aCknowledgments
This book is about photographs and archives and the attachments forged
through our encounters with each. Those attachments are often personal and
emotional, but for me, they also take institutional forms. There were numer-
ous people and archives I met and visited along the way of the journey into
photography that became this book. A number of people and institutions
have taught me ways of seeing and thinking about photographs, and in the
process opened whole new worlds to me. I became extremely attached to
many of these individuals, and I am indebted to them and their institutions.
The archive of images that are the focus of part 1 of the book were col-
lected from multiple private and public sources, and I must acknowledge sev-
eral people who were instrumental in helping me gain access to these valu-
able historical artifacts. I am grateful to Dieter Kuntz and the US Holocaust
Memorial Museum for recovering and making available to me the remarkable
collection of photographs of Hans Hauck reprinted here with the permission
of the museum. Keith Piper and Nicola Laure al Samarai initiated me into
this exploration of racial visibility during our collaborative work on the His-
torical Sounding Gallery in Berlin, Germany, and I must acknowledge Laure al
Samarai in particular for the initial research that led me to a number of these
sources. The enthusiasm and generosity of Peter Seel and the House of World
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