaching with Videodisc and Computer 1991 Afs Yes
Innovations
Biella, Peter M USA VA F/AsstP Visual Anthropology on Computer 1992 Afs Yes
Biella, Peter M USA VA AsstP Practical Interactive Media 1996 W Yes Yes
Biella, Peter M USA VA AsstP Micro, Macro and Emotion in Visual Anthropology 1999 Afs Yes
Biella, Peter M USA VA AsstP Tierney Interactive 2000 SA Yes
Biella, Peter and M USA VA AsscP Dissemination of Interactive Visual Anthropology: CD-ROM and Web 2004 Afs Yes
Kate Hennessy Versions of Visual Anthropology Review
Biella, Peter M USA VA AsscP A DV and a Place to Screen: Participatory Social Action in Visual 2006 NA Yes
Anthropology
Biella, Peter and M USA VA P Maasai Migrants: A Case Study of Collaborative Applied Visual Anthropology 2008 Afs Yes
Shamia Sandles
Bishop, John M USA VA F Managing the Enormity of the Moment in Ethnographic film 1999 Afs Yes
Bishop, John (see M USA VA F The Hampton Jamboree: Reflecting and Remembering Visual Anthropology 2000 SEA/NA Yes
Prins)
Bishop, John and M USA VA F Oh, What a Blow That Phantom Gave Me! Edmund Carpenter on the Culture 2001 SEA/NA Yes Yes
Harald Prins of Illusion
Blakely, Pamela F USA CA S Ethnoaesthetics of Womens Dance Ritual in African Funerals 1989 Afs Yes Yes
Blakely, Thomas M USA CA IS Gaze among the Hemba 1985 Afs Yes
Blakely, Thomas M USA L IS Informant-Guided Microanalysis of Hemba Negotiation 1986 Afs Yes
Blakely, Thomas M USA L IS Visual Means of Description and Analysis of Gesture in Africa 1987 Afs Yes
Blakely, Thomas M USA L IS Verbal and Gestural Art in Central African Negotiation and Conflict 1988 Afs Yes
Resolution
Blakely, Thomas M USA CA AsstP Gardners and strs Interactive Making Forest of Bliss 2001 W Yes
Boonzajer Flaes, M Non-USA CA P Feedback Interviews in the Study of a Dance Tradition on Two Continents 1986 W Yes
Robert M. and
Maarten Rens
Brandon, Sara F USA CA P The Image of Indigenous Women in Brazilian and North American History, 2008 SA/NA Yes
Artwork, Popular Culture, and Society
Braun, Kwame M USA U F Funky Exotic: More Contributions to the Video Glut 1998 Afs Yes
Brodsky, Charlee F USA U F Complementary Perspectives: Anthropologist and Photographer in the Field 1993 NA Yes Yes
(see Schachter)
Byers, Paul* M USA VA AsstP Toward an Advance in the Communications of Science 1985 W
(d. December 31,
2001)
Caldarola, Victor M USA CA S Imaging Process as Ethnographic Inquiry 1987 SEA Yes
Campbell, Craig M Non-USA CA S Agitating Images 2008 C Yes
Carpentier, M Non-USA VA S A New Electronic Mail Journal: A Project of the Commission on Visual 1991 W Yes
Raymond Anthropology
(see Dionne)
Cartwright, F USA AA AsscP The Wizard of Final Cut Pro: Deconstructing the Visual Image via Non-linear 2005 NA Yes
Elizabeth* Digital Editing Systems
Chalfen, Richard M USA VA AsscP The Home Mode in Comparative Perspective 1986 NA Yes
Chalfen, Richard M USA VA AsscP Audio-Visual Extensions of Life: Beginning Research on Home Videotaping 1987 NA Yes
Chalfen, Richard M USA VA AsscP Developing DIVA: Is a Video Journal Really Needed? 1988 NA Yes
Chalfen, Richard M USA VA P The Japanese American Family Album Project 1992 NA Yes Yes
(see Horiuchi)
Chalfen, Richard M USA VA P Studying Japanese Home Media 1996 JK Yes
Chalfen, Richard; M USA VA P Inside Views: The Research and Applied Legacies of John Adairs Film Work 1998 NA Yes
Malcolm Collier
Society for Visual Anthropologys Visual Research Conference

and Amy Donovan

Chio, Jenny F USA CA S Know Yourself: Making the Visual Work in Tourism Research 2007 C Yes
Chio, Jenny F USA CA S The Practice of Photographing Model Minorities in Chinese Tourism 2008 C Yes
Collier Jr., John M USA VA P How to Get Information onto Film and How to Get It Off Again 1986 W Yes
(d. February 25,
SCHERER

1992)
Collier, Malcolm M USA CA AsstP Photographic Exploration of Asian-America 1988 NA Yes Yes Yes
Collier, Malcolm M USA VA AsstP Teaching and Learning with Photographs 1990 W Yes
101
Table Continued 102

Univ.
Thesis

Article

Comm.
Exhibit

Field of
Geo. Area
Book/Text
Press Book
Unpublished

Male/Female
Dissertation/
Presenters Name

Anthropology

USA/Non-USA
Film and Video

Electronic Media

(Journal or Book)

Presenters Status
in Program Title of Presentation or Subject Year

Collier, Malcolm M USA CA AsstP Community Video Projects 1996 NA Yes

and Spencer
Nakasako
Collier, Malcolm; M USA CA AsstP Inside Views: The Research and Applied Legacies of John Adairs Film Work 1998 NA Yes
Richard Chalfen
and Amy
Donovan
Collier, Malcolm M USA VA AsstP Explorations in Building Photographic Communications 2000 W Yes
Collier, Malcolm M USA VA AsstP The John and Mary Collier Collection 2002 NA Yes
and Mari Lyn
Salvador
Congdon, Kristin F USA CA P Folkvine.org: Floridas Arts and Culture on the Web 2005 NA Yes
and Natalie
Underberg
Conklin, Harold M USA CA P Visual Communication of Ethnographic Information 1986 SEA Yes
Coover, Roderick M USA CA IS Visualizing Cultures in the Age of Digital Media and the Harvest in 2000 W/E Yes Yes
Burgundy, Documentary Photography, and the Rhetorics of the Digital
Image
Cox, Rupert M Non-USA CA AsstP Guns, God, and Golden ScreensInvestigating Past and Present Images of 2005 JK Yes
the Namban Foreign Barbarian Phenomenon in Japan
VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

Crowder, Jerome M USA CA AsstP Short Time, Big Story24 Hours of Exploring Life in Puno 2005 SA Yes
Dare, Adrianne F USA VA S Seeing and Saying: Visual Text as Ethnographic Form 1992 NA Yes
Lisa
de Maaker, Erik M Non-USA CA S Integrating Ethnographic Filmmaking and Field Research: Participant 1998 I Yes
Feedback as a Means of Understanding a Ritual and Exploring
Participants Interpretations of Visual Representation of this Ritual
de Maaker, Erik M Non-USA CA S Beyond Mnemonics? Interpreting Explorative Video Registrations of Garo 2003 I Yes
Mortuary Rituals
Dean, Sharon F USA CA Cu Vision, Social Change, and the American West: The Photographs of Andrew 2003 NA Yes Yes Yes
A. Forbes (18621921)
Dennison, Jean F USA CA S Displaced Identity: A Contemporary Indian Artist and the Construct of 2003 NA Yes
Native American Legitimacy
Dennison, Jean F USA CA IS Visualizing Osage Belonging: Utilizing the Science Studies Model 2008 NA Yes
Diawara, Manthia M USA CA P Jean Rouch, African Cinema, and Speaking for the Subject in Visual 1990 A Yes
Anthropology
Dionne, Patrick M Non-USA VA S A New Electronic Mail Journal: A Project of the Commission on Visual 1991 W Yes
and Raymond Anthropology
Carpentier
Donovan, Amy F USA CA S Inside Views: The Research and Applied Legacies of John Adairs Film Work 1998 NA Yes
(see Chalfen)
Donovan, Amy F USA CA S The Labor Memoir Project 2000 NA Yes
El Guindi, Fadwa F USA CA P The Transparency of Veiling 1995 ME Yes Yes
El Guindi, Fadwa F USA CA P My Son Eloped: What Should I Do? 1998 NA Yes
and Dwight
Read
El Guindi, Fadwa F USA CA P 911: A Power Point 2002 NA Yes
El Guindi, Fadwa F USA CA P The Story Behind Visual Anthropology 2004 W Yes Yes
Engelbrecht, F Non-USA CA IS A Film Returns: Experiences with the Film Semana Santa en Patamban, 1992 CAM Yes
Beate Michoacan, Mexico
Engelbrecht, F Non-USA VA IS Teaching Ethnographic Film Summer Schools with 16 mm 1997 E Yes
Beate
Engelbrecht, F Non-USA CA IS Indigenous Filmmaking/Community Filmmaking? Experiences from India 2000 I Yes
Beate
Engelbrecht, F Non-USA VA IS IWF-Digiclip: An Archive Goes Online 2000 W Yes
Beate
Engelbrecht, F Non-USA VA IS Ethnographic Film On-Line: An Update 2002 W Yes
Beate
Erickson, M USA CA P Methods in the Analysis of Interactional Rhythm 1989 NA Yes Yes
Frederick
Farnell, Brenda F USA L S Sign Talk of the Plains: The Visual Record 1989 NA Yes
Farnell, Brenda F USA L AsstP Ethnography Goes Interactive: Plains Indian Sign Talk on CD-ROM 1994 NA Yes Yes Yes
and J. Huntley
Ferrero, Pat F USA U P/F Yield to Total Elation: The Life and Art of Achilles Rizzoli 2000 E Yes
Fink, Zachary M USA U F Dead Birds Remastered: A First Look at a Forthcoming Double DVD 2003 SEA Yes
Commemorating the Films 40th Anniversary Retrospective
Fiorini, Marcelo* M USA U P Mimesis in Cultural Contact, or What Is Being Mediated in the Ethnographic 2003 SA
Film Encounter
Fischer, Michael D. M Non-USA SocA AsscP WWW and Anthropology: Dissemination of Ideas via Cyberspace 1995 W Yes Yes
and Dwight
Read
Freeman, Richard M USA VA S Photography in Ethnography 1999 SA Yes Yes
Freeman, Richard M USA VA IS Towards an Activist Visual Anthropology: Will It Harm the Sheep? 2002 NA/SA Yes
Fuks, Victor M USA CA S Feedback Interviews and Reflexivity in the Anthropological Study of Waipi 1988 SA Yes
Festivals
Garic-Humphrey, F USA VA AsstP Applied Visual Anthropology and Digital Storytelling 2006 NA Yes
Nataa
Givens, David M USA CA IS The Five Hundred Million Year Evolution of Television 1993 W Yes
Givens, David M USA L IS In Search of Gestural Fossils: Our Hands 1996 W Yes
Gonzalez, Marc M USA U S The Art of Graffiti 2000 NA Yes
Society for Visual Anthropologys Visual Research Conference

Tizoc
Gonzalez, Marc M USA U S Explicating Graffiti 2001 NA Yes
Tizoc and Seth
Babb
Goodwin, Charles M USA L P The Interactive Organization of Talk 1989 NA Yes
SCHERER

Goodwin, Charles M USA CA P Seeing a Normal Scene: Culture and the Interpretation of a Video Image in 1990 NA Yes
and Marjorie H. a Multi-Activity Work Setting
Goodwin
103
Table Continued 104

Univ.
Thesis

Article

Comm.
Exhibit

Field of
Geo. Area
Book/Text
Press Book
Unpublished

Male/Female
Dissertation/
Presenters Name

Anthropology

USA/Non-USA
Film and Video

Electronic Media

(Journal or Book)

Presenters Status
in Program Title of Presentation or Subject Year

Goodwin, Charles M USA CA P Visual Representations within Communities of Practice 1994 NA Yes
and Marjorie H.
Goodwin
Goodwin, F USA L P Diversions on Talk: Strategies for Selective Playful Interpretation 1989 NA Yes
Marjorie H.
Goodwin, F USA CA P Seeing a Normal Scene: Culture and the Interpretation of a Video Image in 1990 NA Yes
Marjorie H. a Multi-Activity Work Setting
(see Charles
Goodwin)
Goodwin, Marjorie F USA CA P Visual Representations within Communities of Practice 1994 NA Yes Yes
H. (see Charles
Goodwin)
Gray, Cynthia A. F USA U AsscP Documentary Process and Product as a Tool for Academic Inquiry and 2003 NA Yes
Dialogue
Grimshaw, M USA U P Microanalysis of Sound-Image Records: The Multiple Analysis Project (MAP) 1990 W Yes Yes
Allen D. and Generals and Admirals International Negotiations (GAIN) Research
(d. June 15,
2011)
Guimarin, Amelia F USA U S Illustrating Identity: Body Piercing and Photography 2006 NA Yes
Guthrie, Stewart M USA CA P Seeing the World as Alive and Humanlike 1995 W Yes
VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

Hagens, Bethe F USA CA P Bullroarers in the Celestial Geometric Matrix 2004 W Yes
Hall, Edward T. M USA CA Ret Doing Research on Inter-Ethnic Encounters 1987 U Yes
(d. July 20,
2009)
Hardy, Lisa Jane F USA SocA S Dog 2004 NA Yes
Harriman, F Non-USA VA S Telling Crafty Ethnography 2007 E Yes Yes
Kathryn
Heckman, Andrea F USA CA AsstP Woven Stories: Visual Communication through Andean Textiles and Rituals 2003 SA Yes Yes
Heckman, Andrea F USA CA AsstP Ausangate, Peru and the Pilgrimage of Qoyllur Ritl: From Still Photography 2004 SA Yes
to Documentary Film Making as Visual Communication
Heider, Karl G. M USA CA P Visual Anthropological Approaches to the Ethnography of Emotion among 1986 SEA Yes Yes Yes
the Minangkabau of West Sumatra, Indonesia, 19831986
Heider, Karl G. M USA CA P Emotion and Indonesian Cinema 1987 SEA Yes
Heider, Karl G. M USA CA P Emotion in Indonesia 1988 SEA Yes Yes
Heider, Karl G. M USA CA P Narrative Conventions in Indonesian Cinema 1989 SEA Yes
Heider, Karl G. and M USA CA P Indonesian Houses: Constructing Cultures 1993 SEA Yes
Caroline Vinel
Heider, Karl G. and M USA CA P Videotaping Indonesia for Schoolteachers 1994 SEA Yes Yes
Melissa Lefko
Heider, Karl G. M USA VA P Seeing Anthropology: Building an Introductory Textbook around 1996 W Yes
Ethnographic Films
Henley, Paul M Non-USA VA P Ethnographic Documentary-Making at the University of Manchester 2001 W Yes
Hennessey, Kate F Non-USA VA S Dissemination of Interactive Visual Anthropology: CD-ROM and Web 2004 Afs Yes
(see Biella) Versions of Visual Anthropology Review
Hennessy, Kate F Non-USA VA S Repatriation, Digital Media, and Community Collaboration: The Doig River 2006 NA Yes Yes
First Nation Dane Wajich Website Project
Hermer, Carol F USA CA S Negotiating Old Age 1995 NA Yes
Hermer, Carol F USA CA S The Video Interview as a Communicative Event 1997 NA Yes
Hermer, Carol F USA CA AsstP Hiding Anthropology in an Art Museum 2002 Afs Yes
Hicks, Deborah F USA AA AsscP Discourse, Social Activity, and Learning in the First Grade: A Case Study of 1991 NA Yes
Two Children
Hockings, Paul M Non-USA VA P Visual Anthropology in Yunnan, China 2001 C Yes
Holmes, Amanda F USA VA S The Role of Embodied Communication in Transmitting Ways of Knowing 2004 W Yes Yes Yes
Nature: Yoruba Diaspora in Matanzas, Cuba and Oyatunji Village, South
Carolina
Homiak, John P. M USA CA IS Eye-in-I: Politics of Representation in Rastafari 2001 NA/Afs Yes
Horiuchi, Lynne F USA U IS The Japanese American Family Album Project 1992 JK/NA Yes
and Richard
Chalfen
Huntley, Joan F USA U U Ethnography Goes Interactive: Plains Indian Sign Talk on CD-ROM 1994 NA Yes
(see Farnell)
Husmann, Rolf M Non-USA CA IS Ethnographic Film and the History of Anthropology 1993 W Yes
Husmann, Rolf M Non-USA CA IS Historical Ethnographic Films from Russia and China 1997 C/E Yes
Husmann, Rolf M Non-USA CA IS Visualizing the History of Anthropology 2001 W Yes
Husmann, Rolf M Non-USA VA IS New Activities of the Commission on Visual Anthropology: An Invitation to 2002 W Yes
Participate
Husmann, Rolf M Non-USA CA IS Fascist or Fantastic? Leni Riefenstahl and the Visual Representation of the 2005 Afs Yes
Nuba
Jablonko, Allison F Non-USA CA IS Research Film: Counting & Contexting 1985 SEA Yes
Jablonko, Allison F Non-USA CA IS Tania la Russa: Thoughts on Sharing Student Research Projects 1994 E Yes
Jablonko, Allison F Non-USA CA IS Into the Hands of the Next Generation: A Visual Anthropological Approach 1996 NA Yes
to the Estate of Verda V. Peters, Artist, 19071996
Jablonko, Allison F Non-USA CA IS The Moving Team: A Portion of a Work-in-Progress 1997 NA Yes
Jablonko, Allison F Non-USA CA IS A Record: Purposes and Cross-Purposes 2001 W Yes
Jacknis, Ira M USA CA Cu Visual Anthropology in the Exhibitions of the Hearst Museum of 1995 NA Yes Yes Yes
Anthropology
James-Duguid, F USA CA IS Lumberjacks or Loggers: A Visual Study in Work, Play, and Ethnoaesthetics 1991 NA Yes
Charlene
Jell, George (see M USA U AsstP Ecology and the Oscillation between Melanesian Culture and 2002 SEA Yes
Society for Visual Anthropologys Visual Research Conference

Jell-Bahlsen) Contemporary Architecture in Papua New Guinea

Jell-Bahlsen, F USA CA IS/F Ecology and the Oscillation between Melanesian Culture and Contemporary 2002 SEA Yes
Sabine and Architecture in Papua New Guinea
George Jell
Jhala, Jayasinhji M USA VA AsstP Exploring the Dynamics of the Video Interview 1994 I Yes
SCHERER

Jones, Wes (see M USA U S Are You a Kook?: Seeing Surfing as Activity-Based Visual Signs and Norms 2007 W Yes
Layden)
Kaeppler, Adrienne F USA CA Cu The Writing of Hula Pahu: Hawaiian Drum Dances 1991 O Yes
105
Table Continued 106

Univ.
Thesis

Article

Comm.
Exhibit

Field of
Geo. Area
Book/Text
Press Book
Unpublished

Male/Female
Dissertation/
Presenters Name

Anthropology

USA/Non-USA
Film and Video

Electronic Media

(Journal or Book)

Presenters Status
in Program Title of Presentation or Subject Year

Kendon, Adam M USA L AsstP Sign Languages of Aboriginal Australia: A Visual Exposition 1990 Au Yes Yes
Kendon, Adam M Non-USA L AsstP Towards Some Research on Neopolitan Gesture 1991 E Yes Yes
Kendon, Adam M Non-USA L AsstP Recent Observations on Southern Italian Gesture Use 1993 E Yes Yes
Kendon, Adam M Non-USA L AsstP Spatial Orientation, Posture, and Bodily Maneuver in Conversation 1994 NA/E Yes
Kendon, Adam M Non-USA L AsstP Some Contrasts in Gesticulation between Speakers in Naples and Speakers in 1998 E Yes Yes
Northhamptonshire
Korpan, Cynthia F Non-USA CA S Canadian Indian Folk Drama: Inkameep Plays of Okanagan Legends 2005 NA Yes
Kratz, Corinne A. F USA CA IS Okiek Portraits: Representation, Mediation, and Interpretation of a 1992 Afs Yes Yes
Photographic Exhibition
Kumar, Anita F USA CA S Dancing with Shakti: Performing Nation and Gender in the South Asian 2004 I/NA Yes
Diaspora
Lange, Patricia G. F USA CA AsstP Video Reciprocity: Conversations with YouTubers 2008 W Yes
Layden, Ryan and M USA U S Are You a Kook?: Seeing Surfing as Activity-Based Visual Signs and Norms 2007 W Yes
Wes Jones
Lefko, Melissa F USA U S Videotaping Indonesia for Schoolteachers 1994 SEA Yes
(see Heider)
Legge, L. K. F USA U S Working at Play: Creating the Ultimate Reality 1997 W Yes
Gypsye
Levine, Susan F Non-USA CA AsstP STEPS for the Future: HIV/AIDS and the Emergence of Media Activism in 2002 Afs Yes
Southern Africa
VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

Levine, Suzanne F USA VA S Exploring the Image: Self-Determination and Photographic Representation 1996 CAM Yes Yes Yes
of Self in Disability Culture in Western Mexico
Lindberg, Tess F USA U S Friendly Ghosts 2002 NA Yes
Litten, Laura F USA VA P Sifting through Methodologies: Linking Visual Research Inside and Outside 1998 W Yes
the Academy
Loizos, Peter M Non-USA SocA AsscP Reflections on Ethnographic Film: A Conversation with Peter Loizos 1994 W Yes
Luber, Steve M USA CA S Your Attention Please: Media, Spectacle, and The Complex 2004 NA Yes
Mahiri, Jelani M USA CA Res Facing the Challenges of Inclusion: Documentary Portraiture, Non-formal 2008 SA Yes
Education, Collaboration, and Engagement with At-Risk Youth in So
Paulo, Brazil
Maingard, F Non-USA U AsstP Visually Representing a South African Womens Protest 1995 Afs Yes
Jacqueline
Marion, M USA CA S Presenting the Visual: Considerations from the World of Competitive 2005 W Yes
Jonathan S. Ballroom Dancing
Marion, M USA CA IS Seeing Salsa: Viewing, Aesthetics, and Values 2006 W Yes
Jonathan S.
Martinez, Wilton M USA VA S The Visual Translation of Cultures 1989 W Yes Yes Yes
McDowell, Garrett M USA VA S A Hermeneutic Approach to Anthropological Photography through Web 2004 NA Yes
Alexandrea Media: First Comes Love, Then Comes. . .
Michael, Barbara F USA CA AsstP Behind the Lens: The Anthropologist/ 1996 Afs Yes
Photographer and Social Distance in the Field
Michael, Barbara F USA CA Res Bringing the Field to the Classroom: Visual Ethnography for Observation and 1997 ME Yes
Training
Miller, Laura F USA CA AsstP Viewing Tokyos Corporate Landscape 1993 JK Yes
Mithlo, Nancy F USA CA AsstP Being Indian, Playing Indian: The Visual Legacies of Horace Poolaw and Yeffe 2006 NA Yes
Marie Kimball
Moore, Sadie F USA VA S Filmmaking in Anthropology: Reflections on Building a Website 1999 W Yes
(see Mykytyn)
Moyer, Teresa F USA AA IS Finding Perspective in the Photographs of Archeology in the Images of 2005 NA Yes
Louise Lawler
Muschio, Glen M USA VA S Videotaped Presentations in Civil Litigation 1986 NA Yes
Musello, Chris M USA CA S A Social Approach to Visual Communication: A Community Study 1986 NA Yes Yes
(see
Aibel)
Mykytyn, F USA VA S Filmmaking in Anthropology: Reflections on Building a Website 1999 W Yes
Courtney and
Sadie Moore
Naimark, M USA U Res An Immersive Virtual Environment: About Landscape and Public Gathering 1996 W Yes Yes
Michael Places
Nakasako, Spencer M USA U F Community Video Projects 1996 NA Yes
(see Collier)
Ness, Sally Ann F USA CA AsstP Coming to Terms with a Philippine Ritual Dance: A Study of Performers 1988 SEA Yes
Kinesthetic and Linguistic Knowledge
OBarr, William M. M USA CA P The Advertising of Power: The Representation of Foreigners in 20th Century 1990 NA Yes
American Advertising
ODonnell, Mary F USA CA S Dirt Thats Better Than Dirt: The Symbolism of Sanitary Landfills in 1992 NA Yes
Ann (see Contemporary Society
Welton)
Osborn, J.R. M USA VA AsstP Playing with Signs: The Strategy of Digital Unmixing and the Anthropology 2008 W Yes
of Art
Pandian, Anand M USA VA AsstP Cinematic Landscape as Visual Artifact: On the Production of the Foreign in 2007 I Yes
South Indian Cinema
Paulay, Forrestine F USA U AsstP Cross-Cultural Movement Observations: The Choreometric Baselines 1986 W Yes
Perry, Sara F Non-USA Arch S Prehistoric Re-visions: New Ways of Picturing Archaeological 2005 W Yes Yes
Elizabeth Representations of the First Colonisations of New Territories
Pigliasco, Guido M USA CA S Betwixt and Between Applied Visual Anthropology and Jurisprudence: The 2006 O Yes
Carlo Sawau Project
Piner, Judie F USA AA AsstP Ethnographic Method or Just Plain FunUsing Digital Storytelling in 2005 NA Yes
Anthropological Research
Society for Visual Anthropologys Visual Research Conference

Plath, David M USA CA P On the Shores of Vision: Sea-Gazing in Shima 1990 JK Yes Yes
Plath, David M USA CA Ret Brief Exposures, Long Revisions: Visual and Verbal Self-Recording in 1910 1999 JK Yes
Japan
Plath, David and M USA CA Ret Doing Ethnography in Pre-Camera Japan 2003 JK Yes
R. Toby
SCHERER

Plath, David and M USA CA Ret Cosmic Disc: Translating the Kumano Mandala onto a DVD 2005 JK Yes Yes
R. Toby
Porybna, Tereza F Non-USA CA S Film and Imagination: Representations of Inuit Culture in Visual Media 2007 NA
107
Table Continued 108

Univ.
Thesis

Article

Comm.
Exhibit

Field of
Geo. Area
Book/Text
Press Book
Unpublished

Male/Female
Dissertation/
Presenters Name

Anthropology

USA/Non-USA
Film and Video

Electronic Media

(Journal or Book)

Presenters Status
in Program Title of Presentation or Subject Year

Prins, Harald and M USA CA P The Hampton Jamboree: Reflecting and Remembering Visual Anthropology 2000 SEA/NA Yes
John Bishop
Prins, Harald M USA CA P Oh, What a Blow That Phantom Gave Me! Edmund Carpenter on the Culture 2001 SEA/NA Yes Yes
(see Bishop) of Illusion
Read, Dwight M USA U P Kinship Terminologies and Formal Modeling: A Visual Excursion 1994 W Yes
Read, Dwight M USA U P WWW and Anthropology: Dissemination of Ideas via Cyberspace 1995 W Yes
(see Fischer)
Read, Dwight M USA U P My Son Eloped: What Should I Do? 1998 NA Yes
(see El Guindi)
Rens, Maarten M Non-USA VA F Feedback Interviews in the Study of a Dance Tradition on Two Continents 1986 W Yes
(see Boonzajer
Flaes)
Reynolds, Peter C. M USA CA IS The One-Two Punch: The Ritual Process of Technocratic Culture 1992 W Yes
Rollwagen, Jack R. M USA CA Ret The Modular Information Cluster (MIC) Approach to Anthropological 2006 C Yes
Filmmaking: The Example of the Menu-Driven DVD The Song of the
Grasslands
Roper, Roy M USA SocA S Ethical Images(ing) 1990 W Yes
Ruoff, Jeffrey M USA U Res Around the World in Eighty Minutes: The Travel Lecture Film 1998 W Yes Yes
Salvador, Mari F USA VA P The John and Mary Collier Collection 2002 NA Yes
Lyn (see
VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012

Collier)
Sandles, Shamia F USA VA S Maasai Migrants: A Case Study of Collaborative Applied Visual Anthropology 2008 Afs Yes
(see Biella)
Sapir, J. David M USA CA P Speaking of Pictures 1990 W Yes
Sault, Nicole* F USA CA AsstP Soft Breasts and Hard Bodies: Silicone Implants as a Cycle of Mutilation and 1992 NA
Prosthesis

Schachter, Judith F USA CA AsscP Complementary Perspectives: Anthropologist and Photographer in the Field 1993 NA Yes Yes
Modell and
Charlee Brodsky
Scherer, Joanna C. F USA VA Res Microanalysis of Historical Native American Still Pictures 1987 NA Yes
Scherer, Joanna C. F USA VA Res A Preponderance of Evidence: The 1851-52 Omaha Delegation 1997 NA Yes Yes
Daguerreotypes Recovered
Scherer, Joanna C. F USA VA Res The Red Cloud Manikin: An Early Representation of a Plains Indian in a 2001 NA Yes Yes Yes
Museum
Schildkrout, Enid F USA CA Cu Working with the Pros 1995 U Yes
Selby, Lynn F USA U S Critical Consciousness as a Goal of Applied Ethnographic Film 2001 NA Yes
Sheets-Johnstone, F USA U IS Corporeal Representation 1992 W Yes
Maxine
Sherlick, Lucille F USA CA S In Search of Peace: Israeli Womens Voices 2003 ME Yes
Steele, David J. M USA AA AsstP Visual Anthropology in the Clinic: Applied and Research Uses of Videotape 1986 NA Yes
Stern, Linda F USA AA S Visualizing Exile: Video as Testimonio 1996 SA Yes Yes
Stoller, Paul M USA VA P Embodied KnowledgeJean Rouch, Theory, and Ethnographic Film 1991 Afs Yes
Takahashi, Masami M USA CA AsscP Last Kamikaze: Testimonials from WWII Suicide Pilots 2007 JK Yes
Toby, Ronald P. M USA U P Doing Ethnography in Pre-Camera Japan 2003 JK Yes
(see Plath)
Toby, Ronald P. M USA U P Cosmic Disc: Translating the Kumano Mandala onto a DVD 2005 JK Yes
(see Plath)
Torres, Carlos M USA VA S Small Media and Cultural Revitalization: Self-Realization and the Emergent 2008 CAM Yes
Mediascape in Chiapas, Mexico
Tubutis, Todd J. M USA CA IS Filming a Makah Village for Jim Jarmuschs Dead Man 1999 NA Yes Yes
Underberg, F USA CA AsstP Folkvine.org: Floridas Arts and Culture on the Web 2005 NA Yes
Natalie (see
Congdon)
Vinel, Caroline F USA U S Indonesian Houses: Constructing Cultures 1993 SEA Yes
(see Heider)
Walsh, Daniel J. M USA VA S The Palestine Poster: The Graphic Vocabulary of Zionism and Palestinian 2005 ME Yes
Nationalism1900-Present
Ward, Leta F USA CA S Painting the Future and Reflecting the Past: Pride, Solidarity, and Resistance 2000 NA/CAM Yes
in Two Communities
Welton, Marlea F USA CA S Dirt Thats Better Than Dirt: The Symbolism of Sanitary Landfills in 1992 NA Yes
and Mary Ann Contemporary Society
ODonnell
Westmoreland, M USA VA S Lebanese Documentary in the Intersection of Art and (Auto)ethnography 2007 ME Yes Yes
Mark
Wilder, Laena M. F USA U S Portraits from Tanzania 2000 Afs Yes
Williams, Drid F Non-USA SocA AsstP Space, Intersubjectivity and the Conceptual Imperative 1988 W Yes
Williams, Drid F Non-USA SocA AsstP Ceci nest pas un Wallaby This is not a Wallaby 1990 Au Yes
Williams, Joan F USA VA IS A Proposed Classification System for Moving Image Media: Films of New 1985 NA/CAM Yes
Mexico Folk Dances
Wolowic, Jennifer F Non-USA VA S Visually, Orally, Relatively: Collaborative Representations of First Nations 2008 NA Yes Yes
Youth
Wood, William M USA VA P The Visualization of Cultural Process 1988 SEA Yes
Young, Katharine F USA CA IS Narrative Representations of Emotion: Gestures and Expressions 1993 NA Yes
Young, Katharine F USA CA IS The Philosophers Body: Thinking as Corporeal Practice in Somatic 1996 NA Yes
Psychology
Young, Katharine F USA CA IS Time and the Body: Posture, Memory, and Narrative in Somatic Psychology 1998 NA Yes
Young, Katharine F USA CA IS The Memory of the Flesh: The Family Body in Somatic Psychology 1999 NA Yes
Young, Katharine F USA CA IS The Angry Gesture 2008 NA Yes
Society for Visual Anthropologys Visual Research Conference

Zeller, Anne F Non-USA PA AsstP Anthropological Factors in Primate Film Analysis 1986 W Yes
Zeller, Anne F Non-USA PA AsscP Analysis of Grooming Interactions in Four Primate Species 1990 W Yes
Zeller, Anne F Non-USA PA AsscP Analysis of Primate Interaction with Humans in Africa 1994 Afs Yes
Zeller, Anne F Non-USA PA AsscP Verbal and Non-Verbal Cues in Chimpanzee-Human Communication 2000 NA Yes
Zeller, Anne F Non-USA PA AsscP Object Use and Tool Use in Primates 2001 W Yes
SCHERER

Zeller, Anne F Non-USA PA P Object Use, Tool Use, and Tool Making among Three Species of Macaque 2007 W Yes
Monkeys
109
110 VISUAL ANTHROPOLOGY REVIEW Volume 28 Number 2 Fall 2012
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through Photo Analysis. http://anthropology.si.edu/
redcloud/ (accessed October 25, 2012).
2012 A Preponderance of Evidence: The 1852 Omaha
Indian Delegation Daguerreotypes Recovered. http://
www.indiana.edu/~aisri/Preponderance/
nmnh_Preponderance_6_Article2.html (accessed
October 25, 2012).
Scherer, Joanna, with Frank Goodyear
2003 Red Cloud Seen through Photographs. http://
anthropology.si.edu/redcloud/bio_slideshow
(accessed October 25, 2012).
Walsh, Daniel J.
2009 The Palestine Poster Project Archives. http://
www.palestineposterproject.org (accessed October
25, 2012).
Exhibits
Dean, Sharon E. Weaving a Legacy: Indian Baskets and
the People of Owens Valley California. Cleveland Museum of
Natural History, Cleveland, then a traveling exhibit. Fall
2000Winter 2002.
Harriman, Kathryn. Naff? An Exploration of Value.
Marischal Museum at the University of Aberdeen, Scotland,
United Kingdom, October 2007January 2008.
Heckman, Andrea. Andean Textiles and Rituals as Cul-
tural Communication. Maxwell Museum of Anthropology,
University of New Mexico, Albuquerque, 200001.
 Society for Visual Anthropologys Visual Research Conference
Homiak, Jake. Discovering Rastafari! National Museum
of Natural History, Smithsonian Institution, Washington, DC,
November 2007November 2011.
Horiuchi, Lynne. Japanese American Family Albums: A
Los Angeles Family. The Japanese American Culture and
Community Center, Los Angeles, 1983.
. Turning Leaves: Photographs from Japanese
American Families in Gallup, New Mexico. Maxwell Museum
of Anthropology, University of New Mexico, Albuquerque,
1984.
. Turning Leaves: The Family Photograph Collec-
tions of Two Japanese American Families. Lowie Museum of
Anthropology, University of California, Berkeley, then a trav-
eling exhibit, 198691.
Jacknis, Ira, George Blake (Hupa/Yurok), and Frank Gist
(Yurok). The Carvers Art of the Indians of Northwestern
California. Phoebe A. Hearst Museum of Anthropology, Ber-
keley, August 1995February 1996.
Jacknis, Ira, with Therese Babineau. Field Sites: Portraits
of UC-Berkeley Anthropologists, 19011995. Phoebe A.
Hearst Museum of Anthropology, Berkeley, November 1995
March 1996.
Kratz, Corinne. Okiek Portraits. National Museum,
Nairobi, Kenya, AugustOctober 1989; University of Texas at
Austin, November 1989; Sixth International Conference on
Hunting and Gathering Societies, Fine Arts Gallery, University
of Alaska, Fairbanks, MayJune 1990; National Museum of
Natural History, Smithsonian Institution, Washington, DC,
SCHERER 119
JuneNovember 1990; University of Pennsylvania, Philadel-
phia, FebruaryMarch 1991; Michigan State University
Museum, East Lansing, FebruaryMay 1993; Michael C. Carlos
Museum, Emory University, Atlanta, SeptemberJanuary
1998.
Levine, Suzanne. Spirit of Survival. Hohenthal Gallery,
Treganza Anthropology Museum, San Francisco State Univer-
sity, SeptemberOctober 1994.
Naimark, Michael. Be Now Here. Yerba Buena Center
for the Arts, San Francisco, 19951996; SIGGRAPH 96, New
Orleans, 1996; Creative Time, New York, 1997; International
Film Festival Rotterdam, Netherlands, 1998; The Tech
Museum of Innovation, San Jose 1998; The Presidio, San
Francisco International Film Festival and San Francisco
Museum of Modern Art, 2001; Zentrum fur Kunst und Medi-
entechnologie (ZKM), Karlsruhe, Germany, 200203; Kiasma
Museum of Contemporary Art, Helsinki, Finland, 2003; Alyce
de Roulet Williamson Gallery, Art Center College of Design,
Pasadena, 2005; Helen Lindhurst Fine Arts Gallery, Roski
School of Fine Arts, University of Southern California, Los
Angeles, 2008.
Scherer, Joanna C. Picture Puzzles: Red Clouds Manikin
and His Uncles Shirt. Smithsonian Institution, National
Museum of Natural History, Washington, DC, 200204.
Wilder, Laena. Portraits of Tradition: Portraits of
Change: Featuring the Photography of Laena Wilder from
Tanzania, Africa. Chapel Hill Museum, Chapel Hill,
SeptemberNovember 2002.