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Photography

Selected Works

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Articles 31 - 60 of 65

Full-Text Articles in Arts and Humanities

Writing The Ruins: Rhetorics Of Crisis And Uplift After The Flood, Doreen Piano Dec 2011

Writing The Ruins: Rhetorics Of Crisis And Uplift After The Flood, Doreen Piano

Doreen M Piano

No abstract provided.

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Wedding Albums, Jim Gabbard Sep 2011

Wedding Albums, Jim Gabbard

Jim Gabbard

Awarded two blue ribbons for wedding albums.

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The State Of Being Single: Justyna Badach's Bachelor Series, Pamela Warner Jun 2011

The State Of Being Single: Justyna Badach's Bachelor Series, Pamela Warner

Pamela J. Warner

No abstract provided.

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River Rising, May 2011. A Photo Essay. Part Il, Doreen Piano Dec 2010

River Rising, May 2011. A Photo Essay. Part Il, Doreen Piano

Doreen M Piano

In May 2011, the Mississippi River rose to unprecedented heights, threatening a worst-case scenario of massive flooding throughout metropolitan New Orleans and other outlying regions.Two spillways north of the city opened in May 2011 diverting waters into Lake Ponchartrain and the Atchafalaya Basin, but the river still ran high through June.

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River Rising, May 2011. A Photo Essay. Part I., Doreen Piano Dec 2010

River Rising, May 2011. A Photo Essay. Part I., Doreen Piano

Doreen M Piano

In May 2011, the Mississippi River rose to unprecedented heights, threatening a worst-case scenario of massive flooding throughout metropolitan New Orleans and other outlying regions

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Human Rights In Camera, Sharon Sliwinski Dec 2010

Human Rights In Camera, Sharon Sliwinski

Sharon Sliwinski

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, Human Rights In Camera takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them.

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First Place Wassenberg Art Center Fall 2011 Portrait Photography, Jim Gabbard Dec 2010

First Place Wassenberg Art Center Fall 2011 Portrait Photography, Jim Gabbard

Jim Gabbard

Awarded First Place in the Portrait Category during the 2011 Wassenburg Art Center's annual Photography Exhibit.

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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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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 chapter 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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“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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Internet Killed The Copyright Law: Perfect 10 V. Google And The Devastating Impact On The Exclusiive Right To Display, Deborah B. Morse Dec 2008

Internet Killed The Copyright Law: Perfect 10 V. Google And The Devastating Impact On The Exclusiive Right To Display, Deborah B. Morse

Deborah Brightman Morse

Never has the dissonance between copyright and innovation been so extreme. The Internet provides enormous economic growth due to the strength of e-commerce, and affords an avenue for creativity and the wide dissemination of information. Nevertheless, the Internet has become a plague on copyright law. The advent of the digital medium has made the unlawful reproduction, distribution, and display of copyrighted works essentially effortless. The law has been unable to keep pace with the rapid advance of technology. For the past decade, Congress has been actively attempting to draft comprehensible legislation in an effort to afford copyright owners more protection …

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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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Through An Uncommon Lens : The Life And Photography Of F. Holland Day, Patricia Fanning Dec 2007

Through An Uncommon Lens : The Life And Photography Of F. Holland Day, Patricia Fanning

Patricia J. Fanning

Based in the Boston area, F. Holland Day (1864-1933) was a central figure in artistic circles on both sides of the Atlantic. Publisher of Oscar Wilde and Stephen Crane, mentor to a young Kahlil Gibran, adviser and friend to photographers Alvin Langdon Coburn and Edward Steichen, Day lived a life devoted to art and beauty. At the turn of the twentieth century, his reputation rivaled that of Alfred Stieglitz.
A pioneer in the field of pictorial photography, Day was also an influential book publisher in the Arts and Crafts tradition. He cofounded the publishing company of Copeland and Day, which …

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New York Transfixed: Notes On The Expression Of Fear, Sharon Sliwinski Dec 2007

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 article studies the visual inscription of terror in the bodily gestures of eyewitness, gestures that were captured by citizen photographers.

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Review Of A. J. Meek Bio Of Clarence John Laughlin.Pdf, Jeffrey Ian Ross Ph.D. Dec 2006

Review Of A. J. Meek Bio Of Clarence John Laughlin.Pdf, Jeffrey Ian Ross Ph.D.

Jeffrey Ian Ross Ph.D.

No abstract provided.

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A Note On Punctum, Sharon Sliwinski Dec 2005

A Note On Punctum, Sharon Sliwinski

Sharon Sliwinski

A note on Roland Barthes' punctum.

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Camera War, Again, Sharon Sliwinski Dec 2005

Camera War, Again, Sharon Sliwinski

Sharon Sliwinski

The war in Iraq has undoubtedly produced some of the most dreadful entries in the history of camera war.  

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The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski Dec 2005

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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A Painful Labor: Photography And Responsibility Dec 2003

A Painful Labor: Photography And Responsibility

Sharon Sliwinski

Despite the avalanche of objections regarding documentary's false promise to awaken social conscience, this paper considers the tension between photography and responsibility. 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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