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For Many in the Western Isles the Hebridean
/ - Carpet World 0' /1 -02 3-*0 0-40' ,- 05 3 #$%&' Warehouse ( ) *!" 48 Inaclete Road, Stornoway Tel 01851 705765 www.carpetworldwarehouse.co.uk !" R & G Ury) '$ &$( (Ah) '$ &#&#" ! Jewellery \ "#!$% &'()#'* SS !" !#$$ The local one %% % &##& %# stop solution for all !7ryyShq&"%#% your printing and design needs. GGuideuide ttoo RRallyally HHebridesebrides 22017:017: 01851 700924 [email protected] www.sign-print.co.uk @signprintsty SSectionection FFourour Rigs Road, Stornoway HS1 2RF ' * * + , - + .-- $ ! !"# %& " # $ %&'& $ ())' BANGLA SPICE I6UVS6G SPPADIBTG6U@T :CVRQJ1:J Ury) '$ &$ $$ G 8hyy !" GhCyvr #$!% '$ & '%$ STORNOWAY &! &' ()*+! Balti House ,*-.*/,0121 3 4& 5 5 22 Francis Street Stornoway •# Insurance Services RMk Isle of Lewis HS1 2NB •# Risk Management t: 01851 704949 # ADVICE • Health & Safety YOU CAN www.rmkgroup.co.uk TRUST EVENTS SECTION ONE - Page 2 www.hebevents.com 03/08/17 - 06/09/17 %)% % * + , , -, % ( £16,000 %)%%*+ ,,-, %( %)%%*+ ,,-, %( %*%+*.*,* ' %*%+*.*,* ' presented *(**/ %,, *(**/ %,, *** (,,%( * *** (,,%( * +-+,,%,+ *++,.' +-+,,%,+ *++,.' by Rally #/, 0. 1.2 # The success of last year’s Rally +,#('3 Hebrides was marked by the 435.' !"# handover of a major payment to $%!&' ( Macmillan Cancer Support – Isle of Lewis Committee in mid July. The total raised -
EVENTS SECTION ONE 141.Indd
5" Carpet World 6257 686( 6 9 62"6: #$%&' Warehouse ( ) *!" 48 Inaclete Road, Stornoway Tel 01851 705765 www.carpetworldwarehouse.co.uk !" 22 Francis Street Stornoway •# Insurance Services RMk Isle of Lewis R & G HS1 2NB •# Risk Management Jewellery t: 01851 704949 •# Health & Safety ADVICE &'()#'* YOU CAN www.rmkgroup.co.uk TRUST "3 4! 5 64 &7 4 4 8 % 8 9$ # is coming! :$ $ 8:8$ : #$8 8 9 OPENING LATE !7ryyShq&"%#% NOVEMBER Big turnout for fi re station's Open Day 49-51 Cromwell Street HS1 2DD During the Open Day, fi refi ghters More on page 10 and district staff simulated a rescue 01851 705660 following a car crash including cutting the roof off the car More than just frozen food… 2 " "' "' ' +4 &'("' )* $' '+ $" K ,-.0$1 !"# BANGLA SPICE $%"% " &'(()*+,'(***+ # #$ %&'( )'*+',)-./. 0 1# 2 2 G 8hyy !" GhCyvr #$!% '$ & '%$ STORNOWAY www.angusmaciverbuildingsupplies.co.uk Balti House " $"$ % Ury) '$ &$( (Ah) '$ &#&#" \ !" EVENTS SECTION ONE - Page 2 www.hebevents.com 02/11/17 - 06/12/17 Stornoway to light up for Christmas – but needs help! tornoway will shine bright for the festive season this year and we want to brighten the town up for everyone. Swith a Christmas Lights Switch-on event due to be held on “The public can also support us by choosing the Amenity Trust December 8th. to receive ‘Bags of Help’ tokens in Tesco. You receive tokens at the Stornoway Amenity Trust have faced cuts to funding for Christmas checkout and can drop them into the box on the way out. We would Lights for several years but this year, the group is benefi tting from be very grateful for support from the public in this way.” the launch of the Western Isles Lifestyle Lottery and is also in line for Tickets for Western Isles Lifestyle Lottery to support local funding from the Tesco ‘Bags of Help’ initiative. -
The Royal Photographic Society of Great Britain Is a Company Registered COVER IMAGE: in England and Wales No
FREE GALLERY ENTRY The Royal Photographic Society 2020 EXHIBITIONS EVENTS SCREENINGS WORKSHOPS 337 Paintworks, Arnos Vale, Bristol, BS4 3AR – MARCH JANUARY Extended until 26 January FREE EXHIBITION ADMISSION Sugar Paper Theories Jack Latham Using the most controversial murder investigation in Icelandic history, Jack Latham explores the fundamental relationship between the medium of photography and truth. The Guðmundur and Geirfinnur case has become the biggest and most controversial murder investigation in Icelandic history. For the project, Sugar Paper Theories, British Photographer, Jack Latham, immersed himself in all aspects of the case, from meeting key protagonists to locating and photographing key sites of the investigation. Latham’s project brings together original photographs with a range of archival and documentary materials to explore the fundamental relationship between the medium of photography and truth. From police files to conspiracy theories, forensic science to the notion of Memory Distrust Syndrome, Sugar Paper Theories plays on issues of certainty and uncertainty, the unreliability of memory, and the power of suggestion. Jack Latham is a Bristol based photographer. He is the author of several photobooks; A Pink Flamingo (2015), Sugar Paper Theories (2016) and Parliament of Owls (2019). His work has been exhibited internationally including solo shows at Reykjavik Museum of Photography and TJ Boulting Gallery, London. Latham’s projects have received multiple awards including the Bar-Tur Photobook award (2015), Image Vevey – Heidi.News Prize (2019) and most IMAGE: recently, BJP International Photography Award (2019). © JACK LATHAM Sighting #2 Sugar Paper rps.org/SPT Theories 2015 15 February – 22 March FREE EXHIBITION ADMISSION International Photography Exhibition 162 The International Photography Exhibition (IPE) is selected from an annual international open-call to photographers and image-makers. -
Anne Brigman Visionary in Modern Photography
ANNE BRIGMAN VISIONARY IN MODERN PHOTOGRAPHY Photographer, poet, critic, and mountaineer, Anne Brigman (1869-1950) is best known for her figurative landscape images made in the Sierra Nevada in the early 1900s. During her lifetime, Brigman’s significance spanned both coasts of the United States. In Northern California, where she lived and worked, she was a leading Pictorialist photographer, a proponent of the Arts & Crafts movement, and a participant in the burgeoning Berkeley/Oakland Bohemian community. On the East Coast her work was promoted by Alfred Stieglitz, who elected her to the prestigious Photo-Secession and championed her as a Modern photographer. Her final years were spent in southern California, where she wrote poetry and published a book of photographs and poems, Songs of a Pagan, the year before she died. This retrospective exhibition, with loans drawn from prestigious private and public collections around the world, is the largest presentation of Brigman’s work to date. ***** The exhibition is curated by Ann M. Wolfe, Andrea and John C. Deane Family Senior Curator and Deputy Director at the Nevada Museum of Art. We thank the following individuals for their scholarly contributions and curatorial guidance: Susan Ehrens, art historian and independent curator; Alexander Nemerov, Department Chair and Carl & Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University; Kathleen Pyne, Professor Emerita of Art History at University of Notre Dame; and Heather Waldroup, Associate Director of the Honors College and Professor of Art History at Appalachian State University. ENTRANCE QUOTE Close as the indrawn and outgoing breath are these songs Woven of faraway mountains … and the planes of the sea … Gleaned from the heights and the depths that a human must know As the glories of rainbows are spun from the tears of the storm. -
02Nordström Final
Alison Nordström The Pictorialist Object Lecture on November 21, 2013 on the occasion of the symposium “Inspirations – Interactions: Pictorialism Reconsidered” The context of this paper is a reconsideration of Pictorialism, a turn-of-the-last-century art movement that we historians of photography seem to reconsider on a regular basis, with each reconsideration bearing a reflection of its own times, particular interests, ideologies, and concerns. Today, our times are characterized by an enthusiasm for multiple perspectives and multiple points of view in photographic studies. Today, as was perhaps not the case at the turn of the last century, or even a generation ago, there is no singular aesthetic manifesto, not one dominant journal, no towering leader whose favoritisms and fallings out are legendary. I am just as happy to be moving forward without relying on a solitary arbiter like a Stieglitz, a Newhall, or a Szarkowski in what is today a larger, infinitely more diverse photographic community, but we must acknowledge their influences on how we were trained, and how we think about photographs, especially Pictorialist photographs. I am not an art historian; my work on Pictorialism reflects my training and interest in the discipline of cultural studies, specifically the study of material culture. I have spent my career working in museums, and my research and teaching have generally been with collections’ objects rather than with images viewed on a computer monitor, as projections on a screen, or on the printed page. It goes without saying that I think of photographs as things. I know from my own experience as a collections manager that they take up space and must be moved and handled in order to be used. -
PURPOSE of REPORT to Consider a Revenue Funding Bid by an Lanntair Ltd
SUSTAINABLE DEVELOPMENT COMMITTEE 21 FEBRUARY 2018 AN LANNTAIR REVENUE FUNDING 2018/19 Report by Director of Development PURPOSE OF REPORT To consider a revenue funding bid by An Lanntair Ltd. for 2018/19. COMPETENCE 1.1 There are no legal, financial, equalities or other constraints to the recommendations being implemented. Provision exists within the Development Department Arts Revenue Budget. SUMMARY 2.1 An Lanntair Arts Centre (An Lanntair) is a nationally acclaimed and internationally renowned cultural hub. Comhairle support enables An Lanntair to deliver a year round programme of high quality visual art exhibitions, performing arts events, cinema screenings and educational activities which provide significant economic and social benefits for the Outer Hebrides. 2.2 Creative Scotland has acknowledged An Lanntair’s achievements and status by awarding the organisation £1,210,000 in three year Regular Funding for the period to 2018-2021. This releases an average of £403,333 per annum, with no increase on their 3 year Regular Funding Award for the period 2015/18. The bidding process for three year Regular Funding by organisations throughout Scotland was extremely competitive. A target figure of £69, 350 per annum in partnership funding from the Comhairle was an important factor in the leverage of this significant sum from Creative Scotland. 2.3 An Lanntair Ltd. and its trading subsidiary An Lanntair Trading currently employs 49 individuals across the organisation from programmers and curators to hospitality and catering staff. In addition to PAYE staff An Lanntair annually generates work for approximately 32 freelance artists based in the Outer Hebrides via the Education, Exhibitions and Performing Arts Programme. -
An Oeo ^Rejne Il.Lrl'j
an oeo ^RejNe iL.lrl'j, Talje Monthly Magazine of Jin Qommn Cjaidhealaed Volume XV. Oct., 1919, to Sept., 1920, inclusive. AN COMUNN GAIDHEALACH, 114 West Campbell Street, Glasgow. CONTENTS GAELIC DEPARTMENT. PAGE PAGE Am Fear Deasachaidh — Am Meirleach’sa Chuid Bhan, - 115 A Bhliadhn’ Ur, ... 49 An Gaidheal an Canada, ... 6 Am Mod, 17 An Da Mharsanta, - 135, 148 Adhartas, - - - - - - 161 An Comunn Gaidhealach, . - - 15 An “Glasgow Herald” agus a’ Ghaidhlig, 65 An Uair a bha a’ Ghaidhlig aig na h-e6in, 11 Comh-Chruinneachadh nan Ceilteach, - 1 Cruinne Eblas: Alba, 12, 74, 108, 126, 140, 153 „ „ „ „ 145 Dealbh-Chluich air son Chloinne, - 157, 169 Geann-Suidhe a’ Chomuin is a Thurus, - 113 Diasan Gaidhealach, - - 93, 103 Cnuasachd is Hud no Dha Eile, - 81 Eilean Da Dhealgain, - - - - 146 „ „ „ - - 97 Laoidh Mhaoil-Iosa, - - - 153 Cor na Duthcha aig an Am, - - 1 29 Litir gu an Fhir Dheasachaidh, - - 61 C6 De’n Triuir Da’m Buin Thul - 177 Mo Bhandia Bhoidheach, - - 14 Moran ’ga Radh is Beagan ’ga Dheanamh, 33 Mu Shealg Dheireannach Oisein, - - 181 Aiseirigh “Alba,” - - - - 80 Na Piocaich, - 76 Alasdair Mac an Impire, - 38, 55, 77, 87 Na h-Uighean, - 16 Am Madadh Ruadh, .... 3 Oraid a’Chinn-Shuidhe, - - 21 Bardachd. PAGE PAGE An Duhh Ghleannach (ce61), - - - 90 Mo Dhuthaich Fhein, - - - - 37 Brosnachadh Nan Gaidheal, - - - 180 Oran Do’n Reisimeid Chataeh, - - 165 Donnchadh Mac Gilleleith, - - - 54 Oran Gaoil, - - - - - - 155 Fraoch Geal, 76 Pangur Ban, - - - - - - 189 Moladh Ghlinne Comhann, - - - 142 Plobaireachd Dhomhnuil Duibh, - - 114 Miann an Eilthirich (Ceol), - - - 59 Address presented to Mr. Malcolm Macleod, 67 3 ENGLISH DEPARTMENT. PAGE -An Comunn in Ross-shire, - - - 127 Mod in Edinburgh— Awakening of Skye, - - - - 123 Official Opening, - 18 Backbone of the Nation, . -
The Nudes of William Mortensen
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2010 The ommC and to Look: The udesN of William Mortensen Heather Pridemore Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Pridemore, Heather, "The ommC and to Look: The udeN s of William Mortensen" (2010). Theses and dissertations. Paper 1578. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. THE COMMAND TO LOOK: THE NUDES OF WILLIAM MORTENSEN by Heather Pridemore, BFA, University of South Florida, May 2007 A thesis presented to Ryerson University in partial fulfillment of the requirements of the Master’s degree in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2010 © Heather Pridemore, 2010 I hereby declare that I am the sole author of this thesis or dissertation. I authorize Ryerson University to lend this thesis or dissertation to other institutions for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis or dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii ABSTRACT The Command to Look: The Nudes of William Mortensen considers the use of the female form by William Herbert Mortensen (American, 1897-1965), who during his life was a prominent pictorialist photographer, writer, and teacher. -
Pictorialism in Cinema
Pictorialism in Cinema Pictorialism in Cinema: Creating New Narrative Challenges By Jarmo Valkola Pictorialism in Cinema: Creating New Narrative Challenges By Jarmo Valkola This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Jarmo Valkola All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9762-0 ISBN (13): 978-1-4438-9762-4 CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Chapter One ............................................................................................... 31 Investigations in Pictorialism: A Comparative View Chapter Two .............................................................................................. 55 Pictorial Communication: Reflections on Theoretical Perspectives Chapter Three .......................................................................................... 105 The Pictorial Image: Studies on Visuality Chapter Four ........................................................................................... -
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 i © 2014 Jennifer Elizabeth Anne Rudd All rights reserved ii Abstract Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an “unposed” aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon’s pioneering photojournalism, Humphrey Spender’s politicized sociological photography, and Walker Evans’ complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with—or contested—political and cultural developments of the interwar period in Germany, Britain, and the United States. -
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY Online Links: Early Photography - Smarthistory (no video) Daguerre's Paris Boulevard - Smarthistory (No Video) Making Daguerreotypes - Video on Smarthistory The Wet Collodion Process - Video on Smarthistory Julia Margaret Cameron's Mrs. Herbert Duckworth - Smarthistory (No Video) Clementina Hawarden's Photographs – Smarthistory Timothy O'Sullivan's Ancient Ruins in the Canon de Chelle - Smarthistory (No Video) Emerson's Naturalistic Photography - Video on Smarthistory TWENTIETH-CENTURY PHOTOGRAPHY Online Links: Early Modern Photography – Smarthistory August Sander's Portraits - Smarthistory Cartier-Bresson Behind the Gare St. Lazare – Smarthistory Stieglitiz's The Steerage - Smarthistory (no video) The “first” photograph, or more specifically, the world's first permanent photograph from nature, was taken by Joseph Nicéphore Niépce in 1826 or 1827. The image depicts the view from an upstairs window at Niépce's estate, Le Gras, in the Burgundy region of France. Niépce's invention represents the origin of today's photography, film, and other media arts. Niépce developed an interest in science when he began working with his brother, Claude, on various experiments and inventions. This photograph was only discovered in 2002 and is now known to be the very first permanent photograph ever taken by Nicéphore Niépce – the father of photography. It is an image of an engraving of a man walking a horse and it was made using a technique known as heliogravure. The method involves a piece of copper covered with light sensitive bitumen. This metal plate is exposed to light and creates an image which is then transferred to paper. -
The Big Picture Features EXHIBITION QUICK FACTS Photographic Works Recently This Exhibition Contains 99 Photographic Works by a Wide Variety of Artists
Teacher Guide | Apr. 28 – Oct. 7, 2018 45th & Oak, Kansas City, MO nelson-atkins.org The Big Picture features EXHIBITION QUICK FACTS photographic works recently This exhibition contains 99 photographic works by a wide variety of artists. acquired by the Nelson-Atkins The works included span the years 1826 to 2016. through a $10 million gift from Most of these photographs are black-and-white; a few are in color. Many the Hall Family Foundation. of them measure at least 7 x 9 inches, making it possible for 3–4 students This transformative gift allowed to examine a single image at the same time. Some of the older works are the museum to enhance areas significantly smaller. of strength within the existing The exhibition includes a few images of nude or partially nude photography collection while human figures. expanding into new areas of interest. Photographs in The Big KEY AREAS OF THE EXHIBITION Picture present an array of time periods, styles, and subject matter The Big Picture gives special consideration to a few key areas within the in keeping with the medium’s rich museum’s photography collection: history and varied applications. Daguerreotypes – The first commercially successful form of photography. Some of the most celebrated Avant-garde photography – A stylistic movement that sought new forms photographers in history, such as of visual expression. It often emphasized energy, dramatic angles, and the Diane Arbus, Robert Frank, Cindy questioning of traditional norms. Sherman, and Edward Steichen, Conceptual photography – Photography that illustrates an idea, whether are represented here. by documenting a performance art piece or communicating through visual symbols.