Photography Commons^™

Uncle George, Ruth Marie Hamill

Manuscripts

Every evening when Uncle George walks into the house, before he greets any member of the family, he yells, "O-oh, Pepper! O-oh, Ginger!" and if Pepper and her puppy aren't already scampering down the stairs, or from the living room, they come now. Pepper stands on her hind legs and leans her forepaws on him while she nuzzles in his pockets for peanuts. Ginger dances around him, making funny noises which sometimes terminate in a short bark. He picks the little dog up and feeds both him and Pepper a few peanuts or bites of candy that he has brought …

Autumn Swept Garden, Charles Aufderheide

Manuscripts

Nothing can grow here now.

This garden is Autumn-swept;

Here, by the apple bough,

You turned and wept.

High Pressure, Cathryn Smith

Manuscripts

Pauline regarded John fretfully. She thought: "He's so sensible. I don't believe he ever did or said anything crazy in his li fe. He's absolutely stodgy!"

They rode along in silence for a while. John never drove fast, but there was enough wind to whip color into their faces, and Pauline's hair blew wildly.

The Hunt, Mars B. Ferrell

Manuscripts

The youth descended briskly the steep side of the gully. His two dogs, already at the bottom, trotted through the light snow. Their high noses and quickening steps were read by the young trapper as definite signs that a catch was to be expected. The trap he had set a day ago at a den on the side of the small tributary gully ahead probably held a victim. In any event, the "set" had looked good -- several fresh skunk tracks.

Return, Dorothy Steinmeier

Manuscripts

Martha smiled the way she always smiled when someone said something nice to her. Someone was always saying something nice to her, it seemed.

Armor Against Death, Betty Richart

Manuscripts

At last the hour of peace, the voices stilled

The contest ended at last. The citadel

Is saved, and the sudden ambushes are over.

The night is lovely and quiet where we dwell.

Denouement, Betty Richart

Manuscripts

Mrs. Bridgford was fidgeting. The prospect of the long evening before her filled her with nervous panic. Her husband sat solidly established behind his newspaper; she knew that no prospect of adventure could lure him from it. They sat in their intimate sphere of lamp-light without exchanging a word; the daily commonplace, had been duly gone through at dinner. Now there was nothing.

Betty Ballads, Grace Ferguson

Manuscripts

Three poems: "Betty Ballads," "Castles in the Air," and "Betty Loves People."

Grandma Brown, Mary Burrin

Manuscripts

"Sit down, Grandma. There's no need for you to help. I can finish the Turkey myself," said Effie Brown to her mother-in-law.

Hmm! Sitting down was all she'd done since she'd been here. As for finishing the turkey, Effie always cooked the meat too brown and dry, so hard you couldn't eat it, thought Grandma Brown.

The Bad Boy, Margaret Kendall

Manuscripts

Mr. Herbert Watts with his dog Antonio, called commonly Tony, walked into the park, Tony trotting leisurely at the end of his leash. He was a small dog of heterogeneous breed. One grandfather was known to be a full-blooded Irish terrier, but the rest of his grandparents were common dogs. Despite his questionable family tree, Antonio was a remarkable dog, according to the Watts's. Mrs. Watts had just finished a new red sweater for Tony, and the air being chilly on this particular day, he was wearing it for the first time.

Front Matter

Manuscripts

Front matter includes: cover, table of contents, and masthead.

Photovoice: Assessing Barriers To Health Among Maine's Somalian Refugee Women, Lilia Bottino, Collyn Baeder

Applied Arts and Social Justice Artist Talks

UNE Graduate students Lilia Bottino and Collyn Baeder present this Interprofessional Student-Led Mini Grant Team’s Photovoice project. This project involved the distribution of cameras to women in a refugee community in Portland, Maine, with the aim of enabling them to communicate health-related issues in their community through the visual language of photography.

Trepidation: Void, James Farley

Landscapes: the Journal of the International Centre for Landscape and Language

An easy definition of the VOID eludes us, for each person’s understanding is unique. One may experience it as spiritual, but it need not be so. Others will relate to an implied sadness or loneliness that the infinite presents while some may find solace in the silence that I have created. By photographing these apparent scenes of “nothing”, I am asking you what is this, what are you looking for and what is missing? And the answer…

Interior Landscapes

Landscapes: the Journal of the International Centre for Landscape and Language

Impressions of Australia's interior adorn the interior of Mario's Palace Hotel in Broken Hill. Built in 1889 during the mining boom and purchased by Italian immigrant Mario Celotto in 1949, the walls of Mario's Palace Hotel were the canvas of Aboriginal artist, Gordon Wayne.

Pastoral scenes and plummeting waterfalls provide a stark albeit surreal contrast to the rocky plains and searing temperatures outside. Among the Australian landscapes appears Botticelli’s Venus – the work of Mario himself -- in what has been described as "Italian Renaissance meets Outback”.

The interior landscapes of Mario's Palace Hotel provide us with another vision of …

Anthropocene Autoscene, Alison Pouliot

Landscapes: the Journal of the International Centre for Landscape and Language

During the last decade in Switzerland, nature-culture connections enmeshed in landscapes constantly grab my gaze, perhaps more visibly than in my homeland, Australia. Abandoned vehicles in a winter forest - an ‘Autofriedhof’ - slowly subside into leaf litter – one of the most complex, little explored and biodiverse ecosystems on the planet. The enzymatic power of lichens, among the earth’s first colonisers, witness its demise as they disassemble the complex compounds of car paints and parts. Water and salt, rot and rust, subsume human creations returning to their elemental parts, to 'nature'.

An aesthetic beauty emerges as layers of paint, …

Kooka(Borough), Neill G. Overton Dr

Landscapes: the Journal of the International Centre for Landscape and Language

The Kookaburra as iconic Australian bird is represented in this photo-series exploring photomention principles, of photographing the "decisive moment" but rather than documenting it fully, applying documention theory of "glancing" or incorporating in passing through. This follows on in the vein of Group f/64 who through the lowest f stop sought to achieve detail and specificity that was beyond realist painting's capabilities. Of which, Henri Cartier-Bresson wrote: “In photography, there is a new kind of plasticity, the product of instantaneous lines made by movements of the subject. We work in unison with movement as though it were a presentiment of …

Speculative Landscapes: Regionalism And Rurality, Christopher Matthew Orchard Mr

Landscapes: the Journal of the International Centre for Landscape and Language

This work investigates the continued speculative practice of rural localities in regional New South Wales. It is a document of nowhere and everywhere simultaneously. As the ubiquitous grain tower rises as if to signal life within the community remains healthy. It is both a landmark to speculative living and monument to severe cultural depression. This is a contribution to the Australian Vernacular, a landscape about the any-man, from any where. It is as much about a collected Australian culture as it is about white familiarity and home-life, particularly frontiersmanship.

Grassy Landscapes And The Australian Representational Imaginary: The Ongoing Tale Of South Australia’S ‘Diesel And Dust’ House

Landscapes: the Journal of the International Centre for Landscape and Language

One abandoned farmhouse amongst many, set in what has been called a ruined, or at least severely underappreciated, part of the (South) Australian landscape. Yet in spite this, a place that became the subject of one of Australia’s most recognised landscape photographs. An image taken by a prominent professional photographer, emblazoned on the cover of one of the country’s highest selling rock albums, subsequently utilised in all sorts of promotional and tourist material, and finally adopted by a socially networked general public exploring new meanings of place and performativity in ‘augmented reality’. How does the ‘Diesel and Dust house’ fit …

The Art / Crime Archive: An Anti-Boredom Space, Paul Kaplan, Brian Goeltzenleuchter, Dan Salmonson

The Transdisciplinary STEAM+ Journal

This paper reports on an ongoing web-based project devoted to the study of deviant art and creative crime called the Art / Crime Archive: www.artcrimearchive.org. The Art / Crime Archive (ACA) is a collaborative laboratory, teaching center, and web-based platform devoted to the study of this space. The ACA is organized by an artist, a criminologist, and a computer engineer. The working process of the ACA involves locating, archiving, and discussing visual, audio, and text artifacts that support this shadow space. The work product is a dynamic archive which can be configured for a multiplicity of contexts—art exhibitions, academic …

A Living Image: Newspaper Sketches In The American Civil War, Bryan G. Caswell

The Gettysburg Compiler: On the Front Lines of History

Photography: the ability to capture a moment in time exactly as it appeared, to then preserve it for posterity, even mass produce it for a wide viewership. A relatively new concept by the beginning of the American Civil War, photography quickly came into its own in the hands of such legends as Matthew Bray and Alexander Gardner as they sought to document the furious storm which had swept over the land. Photographs of the Civil War are prolific, and for many the memory of the conflict is intertwined with black-and-white photographs of unsmiling men and corpses bloating in the sun. …