Photography Commons^™

With Kindest Regards To You And Miss Sparks, Claire E. Kelly

Honors Scholars Collaborative Projects

This work explores the life of a woman, Katherine Josephine Sparks, who lived in Nashville from 1910 to 1993. Vignettes of her life are revealed through the Katherine Sparks Collection at the Nashville Archives, in which over 18,000 items including letters, photographs, memorabilia, and legal documents house parts of her family’s story. Katherine lived an unassuming life, she never married, and she had no children. There is very little documentation of her life left other than what is held in this archival collection. Without the archive, this record would be lost—a small part of history that would go undiscovered and …

And Everything Nice, Elizabeth Black

Honors Scholars Collaborative Projects

Over the last year, due to the pandemic of COVID-19, I have had a novel opportunity to spend much of my time and energy reflecting on my connection to femininity. Across social media platforms, individuals have shared their own personal reflections about gender and this content has led me to think deeply about what femininity and masculinity mean to me. There are feminine norms and behaviors I identify with, and other conventions that I reject. Additionally, I admire forms of feminine expressions, but feel like I neither physically nor mentally can achieve them. The more time I spent with this …

How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali

Artl@s Bulletin

What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.

The Copy & The Real Thing: Changing Perceptions Between The Rubens Centennials In 1877 And 1977, Griet Bonne

Artl@s Bulletin

In this paper I examine the changing relationship between mechanical reproductions and the original artwork in the context of the Rubens centennials in 1877 and 1977. Drawing on theorists such as Walter Benjamin, Dean MacCannell, Hans Belting and Boris Groys, I argue that the mechanism of copying generates a double logic of image perception: a simultaneous centrifugal and centripetal circulation of images that affects how people perceive art in modern society. I explore this perception dynamic by looking at two photo-exhibitions during the Rubens centennials.

Zephyr: The Twenty-First Issue, Zephyr Faculty Advisor, Luke E. Colomey, Nicholas White, Evelyn M. Belmer Ms., Stephanie Ruff

Zephyr

This is the twenty-first issue of Zephyr, the University of New England's journal of creative expression. Since 2000, Zephyr has published original drawings, paintings, photography, prose, and verse created by current and former members of the University community. Zephyr's Editorial Board is made up exclusively of matriculating students.

Pandemonium, Jonathan Fung

All Assignment Prompts

In an age of digital technology, it is common to appropriate images from the internet without considering copyright law or images deemed ‘fair use’. What is the benefit of using images from other sources? How can we change their meaning to spread awareness to advocate for justice and educate our community on what it means to be human in an unprecedented time in our history?

Orpheus, Spring 2021: Propagation, University Of Dayton

Orpheus: UD's Literary and Artistic Magazine

No abstract provided.

View From Mount Magalloway, Nh, Nathan Burns

The Messenger

No abstract provided.

Enlightened?, Pamira Yanar

The Messenger

No abstract provided.

Garfield Falls In The Late Afternoon, Nathan Burns

The Messenger

No abstract provided.

Stranded, Nathan Burns

The Messenger

No abstract provided.

Beholder, Tereza Hernandez

The Messenger

No abstract provided.

The Messenger

The Messenger

forward

onward so as to make progress; toward a successful conclusion.

“There is a way forward

and yes

it is with a broken

heart

but it is our own way

collectively convened,

pondered,

Shared.”

Alice Walker

Volatile, Pamira Yanar

The Messenger

No abstract provided.

Close, Pamira Yanar

The Messenger

No abstract provided.

Butterflies Around The Summer Solstice, Nathan Burns

The Messenger

No abstract provided.

New Hampshire In The Late Summer, Nathan Burns

The Messenger

No abstract provided.

Morning Fog, Tereza Hernandez

The Messenger

No abstract provided.

Le Langage Et La Mémoire Photogaphiques Dans Le Souss, Farida Bouâchraoui

Dirassat

Creativity and artistic production is liable to introduce any culture into a modern and universal context. Photography is visual language that captures events which tell stories. It is said that a picture is worth a thousand words. The initiative to set up a database of photographs on the Souss region constitutes a documentary photographic work which aims to celebrate and promote the Moroccan cultural heritage by building a photographic memory of the Souss Massa region.

Take Your Time, Terry A. Ratzlaff

School of Art, Art History, and Design: Theses and Student Creative Work

I see the world not as one seamless world but as a world composed of other worlds, built on top and within one another. They exist harmoniously, bound not by space but by time. In an instant I can move from one world into another where I can exist in two worlds simultaneously—in space, I am here. In time, I am there.

Worldmaking is a conceptual process of seeing connections and making distinctions within our lived reality.1 It is a process of dividing and organizing parts into collections that represent different narratives. Only through suitable arrangements can we handle vast …

A Sense Of The South: Covid-19 Images, Kieran Rundle

Undergraduate Research Symposium

COVID19 coiled around each town and group of people differently. As a photographer living through the pandemic, I felt called to record it.

Over the summer of 2020, I received the Undergraduate Research and Creativity Grant. I embarked on a journey across the southern states as a journalist studying the social and economic impacts of the virus on tiny remote towns. For a month, I drove through the south with my camera and notebook in hand. The places I visited were remote and outside of the main clutches of sickness. I entered homes and businesses to discover just how far …

Front Matter

Collage

No abstract provided.

Front Matter

Collage

No abstract provided.

Front Matter

Collage

No abstract provided.

Front Matter

Collage

No abstract provided.

Selections From Divinatio Diver, Sculptural Antipathia In Atonement Transcendo, And Mechanika Momento: Creatio Forecaster, Antonie Frankie Aquino

Far West Popular Culture Association Annual Conference

It is fated inspiration which penetrates the heart, satisfies the collective soul, and offers its spirit to the vastness of ceremonial vision. Vision becomes sound and sound forms a poetic voice displaced— this displacement radiates a mythologized poetic voice serving as a lyrical object, theogonic lyre, and the genealogical muse. Selected poems from Divinatio Diver, Sculptural Antipathia: In Atonement Transcendo and Mechanika Momento: Creatio Forerunner, the collected poems orchestrate a tryptic voice that dismantles the outward magnitude of the self by subverting the antithetical self through spiritual and organic sensualness.This mythopoeic tripartism simultaneously interconnects with religion, theology, and metaphysics which …

Korean Air Cargo Boeing 777f, Registration Hl8046, Arriving At O'Hare, Eugene Y. Lim '21

Heliotrope: IMSA's Arts & Literary Magazine

Boeing 777-FB5 HL8046, operating Korean Air Cargo Flight KE8235 from Anchorage to Chicago, on final approach to Chicago O'Hare International Airport (ORD). The moon is visible just off the port wing.

The Photography Of Graciela Iturbide: Transcending Colonization And Oneself, Noelia Andrea Caceres

Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal

This paper analyzes some of the works of contemporary Mexican photographer Graciela Iturbide (born 1942). In this paper, I argue that Iturbide’s work speaks to how the Mexican population and culture transcended the history of colonization, particularly works like Virgen de Guadalupe Chalma, México (Our Lady of Guadalupe, Chalma, Mexico) (2007) and Primera Comunión, Chalma, Estado de México (First Communion, Chalma, State of Mexico) (1984). In addition, I discuss how her works speak to me personally as a Latin American native and also how they tell us about her own personal traumas. Before discussing these issues by means of several …

Sugimoto’S Middle Brow And The Collective Horizon, Aaron Francis Ward

Japanese Society and Culture

Is art for everyone? Although attendance at art galleries has risen rapidly at the start of the 21st century, so too has the price of art, and the perception that art is an object of conspicuous consumption. The current paper presents a discussion of the possibilities that the photography of Hiroshi Sugimoto offers an artistic oeuvre that countenances the current state of the art market and is open to the aesthetic appreciation of a broader audience. As middlebrow mode of cultural production (Bourdieu 1996), photography is an artistic form that most people are familiar with, rendering it a medium that …

"Doing It For The 'Gram?" The Representational Politics Of Popular Humanitarianism, Orlando Woods, Siew Ying Shee

Research Collection School of Social Sciences

This paper explores how digital photography – the practice of taking pictures and sharing them via social media – can give rise to representational politics. These politics are pronounced when disadvantaged people and places are the objects of digital representation, as they become (dis)empowered by being implicated in the affective economy of difference. Empirically, we examine the representational practices that Singaporean voluntourists, and companies that organise overseas humanitarian projects, engage in. We highlight how their motivations for engaging with these projects can be obfuscated by the opportunity to generate influence on Instagram, which can then shape the practice of popular …