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Eduardo Del Valle & Mirta Gómez
EDUARDO DEL VALLE Professor Department of Art & Art History [email protected] CURRICULUM VITAE PERSONAL INFORMATION Eduardo del Valle, American, born Havana, Cuba 1951. EDUCATION Master of Fine Arts in Art, Brooklyn College of the City University of New York, Brooklyn, NY, 1981. Bachelor of Fine Arts in Art, Florida International University, Miami, FL, 1976. Associate of Arts, Miami-Dade Community College, South Campus, Miami, FL, 1974. MONOGRAPHS ON VIEW, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2012. ISBN 978-1-59005-342-7 EN VISTA, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2009. ISBN 978-1-59005-262-4 WITNESS NUMBER FOUR, Artists and Guest Editors, Eduardo del Valle & Mirta Gómez. JGS, Inc. 2008. ISBN 978-1-59005-220-4 BETWEEN RUNS, Photographs by Eduardo del Valle & Mirta Gómez. Essay by Chris Pichler, Director of Nazraeli Press, Portland, OR. The Nazraeli Press, 2006. ISBN 1-59005-168-8 FRIED WATERS, Photographs by Eduardo del Valle and Mirta Gómez. Essay by Mark Haworth-Booth, Senior Curator of Photography, The Victoria and Albert Museum, London. The Nazraeli Press, 2005. ISBN 1-59005-090-8 FOUR SECTIONS OF TIME, Photographs by Eduardo del Valle & Mirta Gómez, The Nazraeli Press, 2004. ISBN 1-59005-077-0 FROM THE GROUND UP, Photographs by Eduardo del Valle & Mirta Gómez. Essays by Sandra S. Phillips, Senior Curator of Photography, San Francisco Museum of Modern Art and Richard Rodriguez, author and essayist on the NewsHour with Jim Lehrer on PBS. The Nazraeli Press, 2003. ISBN 1-59005-054-1 FELLOWSHIPS & GRANTS (selected) John Simon Guggenheim Memorial Foundation, Two Individual Artists Fellowships for Photography, New York City, NY, 1997-98. -
Faces of Diplomatic Security
UNITED STATES DEPARTMENT OF STATE BUREAU OF DIPLOMATIC SECURITY FACES OF DIPLOMATIC SECURITY YEAR IN REVIEW 2015 On the cover: Highlighted in this OUR MISSION: The Bureau of Diplomatic Security (DS) is the law enforcement and security edition of the DS Year in Review arm of the U.S. Department of State. It bears the core responsibility for providing a safe are nine Diplomatic Security (DS) environment for the conduct of American diplomacy. DS is the most widely represented U.S. personnel representing the diversity law enforcement and security organization in the world and protects people, property, and of skills that help DS fulfill its information at 275 State Department missions around the globe. To achieve this mission, DS is broad law enforcement and a leader in mitigating terrorist threats to American lives and facilities, mounting international security mission. (U.S. Department of State photos) investigations, and generating innovations in cyber security and physical security engineering. BUREAU OF DIPLOMATIC SECURITY YEAR IN REVIEW 2015 02 Message from the Assistant Secretary for Diplomatic Security 05 Embassies: On the 30 Investigating Terror 44 Critical Information Front Lines and Crime • Cyber Defenders..... 44 • Mali Hotel Rescue ...5 • Investigations ....... 30 • The Face of DS: • The Face of DS: • The Face of DS: Chris Buchheit....... 45 Carrington Johnson .. 9 Marcus Purkiss ...... 33 • Command Center.... 46 • Embassy Havana • Most Wanted ....... 35 • The Face of DS: Opens ............. 10 • Field Notes.......... 36 Anthony Corbin .....47 • The Face of DS: • OSAC .............. 48 Michelle Dube....... 11 • Recruiting • Kathmandu and Vetting ......... 50 Earthquake ......... 12 • The Face of DS: Jason Willis ......... 13 • 2015 Attacks ....... -
Soros Foundations Network Report
2 0 0 7 OSI MISSION SOROS FOUNDATIONS NETWORK REPORT C O V E R P H O T O G R A P H Y Burmese monks, normally the picture of calm The Open Society Institute works to build vibrant and reflection, became symbols of resistance in and tolerant democracies whose governments SOROS FOUNDATIONS NETWORK REPORT 2007 2007 when they joined demonstrations against are accountable to their citizens. To achieve its the military government’s huge price hikes mission, OSI seeks to shape public policies that on fuel and subsequently the regime’s violent assure greater fairness in political, legal, and crackdown on the protestors. Thousands of economic systems and safeguard fundamental monks were arrested and jailed. The Democratic rights. On a local level, OSI implements a range Voice of Burma, an Open Society Institute of initiatives to advance justice, education, grantee, helped journalists smuggle stories out public health, and independent media. At the of Burma. OSI continues to raise international same time, OSI builds alliances across borders awareness of conditions in Burma and to support and continents on issues such as corruption organizations seeking to transform Burma from and freedom of information. OSI places a high a closed to an open society. more on page 91 priority on protecting and improving the lives of marginalized people and communities. more on page 143 www.soros.org SOROS FOUNDATIONS NETWORK REPORT 2007 Promoting vibrant and tolerant democracies whose governments are accountable to their citizens ABOUT THIS REPORT The Open Society Institute and the Soros foundations network spent approximately $440,000,000 in 2007 on improving policy and helping people to live in open, democratic societies. -
Frank Gohlke: Where We Live Queens, New York 2003-2004
Frank Gohlke: Where We Live Queens, New York 2003-2004 27 June – 22 August, 2008 Artist’s Reception Wednesday, 26 June, 6-8 pm New York - Howard Greenberg Gallery is pleased to announce an exhibition of Frank Gohlke’s photography. A reception for the artist is scheduled for Thursday, 26 June, from 6:00 to 8:00 p.m. Recognized as one of the most influential and reflective American landscape photographers, Gohlke takes us to Queens, NY for this exhibition. Queens is both a destination and a way station, where ethnic diversity first undergoes the turbulent process of Americanization. What interests Gohlke in this borough are the visible traces of this process in the urban/suburban landscape. His hunch is that every step in this complex transformation can be observed somewhere in Queens if one knows where to look. Gohlke’s photographs speak with precision and economy, inspired by the straightforwardness of their subjects—they are quiet, spare, and elegant. He first gained notice as one of ten photographers included in the landmark exhibition New Topographics: Photographs of a Man-altered Landscape. Organized in 1975 by the International Museum of Photography at George Eastman House, this exhibition re- defined landscape photography in America and abroad. Rather than romanticized views concentrating on the idea of wilderness, the photographers in this exhibition described places where a human presence was acknowledged as the actual condition of our time. Throughout his career, Gohlke has carefully defined urban, suburban, and rural landscapes. Almost every image carries a human mark, even if it is as subtle as the engraved lines of a tilled field. -
Of Embedded Journalism: the New Media/Military Relationship by Kylie Tuosto
Stanford Journal of International Relations The "Grunt Truth" of Embedded Journalism: The New Media/Military Relationship By Kylie Tuosto The following article is an exploration and critique of the media-military relationship during times of war. War correspondence has always required a difficult balance of censorship and free press, but with advances in technology and the use of embedded reporters, the problem has grown quite complex. This article argues that in addition to the classic problems of objectivity in war correspondence, the use of embedded reporters has also led to an unprecedented media-military collaboration. A collaborative effort by both the government and the so-called "free press" allows for a pro-war propaganda machine disguised as an objective eyewitness account of the war effort in Iraq. The problems exposed in this article have greater implications for the media and government relationship at large and open { doors for further research and exploration of war correspondence in general. } Longwarjournal.com Embedded journalists make scenes like this one from Jalulah, Iraq accessible to the American public, but at what cost? 20 • Fall/Winter 2008 Embedded Journalsim “We didn’t want to be in bed with the military, tactics, few, if any, questioned US policy. Then, in 1968, but we certainly wanted to be there.” the Tet Offensive changed the media’s perspective on war. – Marjorie Miller, editor of the Los Angeles Times As American troops began to lose significant battles for the first time, the public and press began to challenge America’s merican journalism today has evolved such that decision to continue the fight in Vietnam. -
Introduction Case Study: Photography Into Sculpture
INTROduCTION Case Study: Photography into Sculpture In 1979, Peter Bunnell, the David Hunter McAlpin Professor of the History of Pho- tography and Modern Art at Princeton University, gave a lecture at Tucson’s Center for Creative Photography (CCP) titled “The Will to Style: Observations on Aspects of Contemporary Photography.”1 James Enyeart, the CCP’s director, introduced Bunnell and listed his many accomplishments, including his tenure as a curator of photography at the Museum of Modern Art (1966– 72), noting in particular his 1970 exhibition there Photography into Sculpture. Enyeart called it “one of the preeminent exhibitions of the decade.” But at the end of the talk, the focus of which was not photo sculpture or other experimental forms, but straight photography, Bunnell offered his own assessment of the exhibition, which was decidedly less positive. In his complex and carefully argued lecture, Bunnell defended Garry Winogrand and Lee Friedlander, whose work had recently come under attack by Janet Malcolm in her New Yorker essay “Diana and Nikon” for making presumably style-less photographs that were “indistinguishable” from snapshots and just as unsophisticated and offhand as those made by amateur photographers.2 Bunnell argued that Winogrand’s and Fried- lander’s photographs were absolutely not snapshots, and demonstrated the point by com- paring them to actual snapshots taken by random amateurs who had participated in Ken Ohara’s Snapshot Project.3 Citing the Russian formalist Victor Shklovsky and the Marxist cultural critic Fredric Jameson, Bunnell asserted that “defamiliarization” was one of the primary strategies deployed by Winogrand and Friedlander, noting that “in their hands, defamiliarization became an attack . -
An Analysis of Contemporary Landscape Photography and Environmentalist!!
Neutralized Landscapes and Critical Spaces: An Analysis of Contemporary Landscape Photography and Environmentalist!! in the Art Museum by Karla McManus A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University OTTAWA, Ontario (May 1st, 2009) © 2009, Karla McManus Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-51996-7 Our file Notre reference ISBN: 978-0-494-51996-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Thorne Anderson Curriculum Vitae, Updated January 2019
Thorne Anderson Curriculum Vitae, Updated January 2019 EDUCATION 1994-1997 University of Missouri-Columbia; M.A. in Journalism and Mass Communication Master’s Project: A Tale of Two Settlements: Employing Ethnographic Photoelicitation Techniques in the Production of Cross-Cultural Documentary in the Missouri Bootheel Advisory Committee: Dr. Loup Langton, Chair (Photojournalism), Dr. Peter Gardner (Anthropology), and Jan Colbert (Journalism) 1985-1989 Rhodes College; Memphis, Tennessee; B.A. in Psychology POSTGRADUATE EDUCATION 2008-2009 Affiliate to the Nieman Foundation for Journalism at Harvard University. Studied non-profit organization at the Harvard Business School, American government with David Gergen at the Kennedy School of Government, semiotics with Robin Kelsey, Mozart sonatas with Robert D. Levin, history of documentary film with Scott McDonald, and documentary film production with Robb Moss. Attended once weekly journalism skills and techniques seminars in the Nieman Foundation for Journalism. ACADEMIC APPOINTMENTS 2009-Present University of North Texas, Frank W. & Sue Mayborn School of Journalism Mayborn Endowed Chair for Narrative & Multimedia Journalism, August 2018 Associate Professor, Tenured and Promoted to Associate Professor, June 2015 Member of both the Undergraduate and Graduate School Faculties 2015-2016 Foundry Photojournalism Workshops Faculty Member This renowned annual immersive workshop for emerging professionals takes place over one week in July in a different country each year. The faculty includes some of the most esteemed photojournalists working today, including Ron Haviv, Maggie Steber, John Stanmeyer, Andrea Bruce, Paula Bronstein, Stephanie Sinclair, Adriana Zehbrauskas, Jodi Bieber, and Kael Alford. 1996-1998 American University in Bulgaria Full-Time Adjunct Professor of Journalism and Mass Communication, Instructor in fundamentals of journalism, basic reporting, basic and advanced photojournalism, still and video documentary production, visual communication, graphic design and numerous independent studies. -
American Geography: Pictures of the Land, from the Mid-19Th Century to the Present
American Geography: Pictures of the Land, from the Mid-19th century to the Present OLLI Class taught by Sandra S. Phillips, Fall 2020 This class examines how we have represented land use in the United Stated in photographs from the mid-19th century to our own time chronologically. I will suggest readings a little later. The course will examine and discuss the following topics in this order: 1. How did photographers in the 19th century think of land in the tradition of portraiture? The Southworth and Hawes partnership in Boston. Daguerreotypes in the Northeast, the rise of industrialism in the tradition of farming, the Erie Canal, the growth of New York City. Other centers for photography of land in the 19th century, St. Louis, the “Gateway to the West,” and the work of Thomas Martin Easterly who documented its citizens and environs, and the many pictures made during the Gold Rush in Northern California. 2. Regional photography before and after the Civil War in the Northeast, Midwest and South, and the land uses sustained in these regions. The construction of the railroad and expeditionary photography in the West sponsored by the government after the Civil War. The development of the West. 3. The evolution of tourism and the development of the pocket camera by Kodak, the evolution of the automobile, National Parks and tourism. How did travel for pleasure evolve in the U.S., when and where? A discussion of the sites Niagara Falls, Yosemite and Yellowstone, their role in American history. 4. Ansel Adams’s role in photography of the West, in the evolution of the Sierra Club, and considering the use of photography to achieve broad conservation ideals from the 1930s to his defense of conservation to Ronald Reagan. -
Oral History Interview with Robert Adams, 2010 July 20
Oral history interview with Robert Adams, 2010 July 20 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Robert Adams on 2010 July 20. The interview took place in Astoria, OR, and was conducted by Toby Jurovics for the Archives of American Art, Smithsonian Institution. Toby Jurovics reviewed the transcript with Robert Adams. Their emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview TOBY JUROVICS: This is Toby Jurovics, curator of photography at the Smithsonian American Art Museum. And I'm sitting here with Robert Adams at his kitchen in Astoria, Oregon. It is July 20, 2010. You agree to these facts as they are stated. [Laughs.] ROBERT ADAMS: All right. All right. I won't back out. TOBY JUROVICS: Well, why don't we just start by going a little bit over biography. You were born in Orange, New Jersey. Is that— ROBERT ADAMS: That's true. My father always told me I was born across the street from Tony Galento's saloon, who was apparently a major gangster of the New Jersey scene. That's my only claim to fame—[they laugh]— unless you figure that it's not too far from Hoboken [NJ], where all kinds of good photographic history occurs. -
Eliot Porter
FRAMING IDEAS Landscape and Place Images from the collection of the MoCP for classroom use. This image set corresponds with a curriculum guide that can be found at http://www.mocp.org/education/resources-for- educators.php These resources were created with special support from the Terra Foundation for American Art. Ansel Adams Bridalveil Fall, Yosemite National Park, California, n.d. Ansel Adams Gunlock, Washington County, Utah, 1953 Ansel Adams El Capitan, Yosemite National Park, California, 1956 Ansel Adams (American, 1902-1984) Ansel Adams’s documentation of the western landscape has taken on iconic significance as one of the defining purist visions of both the American West and of the photographic medium. Images such as this one, taken within the National Park System, have frequently been used to promote tourism and preservation of the landscapes they portray. El Capitan is a subject Adams photographed repeatedly, using the mountain’s towering presence to signify the sublime and unfathomable vastness of nature. Compositionally, Adams tends to frame these monuments of nature so that their iconic character is evoked, and to this aim, he avoids including the tourists and signs of habitation that surround the sites. Born in San Francisco in 1902, Adams began working as an official photographer for the Sierra Club in 1928. In 1932 he and other California-based photographers, including Edward Weston, founded the group f64, which maintained an interest in the technically perfect photographic print. The name f64 is a reference to the smallest standardized aperture setting on the camera’s lens; photographs taken on this setting have the greatest depth of field meaning that nearly every object in the picture plane is in perfect focus. -
The Photographs of Allen Ginsberg
Beat Memories: The Photographs of Allen Ginsberg Poet, mystic, and spokesman for the Beat generation, Allen Ginsberg also photographed his friends and lovers over the years. He made albums of these photos, with elaborate hand- written captions. Allen Ginsberg’s photographs will be on view at the Grey Art Gallery at NYU from January 15 – April 6, 2013. Beat Memories: The Photographs of Allen Ginsberg © 2012 The Allen Ginsberg LLC. All rights reserved. © 2012 The Allen Ginsberg LLC. All rights reserved. © 2012 The Allen Ginsberg LLC. All rights reserved. “Beat Memories: The Photographs of Allen Ginsberg” January 15 – April 6, 2013 Grey Art Gallery NYU, New York, NY FRAMING SPECIFICATIONS AND ADVICE METRO GALLERY FRAME Thin Profile: 114 Type: thin gallery frame Wood & Finish: maple wood frame with black opaque finish Purchasing Options: joined wood frame with splines Framing Advice: fitting gallery frames Joseph D. Jachna: Surface Contradictions 1958-1971 For Joseph D. Jachna, photography has always been a spiritual practice. His photographs are quiet meditations—offerings from a lifelong naturalist. Jachna considers himself a poet with a camera, creating the visual equivalent of a Haiku. As with Haiku, the highest form of Japanese poetry, his ideas flow with an intensity created by combining a few carefully chosen elements in a spare and elegant framework. Surface Contradictions is comprised of over sixty previously unknown vintage photographs from the artist’s 1961 thesis project on the subject of water, along with images made several years later in Door County, Wisconsin. These photographs represent an overarching theme Jachna returned to time and again, all ideas of self – exploration, reflection, and expression.