Philip-Lorca Dicorcia Born 1951 in Hartford, Connecticut
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Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic. -
Accelerated Reader Quiz List - Reading Practice Quiz Book Title Author Points No
Accelerated Reader Quiz List - Reading Practice Quiz Book Title Author Points No. Level 61130 100 School Days Rockwell, Anne 2.8 0.5 EN 74705 100th Day of School Schiller, Melissa 1.8 0.5 EN 41025 100th Day of School, The Medearis, Angela Shelf 1.4 0.5 EN 35821 100th Day Worries Cuyler, Margery 3.0 0.5 EN 952 EN 100th Day Worries Cuyler, Margery 3.0 0.5 105005 13 Scary Ghost Stories Carus, Marianne 4.8 4.0 EN 11101 16th Century Mosque, A MacDonald, Fiona 7.7 1.0 EN 661 EN 18th Emergency, The Byars, Betsy 4.7 4.0 7351 20,000 Baseball Cards...Sea Buller, Jon 2.5 0.5 EN 30561 20,000 Leagues Under the Sea (Great Verne/Vogel 5.2 3.0 EN Illustrated Classics) 65532 2000 Presidential Election, The Landau, Elaine 7.7 1.0 EN 900355 2061: Photographing Mars (MH Brightfield, Richard 4.6 0.5 EN Edition) 904851 20th Century African American Sigue, Stephanie 6.6 1.0 EN Singers (SF Edition) 6651 24-Hour Genie, The McGinnis, Lila 3.3 1.0 EN 72205 3 Little Firefighters Murphy, Stuart J. 1.7 0.5 EN 166 EN 4B Goes Wild Gilson, Jamie 4.6 4.0 9001 500 Hats of Bartholomew Cubbins, Seuss, Dr. 4.0 1.0 EN The 413 EN 89th Kitten, The Nilsson, Eleanor 4.7 2.0 32378 A.I. Gang: Operation Sherlock, The Coville, Bruce 5.3 7.0 EN 32377 A.I. Gang: Robot Trouble, The Coville, Bruce 5.9 7.0 Accelerated Reader Quiz List - Reading Practice Quiz Book Title Author Points No. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Parrish Art Museum Annual Report 2019
REPORT 2019 PARRISH ART MUSEUM METRICS 60,981 734 TOTAL ATTENDANCE EDITORIAL PLACEMENTS 1,753 66 RESIDENT BENEFITS MEMBERS SCHOOL & COMMUNITY PARTNERSHIPS 4,173 305 MUSEUM MEMBERS ARTS + LANGUAGE STUDENTS ENGAGED 18 375 EXHIBITIONS ARTIST-IN-RESIDENCY STUDENTS 141 1,350 NEW ACQUISITIONS ACCESS PARRISH PARTICIPANTS 151 253 PERMANENT COLLECTION WORKS ON VIEW COLLABORATIVE & OUTREACH PROGRAMS 72 335 CONCERTS, TALKS, FILMS, PROGRAMS SCHOOL, GROUP, AND DOCENT-LED TOURS 30,024 81 SOCIAL MEDIA FOLLOWERS WORKSHOP SESSIONS FOR ADULTS 437 114 MOBILE APP USERS FAMILY PROGRAMS AND VACATION WORKSHOPS 2019 HIGHLIGHTS In 2019, the Parrish Art Museum continued its commitment to deepening The Education department, in addition to a rich schedule of classes and and expanding community partnerships; presenting engaging, unique workshops for children and adults, completed its fourth successful year of public programs; creating initiatives targeting underserved groups; Access Parrish, reaching nearly 1,400 people through 8 community organizing exhibitions that offered fresh scholarship on important artists partnership. 2019 marked the launch of Art in Corrections—a pilot and timely topics; and building its collection through the generosity of program at Suffolk County Correctional Facility in Riverhead, facilitated by foundations, artists, and individuals. The Museum added 140 new our own teaching artists Monica Banks, Jeremy Dennis, Eric Dever, Laurie paintings, photographs, and drawings in 2019, and more than 60 were on Lambrecht, Bastienne Schmidt, and Barbara Thomas. view. We are grateful for everyone who supported the Museum in 2019— We are truly grateful to The Saul Steinberg Foundation for its gift of 64 Our program and education funders and supporters of benefit events like works by the artist, and to Louis K. -
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
Festive Funnies
FINAL-1 Sat, Dec 7, 2019 5:24:40 PM tvupdateYour Weekly Guide to TV Entertainment For the week of December 15 - 21, 2019 Festive Funnies Homer from INSIDE “The Simpsons” •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 Cuddle up for a festive, fun-filled night on Fox, when TV’s funniest animated families are featured in four new Christmas specials that air on Sunday, Dec. 15. The festive episode of “The Simpsons” is the show’s 20th Christmas special, while “Bless the Harts” is celebrating its first. Add to that a “Bob’s Burgers” special and one from “Family Guy,” and you’ve got a full night of holiday fun. WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS ✦ 40 years in business; A+ rating with the BBB. ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 Group Page Shell PARTS & ACCESSORIES We Need: SALESMotorsports & SERVICE 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLEWANTED1 x 3” We are the ORIGINAL and only AUTHENTIC SELLBUYTRADEINSPECTIONS Score More CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car Sales This Winter at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 1615 SHAWSHEEN ST., TEWKSBURY, MA CALL (978)946-2000 TO ADVERTISE PRINT • DIGITAL • MAGAZINE • DIRECT MAIL Open 7 Days A Week ~ www.cashforgoldinc.com 978-851-3777 WWW.BAY4MS.COM FINAL-1 Sat, Dec 7, 2019 5:24:42 PM COMCAST ADELPHIA 2 Sports Highlights Kingston CHANNEL Atkinson Sunday 1:30 p.m. ESPN NFL Live Live 6:00 p.m. -
The Archival Trustworthiness of Digital Photographs
THE ARCHIVAL TRUSTWORTHINESS OF DIGITAL PHOTOGRAPHS IN SOCIAL MEDIA PLATFORMS by JESSICA BUSHEY MAS, The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Library, Archival and Information Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 © Jessica Bushey, 2016 Abstract No longer objects held in the hand, photographs are streams of bits, shared instantaneously across screens. From selfies to war reportage, the widespread use of smartphones for taking digital photographs and transmitting them to social media platforms is introducing new social practices, technological processes and legal contexts for record-making and recordkeeping, which impact the trustworthiness of digital photographs. This dissertation investigates current information practices by individuals for creating, managing, sharing and storing digital photographs. The research focuses on the factors that support or hinder the reliability, accuracy and authenticity of digital photographs. Using a qualitative research design, it explores how individuals’ activities and perceptions impact the value of digital photographs held in social media platforms as potential records to be acquired and preserved by archival institutions. A web-based survey reached social media members worldwide, and semi-structured interviews gathered in-depth data from a sample of survey participants. The research found that individuals are members -
CV 2010! Between Times
Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner! -
Where Diane Arbus Went
"PTOTOGRAPHY Where Diane Arbus Went A comprehensive retrospectiveprompts the author to reconsiderthe short yetpowerfully influential career of aphotographer whose 'Yfascinationwith eccentricity and masquerade brought her into an unforeseeable convergence with her era, and made her one of its essential voices." BY LEO RUBINFIEN _n Imagesfrom Diane Arbus's collage wall, including a number ofplctures tornfrom the pages of newspapers, magazines and books, several of her own roughprintsand a framedE.J. Bellocqphotograph printed by Lee Friedlander(center, at right). © 2003 The Estate ofDlaneArbus,LLC. All works this articlegelatin silver,prints. "I .1 or almostfour decades the complex, profound dedicated herself to her personal work, and by She described her investigations as adventures vision ofDianeArbus (1923-1971) has had an the decade's end she and her husband separated, that tested her courage, and as an emancipa- enormous influence on photographyand a broad though they remained married until 1969, and tion from her childhood's constrainingcomfort. one beyond it and the generalfascination with were close until the end of her life. Her essential At the same time, she worked as she wandered her work has been accompanied by an uncommon interestswere clear ofler 1956, andfor the next six freely in New York City, where ordinarypeople interest in her self Her suicide has been one, but years she photographedassiduously with a 35mm gave her some of her greatestpictures. Proposing just one, reasonfor the latter yetfor the most part camera, in locations that included Coney Island, projects to the editors of magazines that ificluded the events of her life were not extraordinary. carnivals, Huberts Museum and Flea Circus of Harper's Bazaar, Esquire and Londons Sunday Arbus's wealthy grandparentswere the found- 42nd Street, the dressing rooms offemale imper- 'Times Magazine, she was able to publish many of ers of Russek0, a Fifth Avenue department store. -
Leo Rubinfien Selected One-Man Exhibitions
Leo Rubinfien Born in 1953 in Chicago Selected One-man Exhibitions 2015 Steven Kasher Gallery, New York 2014 Taka Ishii Gallery Photography / Film, Tokyo 2013 Steven Kasher Gallery, New York Museo de Arte Contemporanea, Rome 2011 Yale University Art Gallery National Museum of Modern Art, Tokyo 2010 Taka Ishii Gallery, Tokyo 2009 San Francisco Museum of Modern Art 2008 Corcoran Gallery of Art, Washington, D.C. Robert Mann Gallery, New York 2001 Robert Mann Gallery, New York 1994 Robert Mann Gallery, New York Cleveland Museum of Art Seattle Art Museum 1993 Seibu Art Forum, Tokyo 1992 Metropolitan Museum of Art, New York 1 1987 Fraenkel Gallery, San Francisco 1982 Fraenkel Gallery, San Francisco 1981 Castelli Uptown Gallery, New York Selected Group Exhibitions 2015 Steven Kasher Gallery, New York 2014 Steven Kasher Gallery, New York 2010 Cincinnati Museum of Art 2007 Tokyo Metropolitan Museum of Photography 2002 Tokyo Metropolitan Museum of Photography 2001 Metropolitan Museum of Art 2000 Metropolitan Museum of Art 1998 Stanford University Art Museum 1994-2013 Robert Mann Gallery, New York, multiple exhibitions 1984 Museum of Modern Art 1983-1984 Light Gallery, New York, multiple exhibitions 1982 San Francisco Museum of Modern Art Corcoran Gallery of Art, Washington 1981-1990 Fraenkel Gallery, San Francisco, multiple exhibitions 2 1981 International Center of Photography, New York Institute of Contemporary Arts, London 1980-1983 Castelli Uptown Gallery, New York, multiple exhibitions Selected Books — photographs New Turns in Old Roads, Taka Ishii Gallery Photography / Film, Tokyo, 2014 The Ardbeg, Taka Ishii Gallery and KURENBOH, Tokyo, 2010 Wounded Cities (photographs and text), Steidl, 2008 A Map of the East, David R. -
Hearing Voices
FINAL-1 Sat, Dec 28, 2019 5:50:57 PM tvupdateYour Weekly Guide to TV Entertainment For the week of January 5 - 11, 2020 Hearing voices Jane Levy stars in “Zoey’s Extraordinary Playlist” INSIDE •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 In an innovative, exciting departure from standard television fare, NBC presents “Zoe’s Extraordinary Playlist,” premiering Tuesday, Jan. 7. Jane Levy (“Suburgatory”) stars as the titular character, Zoey Clarke, a computer programmer whose extremely brainy, rigid nature often gets in the way of her ability to make an impression on the people around her. Skylar Astin (“Pitch Perfect,” 2012), Mary Steenburgen (“The Last Man on Earth”). John Clarence (“Luke Cage”), Peter Gallagher (“The O.C.”) and Lauren Graham (“Gilmore Girls”) also star. WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS ✦ 40 years in business; A+ rating with the BBB. ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 Group Page Shell PARTS & ACCESSORIES We Need: SALESMotorsports & SERVICE 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLEWANTED1 x 3” We are the ORIGINAL and only AUTHENTIC SELLBUYTRADEINSPECTIONS Score More CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car Sales This Winter at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 1615 SHAWSHEEN ST., TEWKSBURY, MA CALL (978)946-2000 TO ADVERTISE PRINT • DIGITAL • MAGAZINE • DIRECT MAIL Open 7 Days A Week ~ www.cashforgoldinc.com 978-851-3777 WWW.BAY4MS.COM FINAL-1 Sat, Dec 28, 2019 5:50:58 PM COMCAST ADELPHIA 2 Sports Highlights Kingston CHANNEL Atkinson Sunday 11:00 p.m. -
From the Museum to the Street: Garry Winogrand's Public Relations and the Actuality of Protest
arts Article From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest Simon Constantine Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Received: 12 March 2019; Accepted: 16 April 2019; Published: 3 May 2019 Abstract: Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period. Keywords: street photography; Winogrand; formalism; protest; Vietnam War; documentary 1. Introduction In her 1981 essay, ‘In, Around and Afterthoughts (on Documentary Photography)’, Martha Rosler sought to reinvent documentary practice through a Marxist critique of its traditions, truth claims and political assumptions. However, in doing so, she also stressed the difference between this project and a second, reactionary attack upon photographic credibility; one conducted by a postwar art establishment, which sought to secure ‘the primacy of authorship’ and avoid the social by isolating images ‘within the gallery–museum–art–market nexus’ (Rosler 1992, p.