Photography Commons^™

Baby Koala Holding My Hand In Queensland, Australia, Monika Payerhin

The Messenger

No abstract provided.

Little Lion, Katie Skipper

The Messenger

No abstract provided.

Sunset In Rural Queensland, Australia, Monika Payerhin

The Messenger

No abstract provided.

The Messenger, 2015

The Messenger

No abstract provided.

Picturing The Flames Of Daimonji, Clark Lunberry

English Faculty Research and Scholarship

Essays and photographs on the fiery calligraphy of Kyoto’s mountainside Daimonji festival.

Untitled, Marco Baez

Digressions: Literary & Art Journal

No abstract provided.

Untitled, Marco Baez

Digressions: Literary & Art Journal

No abstract provided.

Lenses Of Industry: The Rise Of Industrial Photography In The United States And The Lake Superior Mining District, 1880-1933, Robert Anthony

Dissertations, Master's Theses and Master's Reports

This thesis, Lenses of Industry, examines how industrial companies and engineers adapted photography to their needs in the late nineteenth and early twentieth centuries. Innovations in camera and plate technologies marketed to a broad range of people contributed to a steep rise in the number of photographers in the United States. Recognizing the potential that photography held for industrial companies and engineers, a handful of experts advocated the idea that photography had the potential to make many aspects of business faster, and easier, as well as to make visual records more truthful and accurate. Likewise, innovations in halftone printing technology …

Untitled, Marco Baez

Digressions: Literary & Art Journal

No abstract provided.

Women Surrealist Photographers And Their Response To The Objectification Of Women In Male Surrealist Art, Lois X. Nguyen

Undergraduate Research Posters

Objectification of women in Male Surrealist art depicted the male gaze in its darkest form, through the ideas of the uncanny, fetish, and convulsive beauty. Women were treated as objects throughout Surrealist photography and painting instead of as human subjects. Their femininity and beauty were valued to the extent of held belief that a woman’s destiny is to be beautiful and be present for the male gaze. Women Surrealists have gained notoriety in the last sixty years for their presence in the Surrealist movement and for their diligence in providing the female perspective in opposition to the male perspective.

This …

Unapologetic Self, Aashish Maskey

All Graduate Theses, Dissertations, and Other Capstone Projects

This body of work began with an intention to transform the mundane. During this process of intuitively interacting/improvising with my surrounding environment, objects and people, I noticed the photographs had more to them than my intentional concept. They were perhaps fragments of my subconscious at the time of making each of them. This body of work represents the contents of my conscious and subconscious mind, connected through my intuition. It is a visual story of polarity, which perhaps resides within us all.

Calliope, Armstrong State University

Calliope Magazine

Volume 31

Dispersal: A Multidisciplinary Investigation Of Plant Life, Alexandra E. Arzt

Theses and Dissertations

Using plants as a basis for exploring the interstices between the human and nonhuman, this thesis investigates ideas of awareness, intelligence, deep time, animism, and the fluctuating human perception of the agency of Nature. It outlines environmental art practices since the 1950s involving vegetal life. In addition, the paper provides a critical analysis of plant perception of Jakob von Uexküll’s work and theories of vital materialism and “critical plant studies” while noting recent studies in plant neurobiology. In my work, plants become active participants via their movement, seeding, and smell. This study takes the form of imitation, purposeful symbiosis, anthropomorphism, …

New Patriarchies: A Turbulence Of Source And Subject, Stephen Fuller

Theses and Dissertations

Experiencing a turbulence of source and subject in the variable inversions and supports of one source to another--the wreck of the U-352, Carpeaux’s Ugolino and his Sons, a movie poster for J.A. Bayona’s The Impossible, and Cassiopeia mythology--these four sources as sons, in sacrifice to and surviving by way of “daddy” documentation, are here refigured to reenact and critique the patriarchally recreational, monumental, cinematic, and mythological infrastructures supporting the sources of this work and thereby serving to critique the newer patriarchies to which these sources and their subjectifications here seek to cross consumptively dead end. Following three public …