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Edward BatemanSpectral Device No. 162014
2014
About the Item
At nearly the same time that photography was invented, the practice of Spiritualism was being born in the "burned-over district" of New York. Central to its belief was the practice of communication with discarnate human spirits. These two developments would intertwine in 1861, when William Howard Mumler produced the first spirit photograph.
Photography has always been used as a form of objective truth. Following the carnage of the American Civil War, people looked to spirit photographs as proof of the continued existence of their loved ones. This practice involved a human "medium" who would make contact with the dead. This process was unreliable and prone to fraud. Mumler himself, who photographed Mary Todd Lincoln with the ghost of the slain president, was brought to trial with none other than P. T. Barnum testifying against him. He was acquitted, but ceased to practice and died in poverty.
At the same time, others sought new technologies which, like the camera, could extend human senses and without human intervention conclusively reveal the existence of life beyond the grave. These individuals brought all the technologies of their day: magnetism, electricity and steam to bear on the challenge of revealing the existence of life beyond the grave.
The images presented here document some of these inventors and their creations used to manifest discarnate spirits. We may doubt the truthfulness of their claims, but one thing is certain: the camera does indeed let us see the dead again, not as ghostly manifestations, but as meaningful and precious documents of those that once lived.
- Creator:Edward Bateman (1962)
- Creation Year:2014
- Dimensions:Height: 16 in (40.64 cm)Width: 11 in (27.94 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Sante Fe, NM
- Reference Number:1stDibs: LU13427035322
Edward Bateman
Edward Bateman is an artist and professor at the University of Utah. Through constructed and often anachronistic imagery, he creates alleged historical artifacts that examine our belief in the photograph as a reliable witness. In 2009, Nazraeli Press released a signed and numbered book of his work titled Mechanical Brides of the Uncanny, that explores 19th-century automatons as a metaphor for the camera, stating, "For the first time in human existence, objects of our own creation were looking back at us.” Bateman and his work have been included in the third edition of Seizing the Light: A Social and Aesthetic History of Photography by Robert Hirsch. His work has been shown internationally in over 25 countries and is included in the collections of The Victoria and Albert Museum, The Museum of Fine Arts Houston and Getty Research, among others.
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