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Vii-Migration-Program Copy 3
PERSPECTIVES: MIGRATION NOVEMBER 14 & 15, 2015 Photo by Ashley Gilbertson Commemorating 10 years of VII and IGL collaboration and the 30th anniversary of the Institute for Global Leadership, the world’s leading photojournalists from the VII Photo Agency will explore their coverage of the continuing migration and merging of societies and cultures through a series of presentations and panels featuring recent work from the Syrian refugee crisis followed by a day of hands on workshops. THE AGENDA Saturday, November 14: SEMINARS 1:15 PM: PART ONE – HISTORY: The First Migration Sunday, November 15: Man has been seeking better opportunities since our ancestors’ first migration out WORKSHOPS of Africa. John Stanmeyer is documenting man’s journey and subsequent evolution with National Geographic’s Out of Eden Project – an epic 21,000-mile, 11:00 AM: Street Photography seven year odyssey from Ethiopia to South America. Ed Kashi and Maciek Nabrdalik will 2:00 PM: PART TWO – CRISIS: The European Refugee Crisis lead students around Boston and guide them on how to approach VII photographers are documenting the developing refugee crisis from its origins subjects, compose their frames, and in the Syrian uprising to the beaches of Greece and beyond. Technology has both find new and unexpected angles. An expanded the reach and immediacy of their work while challenging our definition editing critique with the of a true image. photographers will follow the VII Photographers: Ron Haviv, Maciek Nabrdalik, Franco Pagetti and Ashley shooting session. Gilbertson Panelist: Glenn Ruga, Founder of Social Documentary Network and ZEKE 11:00 AM: Survival: The Magazine Complete Travel Toolkit Moderated by Sherman Teichman, Founding Director, Institute for Global Leadership, Tufts University Ron Haviv will share tips and tricks on how best to survive and thrive in the 3:30 PM Break before, during, and after of a shoot. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Purnell, K. (2018). Grieving, Valuing, and Viewing Differently: The Global War on Terror's American Toll. International Political Sociology, 12(2), pp. 156-171. doi: 10.1093/ips/oly004 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/20315/ Link to published version: http://dx.doi.org/10.1093/ips/oly004 Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] International Political Sociology Counting, Valuing, and Grieving Differently: The Global War on Terror's American Toll Journal:For International Review Political Sociology Only Manuscript ID IPS-2017-0014.R3 Wiley - Manuscript type: Original Article Keywords: bodies, soldiers, visibility, militarism, grief In March 2003 (the eve of Iraq’s invasion) the George W. Bush Administration re-issued, extended, and enforced a Directive prohibiting the publication and broadcast of images and videos capturing the ritual repatriation of America’s war dead. This Directive (known as the Dover Ban) is exemplary of a wider set of more subtle processes and practices of American statecraft working to move suffering and dead American soldiers out of the American public eye’s sight. -
Thru the Lens Our Website Newsletter Email [email protected]
February 2013 Thru The Lens Our website Newsletter email www.parklandsphotoclub.org.au [email protected] Hello All, Welcome back to our first competition night. It was a big turn out with some truly diverse images. A quick reminder too- Don’t forget that that next month’s meeting will be on a Tuesday. Sydney Road Street Festival is coming up. Keep an eye out for an email with details and roster information. It’s a great promotion for our club and also a great day for street photography. Thanks to Clem for updating our website ready for 2013. It looks great. We have a fantastic team of volunteers at Parklands which is how we are able to have such a dynamic program. Keep Snapping, Paula [email protected] PRINT – Novice – Open 1st – ‘Brunswick Sunrise: 05:41am’ – Steven Lankshear 2nd – ‘Happy Mel’ – Susan Martin 3rd – ‘Better to Burn Out Than to Fade Away’ – Steve Lankshear HC – “Melbourne or Paris” – Katriona Fahey HC – ‘Fairy Wishes’ – Susan Cashin PRINT – Experienced 1st – ‘Fill’er Up’ – Charles Scicluna 2nd – ‘Mickey’ – Clem Warren 3rd – ‘Bichno’ – Mathew LaSala HC – ‘Flinders Street Station’ – Clem Warren HC – ‘Awaiting a New Dawn’ – Paul Grinzi DIGITAL – Novice 1st – ‘Odaiba Ferris Wheel’ – Ben Cippa 2nd – ‘Lotus Glow’ – Susan Martin 3rd – ‘Christmas Treats’ – Rachel Rutkowski HC – ‘Me and My Taj’ – Kath Kelly HC – ‘Jingu’ – Ben Cippa HC – ‘Come On In’ – Susan Martin HC – ‘Rosary’ – Emi Taylor HC – ‘Fire Dancers’ – Rodney Wee Club News Mini Workshop – 28th Feb – 7:30pm This month we will be looking at what makes a good Black and White photograph. -
2012 Biennial Magazine
Director’s Statement Welcome to FOTOFOCUS 2012! Created to provide sponsorship, marketing, coordination, and administrative assistance to its venue participants, FOTOFOCUS is delighted to see the regional art and academic com- munity enthusiastically embrace our debut biennial and our mission to spotlight photography, the medium of our time. We are here to offer you and your family and friends an unprecedented opportunity to learn about and experience the diverse currents of photography. FOTOFOCUS aspires to link Cincinnati’s rich tradition of support for artists and designers to the global con- versation surrounding the accessible and ubiquitous medium of photography. Over 70 venues are present- ing photography exhibitions including, the Cincinnati Art Museum, the Contemporary Arts Center, the Taft Museum of Art, the Dayton Art Institute, as well as such academic institutional partners as the University of Cincinnati, Art Academy of Cincinnati, Xavier University, Northern Kentucky University, Ohio University, Miami University, and Wright State University. In addition, we are proud to be a sponsor of Continuum, the 2012 Society of Photographic Educators Regional Conference, and to provide public bus tours of Cincinnati art galleries highlighting photography in the lively historic neighborhoods of Downtown, Over-the- Rhine, Mt. Adams, O’Bryonville, Oakley, Clifton, and Northside. FOTOFOCUS is collaborating with artists, curators, collectors, students, and academics to bring you a richly varied celebration of photography. Museums, galleries, and universities are all part of FOTOFOCUS, and they are showcasing world-renowned artists as well as regional photographic professionals. If time does not permit you to read the entirety of this program insert today, please, before you put this down, turn to page 47 and peruse the 10 pages of images and exhibition listings at the sites that are available to you in the month of October. -
The Internally Displaced People of Iraq
The Brookings Institution–SAIS Project on Internal Displacement The Internally Displaced People of Iraq by John Fawcett and Victor Tanner An Occasional Paper October 2002 The Internally Displaced People of Iraq by John Fawcett and Victor Tanner THE BROOKINGS INSTITUTION – SAIS PROJECT ON INTERNAL DISPLACEMENT 1775 Massachusetts Avenue, NW, Washington DC 20036-2188 and 1717 Massachusetts Avenue, Suite 555, NW, Washington DC 20036 TELEPHONE: 202/797-6145 FAX: 202/797-6003 EMAIL: [email protected] ABOUT THE AUTHORS John Fawcett has worked internationally for over twenty years for the private sector and organizations engaged with humanitarian assistance and human rights, including the International Crisis Group and the International Rescue Committee. Recent projects include work on humanitarian assistance to Iraq, security of NGO national staff, and preparing for post-conflict Afghanistan. He is also an advisor to the newly established Center for Humanitarian Cooperation. He is author of reports and articles in the humanitarian area, most recently “The Political Repercussions of Emergency Programs” (co-authored with Tanner), US Agency for International Development, March 2002. Victor Tanner conducts assessments, evaluations and field-based research specializing in the political aspects of humanitarian assistance programs, including for the World Bank, the UN Office for the Coordination of Humanitarian Aid to Afghanistan, the International Crisis Group and the Petroleum Finance Company. He worked in northern Iraq in 1991 and 1992 as a relief worker for the US Agency for International Development’s Office of Foreign Disaster Assistance. Tanner is a faculty member of the Johns Hopkins University School of Advanced International Studies in Washington DC where he teaches “Humanitarianism, Aid and Politics.” Fawcett and Tanner first met in northern Iraq in 1991. -
John Bradford at Anna Zorina Gallery in New York City,Rachel Doniger
John Bradford at Anna Zorina Gallery in New York City “Hamilton, History, Lincoln and Paint”, is John Bradford’s first solo exhibition at the Anna Zorina Gallery. The show features the artist’s latest paintings that offer his contemporary take on historical subjects. ABOUT THE EXHIBITION John Bradford: “I am employing violent scraping, palette knifing, dabbing, dripping, reducing, tearing apart, cutting through, and building up so the paint overwhelms with something very specific, yet distantly remembered from somewhere else. This process of abstracting and excavating these oft–told American histories simultaneously asserts my formal, absolute control of the surface while allowing me to retreat from the field”. John Bradford “Constitutional Convention” 60×78 acrylic and oil on canvas, 2018 This unbridled exploration can be seen in Publication of the Declaration and Abraham Speaking to the People at Gettysburg with their highly original use of Jean Paul Riopelle-like textured fields of paint deftly applied in a specific narrative context as means of capturing the deeply complex, often conflicting interactions in the psychology of a crowd. The sheer plasticity and expressionist aggression of Bradford’s negative spaces create “significant narrative gestures” throughout the pictorial surface to celebrate something entirely new: field painting of history. John-Bradford “Lincoln Addressing the People at Gettysburg” 48×60 acrylic and oil on canvas, 2017 The repertoire of techniques employed in these various historical paintings encompasses virtually the entire modernist lexicon and testifies to a painting life of unrelenting experimentation and invention. The magic is that a wide range of subjects, treated in surprisingly different ways, is so clearly the vision of a singular sensibility still committed to finding relevancy in our so tenuously shared national narrative. -
Gallery Frames
Collectors make a difference The South Dakota Art Museum has received an extensive, growing donation of valuable fine art prints that offer visitors an encyclopedic collection of printmaking from the 1960s, 1970s and early 1980s. The collection includes impressive examples of pop, op, abstract, color field and photo-realist art. The donation comes from Neil C. Cockerline, a former preservation services director and senior conservator with the Midwest Art Conservation Center in Minneapolis, MN in memory of his late mother Florence L. Cockerline. From initial appraisals, the value of the collection in today’s art market ranges between $500,000 and $1 million. Neil C. Cockerline holding a print by Robert Indiana called “Jo the Loiterer” The collection currently contains more than 400 prints and will continue to grow with the South Dakota Art Museum as its permanent home. The Cockerline Collection features more than 100 notable artists including Jim Dine, Robert Rauschenberg, Robert Motherwell, Andy Warhol, Henri Matisse and Robert Indiana. The works are all original prints which means the artist was present or had strict control of the piece during the printmaking process. After each edition is completed, the plate or screen used to make the print is destroyed, making all the pieces in the collection rare. “I chose to donate this collection to the South Dakota Art Museum because I knew the staff and university are very supportive of the museum, and they have a reputation of professionalism and a commitment to preservation. The collection will also attract people to the museum. There isn’t a collection like this in the state or nearby.” Cockerline selected each piece to be included in the first exhibition. -
Examining Subjectivity and Trauma in American Literary Journalism
The University of Maine DigitalCommons@UMaine Honors College Spring 5-2021 Speak for Yourself: Examining Subjectivity and Trauma in American Literary Journalism Nathaniel Poole Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Journalism Studies Commons, and the Rhetoric and Composition Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. SPEAK FOR YOURSELF: EXAMINING SUBJECTIVITY AND TRAUMA IN AMERICAN LITERARY JOURNALISM by Nathaniel Poole A Thesis Submitted to Partial Fulfillment of the Requirements for a Degree with Honors (English) The Honors College The University of Maine May 2021 Advisory Committee: Caroline Bicks, Stephen E. King Chair in Literature, Advisor Gregory Howard, Associate Professor of English Naomi Jacobs, Professor Emeritus of English Mark Brewer, Professor of Political Science Michael J. Socolow, Associate Professor of Communications and Journalism ABSTRACT Due to their relevance and emotional draw for readers, stories of tragedy and suffering are a nearly inescapable aspect of journalism. However, the routine reporting and formulaic styles associated with coverage of these events has contributed to audience compassion fatigue. Studies have been done on the success of some journalists who have historically pushed the boundaries of style and deployed literary strategies to elicit emotion and subvert compassion fatigue in their reporting. However, there is more room in the scholarship on this subject for studies of the specific strategies that contemporary literary journalism writers use and how they adapt them to the nuances of their subjects. -
2012 Biennial Catalogue
Jordan Tate, New Work #141, (detail), 2012, 1/10 framed Pigment Prints, each 16 x 20 inches, courtesy of the artist and Fred and Laura Ruth Bidwell Mission 1 Editors On the Cover James Crump Anthony Luensman Mission Director’s Statement 2 Linda Schwartz cloudhead, 2012, Co-Chair’s Statement 3 Judith Turner-Yamamoto photograph, 24" x 18" FOTOFOCUS recaptures the spirit of Cincinnati’s legacy as an Distinguished by a curatorial mandate set forth in inaugural meet- courtesy of the artist epicenter of art production and creative exchange, and seeks to ings with the region’s major art institutions and professionals, Spotlighting 5 Director, FOTOFOCUS and the Weston Art Gallery revitalize that spirit for the 21st century. Acting as a catalyst for FOTOFOCUS is co-chaired by James Crump, Chief Curator at the Mary Ellen Goeke Main FOTO 17 institutional collaboration and community engagement, FOTOFOCUS Cincinnati Art Museum, and Raphaela Platow, Alice and Harris Art Direction organizes a month-long biennial celebration spotlighting inde- Weston Director and Chief Curator of the Contemporary Arts Center, Alternate FOTO 44 pendently programmed exhibitions of historical and contemporary Cincinnati. FOTOFOCUS is a concept long envisioned by Thomas R. Richard Groot, Traction, photography and lens-based art. Schiff, a photographer and lifelong champion of the medium and Affiliated Activities 47 Cincinnati, OH an advocate for institutional alliances, as exemplified by the FOTO- Launching in October 2012, with many of the showcased exhibi- Exhibitions 49 Design FOCUS Lecture and Visiting Artist Series. tions continuing beyond, the FOTOFOCUS biennial presents an Jacob Drabik, Cincinnati, OH Lectures and Book Signings 54 unprecedented opportunity to learn about and experience the Copyright ©2012 by FOTOFOCUS, diverse currents of photography. -
Feeling War in the Twenty-First Century
UNIVERSITY OF CALIFORNIA SANTA CRUZ BLOOD WINGS: FEELING WAR IN THE TWENTY-FIRST CENTURY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Brenda Sanfilippo June 2014 The Dissertation of Brenda Sanfilippo is approved: _________________________________ Professor Wlad Godzich, chair _________________________________ Professor Susan Gillman _________________________________ Professor Murray Baumgarten _________________________________ Professor Todd Presner _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Brenda Sanfilippo 2014 Table of Contents Abstract . v Acknowledgments . vii Introduction . 1 I. Representing the Global War on Terror . 20 II. Methodology . 37 Chapter One Writing Invisible Wounds: Toni Morrison’s Home . 45 I. Causes and Consequences . 52 II. Treating the Unseen and Unspoken . 55 III. Writing Wars . 65 IV. Forgotten Wars, Then and Now . 80 V. Conclusion . 87 Chapter Two “The Days of Rambo are Over”: Women and War in Meg McLagan and Daria Sommers’ Lioness, Lea Carpenter’s Eleven Days, and Ha Jin’s Nanjing Requiem . 91 I. Women on the Battlefront . 109 II. Women on the Homefront . 126 III. At Home in a War Zone . 136 IV. Conclusion . 151 Chapter Three The Ace of Bloods: Lives Unled and Affective Truth in Ian McEwan’s Atonement and Ben Fountain’s Billy Lynn’s Long Halftime Walk . 154 I. Fictions and Atonement . 167 II. Buying into War: Billy Lynn’s Long Halftime Walk . 173 iii III. IV. Conclusion . 182 Chapter Four “The Real War Will Never Get in the Books”: Authenticity and Affect in Steven Spielberg’s Saving Private Ryan, Kathryn Bigelow’s The Hurt Locker, and Video Games. -
COLLATERAL DAMAGE: the Human Face of War
COLLATERAL DAMAGE: The Human Face of War Since its inception photography has played an important role in documenting the effects of war. This exhibit features four very brave photographers who show us some of the unintended consequences of war. COLLATERAL DAMAGE: The Human Face of War opens at the Stephen Daiter Gallery Friday September 7th. The exhibit will be on view thru December 1, 2012. A reception for the artists will be held at the gallery on Sunday September 23 from 10 am to 1 pm. the reception is on the one year anniversary weekend of the repeal of “Don’t Ask/Don’t Tell.” Some proceeds from the sales of prints in the exhibition will benefit post-traumatic stress support groups such as Wounded Warriors. In the case of sales of prints from the Gays in the Military series, funds will be sent to the Service members Legal Defense Network, an organization that advocates for LGBT personnel. The following tells more about the photographers featured in the exhibit. Samantha Appleton examines the maleness of the atmosphere of war. She photographed men and boys, soldiers and civilians, as they move through the fog of war. Samantha Appleton is a photographer concentrating on historic trends. She began her career as a writer and became a photographer after assisting James Nachtwey. Her work strives to show that quiet, subtle moments make up the complicated components of large news stories. The bulk of her career has covered many of the most tumultuous, man-made events of the past decade. Primary stories have included conflict in Iraq, Afghanistan and Lebanon, social issues in Africa, and immigration in the US.