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Articles 8971 - 9000 of 12233
Full-Text Articles in Photography
Voodoo, Melissa Mitchell
Expansion As Relief, Jac Jemc
Van De Kamps, Shannon O’Brien
Self Portrait In Flux, Maria Jones
Self Portrait In Flux, Maria Jones
SPECS journal of art and culture
No abstract provided.
Phoom! Kaleidoscopic Point: Los Angeles River Of Words, Karen Holden
Phoom! Kaleidoscopic Point: Los Angeles River Of Words, Karen Holden
SPECS journal of art and culture
No abstract provided.
Kitty, Melissa Mitchell
Practical Necromancy: Raising The Dead For Fun & Profit, John M. Rudy
Practical Necromancy: Raising The Dead For Fun & Profit, John M. Rudy
Interpreting the Civil War: Connecting the Civil War to the American Public
Our profession is a unique and somewhat strange one. We are paid, fundamentally, to give voice to the voiceless. History is taking the people of the past and breathing into their lungs, letting them speak and act again even though they are long dead. [excerpt]
M16 Globular Cluster, By Anabella Gaposchk, 1911 (Baking Soda), Mariana Tres
M16 Globular Cluster, By Anabella Gaposchk, 1911 (Baking Soda), Mariana Tres
SPECS journal of art and culture
No abstract provided.
Tornado, Matthew Albanese
Booth Penny, Pete Froslie
Exhume / Consume, Nader Sadek
Junk Food, Lesley Silvia
No Swimming, Lesley Silvia
My Barbies, Anoushka Van Velzen
My Barbies, Anoushka Van Velzen
SPECS journal of art and culture
No abstract provided.
Attentional Landscapes Klompching Gallery, Odette England
Attentional Landscapes Klompching Gallery, Odette England
SPECS journal of art and culture
No abstract provided.
Re-Enactment Casualties, Philip Ewe
Re-Enactment Casualties, Philip Ewe
SPECS journal of art and culture
No abstract provided.
Schizophrene, Bhanu Kapil, Rohini Kapil
Schizophrene, Bhanu Kapil, Rohini Kapil
SPECS journal of art and culture
No abstract provided.
Motionless Monotony: New Nowheres In Irish Photography, Colin Graham
Motionless Monotony: New Nowheres In Irish Photography, Colin Graham
Articles
‘But my mind was too confused … so with a kind of madness growing upon me, I flung myself into futurity … What strange developments of humanity, what wonderful advances upon our rudimentary civilization, I thought, might not appear when I came to look into the dim elusive world that raced and fluctuated before my eyes. I saw great and splendid architecture rising about me, more massive than any buildings of our own time, and yet, it seemed, built of glimmer and mist … the earth seemed very fair. And so my mind came round to the business of stopping.’ …
Dotphotozine Issue 2, 2012, Students Of The Csusb Art Department, Thomas Mcgovern
Dotphotozine Issue 2, 2012, Students Of The Csusb Art Department, Thomas Mcgovern
Dotphotozine
No abstract provided.
Linvel Barker: Works From The Collection Of Rita Biesiot, Linvel Barker, Rita Biesiot, Kentucky Folk Art Center
Linvel Barker: Works From The Collection Of Rita Biesiot, Linvel Barker, Rita Biesiot, Kentucky Folk Art Center
Kentucky Folk Art Center Exhibition Catalogs
2012 Kentucky Folk Art Center exhibition catalog of artist Linvel Barker.
2 X 20: Works By 20 Of Kentucky's Finest Working Folk Artists, Minnie Adkins, Barbara Burton, Jo Ann Butts, Brent Collinsworth, Joan Dance, Tad Desanto, Marvin Francis, Tim Lewis, Jance Miller, Lonnie Money, Twyla Money, Robert Morgan, Bruce New, Janice Harding Owens, Jim Gary Phillips, Thaddeus Pinkney, Monica Pipia, Willie Rascoe, Eileen Stockham, Donny Tolson, Lavon Van Williams, Kentucky Folk Art Center
2 X 20: Works By 20 Of Kentucky's Finest Working Folk Artists, Minnie Adkins, Barbara Burton, Jo Ann Butts, Brent Collinsworth, Joan Dance, Tad Desanto, Marvin Francis, Tim Lewis, Jance Miller, Lonnie Money, Twyla Money, Robert Morgan, Bruce New, Janice Harding Owens, Jim Gary Phillips, Thaddeus Pinkney, Monica Pipia, Willie Rascoe, Eileen Stockham, Donny Tolson, Lavon Van Williams, Kentucky Folk Art Center
Kentucky Folk Art Center Exhibition Catalogs
2012 Kentucky Folk Art Center exhibition catalog of the twenty finest working folk artists.
Upon Reflection: Photographs By Judy Ellis Glickman, Center For Ethics In Action, University Of New England Art Gallery
Upon Reflection: Photographs By Judy Ellis Glickman, Center For Ethics In Action, University Of New England Art Gallery
Exhibition Catalogues
Upon Reflection: Judy Ellis Glickman is the catalogue from the University of New England Art Gallery’s June 26–Sept 30, 2012 exhibition of photographs made by Judy Ellis Glickman over a 35-year period. Best known among these are the powerful black and white images from “Holocaust, the Presence of the Past” and her strong portraits of “Resistance and Rescue: Denmark’s Response to the Holocaust.” Well represented with other work, among a broad range of subjects, are images of Maine, exotic ones of her extensive international travel, and her latest abstract images in color.
Southwinds - Spring 2012
Southwinds: The Literary and Arts Magazine of Missouri S&T
THE LITERARY MAGAZINE OF MISSOURI UNIVERSITY OF SCIENCE AND TECHNOLOGY SPRING 2012 Southwinds is sponsored by the Department of English & Technical Communication
Ua12/2/16 Spirit Masters Scrapbook, Wku Spirit Masters
Ua12/2/16 Spirit Masters Scrapbook, Wku Spirit Masters
Student Organizations
Scrapbook of WKU Spirit Masters activities in 2011-2012.
Bee, Madeline A. Price
Heart Rock, Madeline A. Price
Horizons, Volume 27, 2012, Sacred Heart University
Horizons, Volume 27, 2012, Sacred Heart University
Vistas (Horizons)
No abstract provided.
Parnassus 2012
Parnassus
The 2012 edition of the student literary journal, Parnassus, published by Taylor University in Upland, Indiana.
Correction: The second and third place winners in poetry were switched on printing.
A Painful Labor: Photography And Responsibility, Sharon Sliwinski
A Painful Labor: Photography And Responsibility, Sharon Sliwinski
Data and Test Instruments
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.