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Photography

Selected Works

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Full-Text Articles in Arts and Humanities

Six Leadership Lessons From Photography, Brenda L. Boyd Aug 2019

Six Leadership Lessons From Photography, Brenda L. Boyd

Brenda Boyd, PhD

"I learned that the photographers who captured unforgettable images all had some things in common: they seemed to know themselves and people; they had vision, passion, and timing; they had an innate ability to communicate effectively; they took risks; and they learned from their mistakes. I also came to realize that as a result of their unique presence—and often their sacrifice—they made a significant and lasting contribution to our world."

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11_18_2018 The Nexus Of Northwest Arkansas - Thesis By Chuck Davis.Pdf, Chuck Davis Nov 2018

11_18_2018 The Nexus Of Northwest Arkansas - Thesis By Chuck Davis.Pdf, Chuck Davis

Chuck Davis

My photographs are about power and place. Situated by context to a bygone era, Northwest Arkansas is now the illogical home of the world’s largest company.  Attendant economic and sociological forces are changing this rural area rapidly, as I examine effects upon the region and its residents – historical, contemporary, and transient.
With a narrative, neo-journalistic voice, I seek to convey new complexities to the state of Arkansas and specifically its northwest region. Postcards and placards react and reverse the popular shibboleth of a slow, rural sociotype – the Southern man, woman and family – which is at odds with …

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Fashion Photography Archive, Jan Comfort Dec 2017

Fashion Photography Archive, Jan Comfort

Jan Comfort

No abstract provided.

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The Woman Who Walks Through Photographs, Sharon Sliwinski Dec 2017

The Woman Who Walks Through Photographs, Sharon Sliwinski

Sharon Sliwinski

This paper explores Michal Heiman's creative strategy to imaginatively enter the space of asylum. Her recent project, RETURN: ASYLUM (THE DRESS, 1855-2018), offers a new way to extend solidarity to people who have been subjugated by the institution. She actively enlists the public's help in developing further strategies for connecting with those individuals who have been bereft of legal rights to property, family, or public hearing. This article explores Heiman's crucial political intervention, which blends creative visual practice with object relations theory.

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From Here To There, Dana Statton Nov 2017

From Here To There, Dana Statton

Dana Statton Thompson

The photographs in the series From Here to There are not a description of a place; instead, the images are about engaging in a particular type of looking. Elements of “here” and “time” are included in the work; by photographing a moment that will never exist again, transitory objects are imbued with importance. A tree branch drifts, a puddle evaporates, and light shifts, slowly, but immediately. In the midst of this change, my photographs represent specific moments. Integral to the work is the act of finding the photograph, as is the act of framing, taking, and making the photograph. Each …

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The 'Anti-Photographic' Photography Of Pablo Picasso And Its Influence On The Development Now Known As Cubism, Dana Statton Nov 2017

The 'Anti-Photographic' Photography Of Pablo Picasso And Its Influence On The Development Now Known As Cubism, Dana Statton

Dana Statton Thompson

By examining the relationship between photography and painting at the turn of the nineteenth century, it becomes clear that the two mediums have more in common than art historians acknowledge. The two share obvious formal qualities such as form, perspective, depth, and spatial relationships. These formal qualities make it easier to see the potential overlap between the two mediums, as Picasso did during the summer of 1909. Although Picasso is not well known for his photography, the large collection of photographic imagery found in his estate now makes it possible to firmly establish the place of photography within his oeuvre. …

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Creativity And Color (Double Blind Peer Review), Antonio Scontrino Dec 2016

Creativity And Color (Double Blind Peer Review), Antonio Scontrino

Antonio Scontrino

Creativity and originality of style are key elements to affirm themselves in an increasingly crowded and competitive world of advertising photography. Some photographers challenge conventions to assert their innovative ideas. Dealing with extremely delicate social issues and using them effectively in the advertising world is a very rare and difficult task. Oliviero Toscani and David LaChapelle marked an era in advertising photography using similar content but with totally different technique and style. They have written and started a new phase of fashion photography, inventing a revolutionary approach to business, communication and public relations. There are many similarities in the two …

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Guest Opinion: Preserving Local History, Patricia J. Fanning Mar 2016

Guest Opinion: Preserving Local History, Patricia J. Fanning

Patricia J. Fanning

No abstract provided.

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Creating The Back Ward: The Triumph Of Custodialism And The Uses Of Therapeutic Failure In Nineteenth Century Idiot Asylums, Philip M. Ferguson Jun 2015

Creating The Back Ward: The Triumph Of Custodialism And The Uses Of Therapeutic Failure In Nineteenth Century Idiot Asylums, Philip M. Ferguson

Philip M. Ferguson

"My focus in this chapter is on the origin of the back ward rather than its demise. Where did the “back wards” that [Burton] Blatt and [Senator Robert] Kennedy witnessed come from in the first place? What 3 exactly were those “antecedents of the problems observed” that Blatt cited? This chapter reviews that history and argues that, in fact, there is a specific narrative to the evolution of the institutional “back ward” as an identifiable place where people with the most significant intellectual disabilities were to be incarcerated and largely forgotten."

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The Face Of Our Wartime, Sharon Sliwinski Dec 2014

The Face Of Our Wartime, Sharon Sliwinski

Sharon Sliwinski

This paper considers a turn toward portraiture amongst contemporary photojournalists who have covered the War on Terror. A series of wartime faces is examined in order to consider the way prolonged conflict flattens our visual landscape.

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Inventing Human Dignity, Sharon Sliwinski Dec 2014

Inventing Human Dignity, Sharon Sliwinski

Sharon Sliwinski

Are human beings endowed with an inviolable dignity? Or is dignity something that is lost and won? One of the most significant assertions made in the 1948 Universal Declaration of Human Rights (UDHR) is the statement that every individual possesses an inalienable dignity simply by virtue of belonging to the “human family.” This chapter aims to make a modest contribution to the emerging scholarship on the history and meaning of dignity as it pertains to universal human rights. My goal is to trace how this particular quality came to be affixed to the human …

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Paintings And Photographs, Introduction To "William Wegman", Curtis Carter Jul 2014

Paintings And Photographs, Introduction To "William Wegman", Curtis Carter

Curtis Carter

No abstract provided.

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"Question Of Monuments": Emerson, Dickinson, And American Renaissance Portraiture, Mary Loeffelholz Oct 2013

"Question Of Monuments": Emerson, Dickinson, And American Renaissance Portraiture, Mary Loeffelholz

Mary Loeffelholz

No abstract provided.

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The Storyteller: Observations On Murtada Bulbul’S ‘Swineherders’, Sharon Sliwinski Dec 2012

The Storyteller: Observations On Murtada Bulbul’S ‘Swineherders’, Sharon Sliwinski

Sharon Sliwinski

This review engages Murtada Bulbul's series of photographs of Bangladeshi swineherders (published in this issue), casting the photographer's treatment as that of a storyteller. On one hand, this treatment suggests the importance of visual-cultural forms for the very legibility of human rights. On the other hand, Bulbul's pictures can teach us something about what it means to live a "bare life," that is, to live at the edges of the human community.

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New York Transfixed: Notes On The Expression Of Fear, Sharon Sliwinski Dec 2012

New York Transfixed: Notes On The Expression Of Fear, Sharon Sliwinski

Sharon Sliwinski

What does fear look like? What can photography reveal of the unconscious dimensions of terror? Working with the largest photographic archive devoted to the 9/11 terrorist attacks on New York City, this chapter studies the visual inscription of terror in the bodily gestures of eyewitness, gestures that were captured by citizen photographers.

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A Painful Labor: Photography And Responsibility, Sharon Sliwinski Dec 2011

A Painful Labor: Photography And Responsibility, Sharon Sliwinski

Sharon Sliwinski

This paper considers the tension between photography and responsibility despite the avalanche of objections regarding documentary’s false promise to awaken social conscience. By examining the encounter with images of suffering through a psychoanalytic register, the paper tries to articulate what Barthes describes as the ‘painful labour’ of responding to the photographic other – an encounter that illuminates the limit of the spectator’s ability to respond. Photographs provide an occasion to register this limit, which, I argue, opens up the spectator’s traditional notions of responsibility from a set of moral duties towards a questioning of the ethical relation.

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Air War And Dream: Photographing The London Blitz, Sharon Sliwinski Dec 2010

Air War And Dream: Photographing The London Blitz, Sharon Sliwinski

Sharon Sliwinski

This paper treats Lee Miller's photographs of the London Blitz as a species of dream, which is to say, the Surrealist's images are regarded as a special form of thinking in which the conflicts and horrors of the times are represented in an effort to discharge their destructive force. This treatment calls upon Freud's discussion of dream-work, but also upon Didier Anzieu and Wilfred Bion's later writings, which consider the defensive and protective qualities of oneiric life. Miller's photography, like dream, provides a glimpse into the interior dimension of human existence. The essay argues that this interior dimension provides protection …

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Icarus Returned: The Falling Man And The Survival Of Antiquity, Sharon Sliwinski Dec 2010

Icarus Returned: The Falling Man And The Survival Of Antiquity, Sharon Sliwinski

Sharon Sliwinski

This chapter examines the so-called "Falling Man" photograph: Richard Drew's infamous image of an anonymous man in free fall, following his jump from the World Trade Center on September 11, 2001. Using Aby Warburg's iconographical method, I read this figure as a latter-day Icarus, putting Drew's photograph in dialogue with other representations of Icarus as a way to explore the image's unconscious force.

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Reissue Of Martha Graham: Sixteen Dances In Photographs, Curtis Carter Oct 2010

Reissue Of Martha Graham: Sixteen Dances In Photographs, Curtis Carter

Curtis Carter

No abstract provided.

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Contemporary British Photography: Calum Colvin, Cibachromes 1987-1989, Curtis Carter Oct 2010

Contemporary British Photography: Calum Colvin, Cibachromes 1987-1989, Curtis Carter

Curtis Carter

No abstract provided.

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Barbara Morgan: Exhibition Of Photography, Curtis Carter Oct 2010

Barbara Morgan: Exhibition Of Photography, Curtis Carter

Curtis Carter

No abstract provided.

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Reissue Of Martha Graham: Sixteen Dances In Photographs, Curtis Carter Oct 2010

Reissue Of Martha Graham: Sixteen Dances In Photographs, Curtis Carter

Curtis Carter

No abstract provided.

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Invented Worlds: India Through The Camera Lens Of Waswo X. Waswo, Curtis Carter Jul 2010

Invented Worlds: India Through The Camera Lens Of Waswo X. Waswo, Curtis Carter

Curtis Carter

No abstract provided.

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Autobiography And The Family Frame: Jaret Belliveau's “Dominion Street” At Gallery Tpw, Matthew Ryan Smith May 2010

Autobiography And The Family Frame: Jaret Belliveau's “Dominion Street” At Gallery Tpw, Matthew Ryan Smith

Matthew Ryan Smith, Ph.D.

Documented over a period of five years, “Dominion Street” presents a visual narrative of love, loss, and life encapsulated within an East Coast milieu. Privy to the Belliveau family’s emotional and physical plights, the artist utilizes an autobiographic frame offering up strikingly informal glimpses of his family.

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The Permanent Now: Photography And The Human Experience, Cindi Trainor Apr 2010

The Permanent Now: Photography And The Human Experience, Cindi Trainor

Cindi (Trainor) Blyberg

This essay examines how people document and learn about the passage of time through photography, particularly with "rephotography,” the act of revisiting and reshooting a place, person or scene after years or decades have past.

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“Transnational Conversations In Migration, Queer, And Transgender Studies: Multimedia Storyspaces.”, Gema Pérez-Sánchez Dec 2009

“Transnational Conversations In Migration, Queer, And Transgender Studies: Multimedia Storyspaces.”, Gema Pérez-Sánchez

Gema Pérez-Sánchez

En 2005 se aprobó en España la Ley 13/2005, de 1 de Julio, por la que se modifica el Código Civil en material de derecho a contraer matrimonio, dando pie al matrimonio legal entre personas del mismo sexo. Dos años más tarde se aprueba la Ley 3/2007, de 15 de marzo, reguladora de la rectificación registral de la mención relativa al sexo de las personas, la cual permite el cambio de sexo en el registro civil sin necesidad de someterse a una operación de reasignación de género. A pesar del indudable progresismo y de la gran importancia de estas leyes …

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Visual Testimony: Lee Miller’S Dachau, Sharon Sliwinski Dec 2009

Visual Testimony: Lee Miller’S Dachau, Sharon Sliwinski

Sharon Sliwinski

This essay examines images of the liberation of Dachau concentration camp taken by American war correspondent and photographer Lee Miller. Miller’s work is mobilized as an optic through which to grasp the shock of confronting the Nazi camps. Her images are read as a form of visual testimony. That is, although they fail to provide a transparent view of what occurred in the Nazi lagers, they are nevertheless inscribed with all that the photographer did not know of the events to which she bore witness. The nature of this strange unintelligibility is what the author pursues: the visual inscription of …

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The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski Dec 2009

The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski

Sharon Sliwinski

This article examines the Congo reform movement’s use of atrocity photographs in their human rights campaign (c. 1904–13) against Belgian King Leopold, colonial ruler of the Congo Free State. This material analysis shows that human rights are conceived by spectators who, with the aid of the photographic apparatus, are compelled to judge that crimes against humanity are occurring to others. The article also tracks how this judgement has been haunted by the potent wish to undo the suffering witnessed. 

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Photographic Ambivalence And Historical Consciousness, Michael S. Roth Nov 2009

Photographic Ambivalence And Historical Consciousness, Michael S. Roth

Michael S Roth

This essay focuses on three topics that arose at the Photography and Historical Interpretation conference: photography’s incapacity to conceive duration; photography and the “rim of ontological uncertainty;” photography’s “anthropological revolution.” In the late nineteenth century, blindness to duration was conceptualized as the cost of photographic precision. Since the late twentieth century, blindness to our own desires, or inauthenticity, has been underlined as the price of photographic ubiquity. These forms of blindness, however, are not so much disabilities to be overcome as they are aspects of modern consciousness to be acknowledged. The engagement with photography’s impact on historical consciousness gives rise …

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On Photographic Violence, Sharon Sliwinski Dec 2008

On Photographic Violence, Sharon Sliwinski

Sharon Sliwinski

This paper explores the significance of photographic violence in relation to a single defaced image found during the Bosnian War. The single example of pictorial violence opens a set of questions interrogating the nature of human aggression: What is the status of violence carried out in effigy? Can this particular example of defacement open understanding into the other forms of violence that took place during the dissolution of the former Yugoslavia? How does the image come to be marked by affect but also serve as the medium of its transmission? And finally, why does photography lend itself so easily to …

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