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Charles Darwin: a Companion
CHARLES DARWIN: A COMPANION Charles Darwin aged 59. Reproduction of a photograph by Julia Margaret Cameron, original 13 x 10 inches, taken at Dumbola Lodge, Freshwater, Isle of Wight in July 1869. The original print is signed and authenticated by Mrs Cameron and also signed by Darwin. It bears Colnaghi's blind embossed registration. [page 3] CHARLES DARWIN A Companion by R. B. FREEMAN Department of Zoology University College London DAWSON [page 4] First published in 1978 © R. B. Freeman 1978 All rights reserved. No part of this publication 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 permission of the publisher: Wm Dawson & Sons Ltd, Cannon House Folkestone, Kent, England Archon Books, The Shoe String Press, Inc 995 Sherman Avenue, Hamden, Connecticut 06514 USA British Library Cataloguing in Publication Data Freeman, Richard Broke. Charles Darwin. 1. Darwin, Charles – Dictionaries, indexes, etc. 575′. 0092′4 QH31. D2 ISBN 0–7129–0901–X Archon ISBN 0–208–01739–9 LC 78–40928 Filmset in 11/12 pt Bembo Printed and bound in Great Britain by W & J Mackay Limited, Chatham [page 5] CONTENTS List of Illustrations 6 Introduction 7 Acknowledgements 10 Abbreviations 11 Text 17–309 [page 6] LIST OF ILLUSTRATIONS Charles Darwin aged 59 Frontispiece From a photograph by Julia Margaret Cameron Skeleton Pedigree of Charles Robert Darwin 66 Pedigree to show Charles Robert Darwin's Relationship to his Wife Emma 67 Wedgwood Pedigree of Robert Darwin's Children and Grandchildren 68 Arms and Crest of Robert Waring Darwin 69 Research Notes on Insectivorous Plants 1860 90 Charles Darwin's Full Signature 91 [page 7] INTRODUCTION THIS Companion is about Charles Darwin the man: it is not about evolution by natural selection, nor is it about any other of his theoretical or experimental work. -
Julia Margaret Cameron's Photographs As Paintings
University Libraries Lance and Elena Calvert Calvert Undergraduate Research Awards Award for Undergraduate Research 2018 Julia Margaret Cameron's Photographs as Paintings Winnie Wu [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/award Part of the Art Practice Commons, Photography Commons, and the Theory and Criticism Commons Repository Citation Wu, W. (2018). Julia Margaret Cameron's Photographs as Paintings. Available at: https://digitalscholarship.unlv.edu/award/34 This Research Paper is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Research Paper in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Research Paper has been accepted for inclusion in Calvert Undergraduate Research Awards by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. JULIA MARGARET CAMERON’S PHOTOGRAPHS AS PAINTINGS Winnie Wu ART 475: History of Photography November 30th, 2017 !1 Julia Margaret Cameron did not have a camera until she was forty-eight, given to her by her daughter and son-in-law.1 She did not have mechanical expertise, scientific knowledge, or practical experience in the arts. She was a wife of a philosopher and a mother of seven children.2 Through her husband’s society however, she was in contact with some of the preeminent Victorian thinkers and artists. -
The Racial Bias Built Into Photography - the New York Times
9/3/2019 The Racial Bias Built Into Photography - The New York Times LENS The Racial Bias Built Into Photography Sarah Lewis explores the relationship between racism and the camera. By Sarah Lewis April 25, 2019 This week, Harvard University’s Radcliffe Institute for Advanced Study is hosting Vision & Justice, a two-day conference on the role of the arts in relation to citizenship, race and justice. Organized by Sarah Lewis, a Harvard professor, participants include Ava DuVernay, Henry Louis Gates Jr., Wynton Marsalis and Carrie Mae Weems. Aperture Magazine has issued a free publication this year, titled “Vision & Justice: A Civic Curriculum” and edited by Ms. Lewis, from which we republish her essay on photography and racial bias. — James Estrin Can a photographic lens condition racial behavior? I wondered about this as I was preparing to speak about images and justice on a university campus. “We have a problem. Your jacket is lighter than your face,” the technician said from the back of the one-thousand-person amphitheater- style auditorium. “That’s going to be a problem for lighting.” She was handling the video recording and lighting for the event. It was an odd comment that reverberated through the auditorium, a statement of the obvious that sounded like an accusation of wrongdoing. Another technician standing next to me stopped adjusting my microphone and jolted in place. The phrase hung in the air, and I laughed to resolve the tension in the room then offered back just the facts: “Well, everything is lighter than my face. I’m black.” “Touché,” said the technician organizing the event. -
Press Release the Los Angeles County Museum of Art (LACMA
^ press release The Los Angeles County Museum of Art (LACMA) Announces Beta Release of Collator, a New Way to Create Print-On-Demand Art Books More Than 1,000 High-Res Images from LACMA’s Collection Are Available for Special Customized Books Collator is an initiative of The Hyundai Project: Art + Technology at LACMA (Los Angeles, June 7, 2018)—The Los Angeles County Museum of Art (LACMA) announced today the launch of Collator, an innovative tool to engage with LACMA’s permanent collection. Inspired by the museum’s commitment to showcasing its vast collections to a diverse and geographically dispersed audience, this new digital platform allows users to curate and publish a custom 24-page paperback book featuring their own selections from the museum’s encyclopedic collections. Collator incorporates new web- based customization technologies that allow users to browse more than 1,000 high- resolution images to create the theme, title, and introductory text of their print-on-demand books. And new images are added regularly. Collator is an initiative of The Hyundai Project: Art+Technology at LACMA, a special partnership between Hyundai Motor and LACMA. “Collator explores the exciting possibilities of museum publishing. This project is an idea we’ve been developing for several years and is now ready for testing,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “By incorporating the latest innovations in print-on-demand technology, Collator gives creative control to audiences all over the world to create an art book of their choice, all featuring works from the museum’s encyclopedic collection. It’s been a pleasure to watch LACMA’s curators engage with Collator to create books about exhibitions and areas of the permanent collection. -
Icp Announces 2017 Infinity Award Winners
MEDIA RELEASE ICP ANNOUNCES 2017 INFINITY AWARD WINNERS Noted Photographer Harry Benson to Receive Lifetime Achievement Award; All Honorees to Be Celebrated at Gala on April 24 in New York City NEW YORK, NY (JANUARY 11, 2017)—The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, today announced the 2017 honorees of its annual Infinity Awards, widely considered the leading honor for excellence in the field. The 33rd annual ICP Infinity Awards will be held in New York City on the evening of Monday, April 24. “Throughout our history, the International Center of Photography has been dedicated to the idea that images are powerful tools for communication and understanding, and a force for social change. And, every year, we present the Infinity Awards to acknowledge the significant talents of those using photography and visual arts to shed light on and make an impact on an ever-changing world,” said ICP Executive Director Mark Lubell. “We look forward to this April’s event—always a very special night—when we will celebrate this outstanding group’s impressive collective achievements.” 2017 INFINITY AWARD CATEGORY AND RECIPIENTS: • Lifetime Achievement: Harry Benson • Art: Sophie Calle • Artist’s Book: Michael Christopher Brown, Libyan Sugar (Twin Palms, 2016) • Critical Writing and Research: “Vision & Justice,” Aperture (no. 223, summer 2016). Michael Famighetti, Editor; Sarah Lewis, Guest Editor • Documentary and Photojournalism: Edmund Clark and Crofton Black, Negative Publicity: Artefacts of Extraordinary Rendition • Emerging Photographer: Vasantha Yogananthan • Online Platform and New Media: For Freedoms Since 1985, the ICP Infinity Awards have recognized major contributions and emerging talent in the fields of photojournalism, art, fashion photography, and publishing. -
On Gender and the Division of Artistic and Domestic Labour in Nineteenth
The Artist’s Household: On Gender and the Division of Artistic and Domestic Labour in Nineteenth-Century London Lara Perry Contemporary art and art histories are currently having a productive reckoning with the material demands of domestic work and parenting, considered as both a stimulus and constraint to art production. Resonating with the concept of ‘immaterial labour’ that has become prominent in explorations of the structures of contemporary art, feminist artists and critics have exposed the important gendered dimension of the immaterial and socialreproduction labour involved in the career of the contemporary artist. Art projects such as CASCO’s long-term programme (2009-) User’s Manual: The Grand Domestic Revolution and The Mother House project in London (2016) have picked up where Mierle Ukeles Laderman’s performance works of Maintenance Art in the 1960s and 1970s left off, and analysts have similarly refocused their efforts to include considerations of the gendered impact of parenthood on art production. For example, in her book Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (2013) Angela Dimitrakaki explored the impact of constant travel and around-the-clock schedule on women’s art careers; that this is more of an issue for mothers than for fathers was confirmed by a survey of Swedish artists made by Marita Flisbåck and Sofia Lindstrom (also published in 2013), which offered evidence that the careers of male artists benefit from a greater degree of freedom from the work of the household.1 All of this activity is associated with the investigation of contemporary rather than historical art practices. -
How Four Museums Are Taking Dramatic Measures to Admit More
Women's Place in the Art World Case Studies: How Four Museums Are Taking Dramatic Measures to Admit More Women Artists Into the Art Historical Canon We examine how four museums are adopting different strategies to move the needle on the representation of women in art history. Julia Halperin & Charlotte Burns, September 19, 2019 Opening for "Hilma af Klint: Paintings for the Future." Photo: Paul Rudd © Solomon R. Guggenheim Foundation. Our research reveals just how little art by women is being collected and exhibited by museums. But some institutions are beginning to address the problem—and starting to find solutions. Here are four case studies. The Pioneer: Pennsylvania Academy of the Fine Arts, Philadelphia In recent years, institutions including the San Francisco Museum of Modern Art and the Baltimore Museum of Art have made headlines by selling off the work of canonized white men to raise money to diversify their collections. But few are aware that another museum quietly undertook a similar project way back in 2013. Now, the Pennsylvania Academy of the Fine Arts serves as a case study for how such moves can create permanent and profound change within an institution. PAFA’s decision to auction Edward Hopper’s East Wind Over Weehawken (1934) at Christie’s for $40.5 million was deemed controversial at the time. But the museum and art school has gone on to use the proceeds from that sale to consistently acquire significantly more works by female artists each year than institutions with far larger budgets, such as the Brooklyn Museum, the Museum of Fine Arts, Houston, and the Dallas Museum of Art. -
Graduate Programs in Art History
The CAA Directory 2017 Art History Arts Administration Curatorial & Museum GRADUATE Studies Library Science PROGRAMS Financial Aid Special Programs in art history Facilities & More 978 1 939461 44 5 INTRODUCTION iv About CAA iv Why Graduate School in the Arts v What This Directory Contains v Program Entry Contents v Admissions v Curriculum CONTENTS vi Students vi Faculty vi Resources and Special Programs vi Financial Information vii Kinds of Degrees vii A Note on Methodology GRADUATE PROGRAMS 1 Art History with Visual Studies and Architectural History 140 Arts Administration 157 Curatorial and Museum Studies 184 Library Science INDEXES 190 Alphabetical Index of Schools 191 Geographic Index of Schools ABOUT WHAT THIS DIRECTORY CONTAINS TOEFL (Test of English as a Foreign Language) score, bachelor’s degree, college transcripts, letters of recommendation, a personal Graduate Programs in Art History is a comprehensive directory of statement, foreign language proficiency, writing sample or under- programs offered primarily in the English language that grant graduate research paper, and related work experience. a graduate degree in the study of art. (For graduate programs in the practice of art, please see the companion volume, Graduate Programs in the Visual Arts.) Programs offering an advanced degree The CollegeCollege Art Association CURRICULUM WHY GRADUGRADUATEATE in art history and related disciplines are included here. This section lists information about general or specialized courses represents the professional SSCHOOLCHOOL of study, number of courses or credit hours required for gradua- interests of artists, art historians, Listings are divided into four general subject groups: tion, and other degree requirements. IN THE ARTS • Art History COURSES: Institutions usually include the number of courses museum curators, educators, (including the history of architecture and visual studies) that the department offers to graduate students each term and • Arts Administration students, and others in the United the number whose enrollment is limited to graduate students. -
Photography and the Art of Chance
Photography and the Art of Chance Photography and the Art of Chance Robin Kelsey The Belknap Press of Harvard University Press Cambridge, Massachusetts, and London, En gland 2015 Copyright © 2015 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America First printing Library of Congress Cataloging- in- Publication Data Kelsey, Robin, 1961– Photography and the art of chance / Robin Kelsey. pages cm Includes bibliographical references and index. ISBN 978-0-674-74400-4 (alk. paper) 1. Photography, Artistic— Philosophy. 2. Chance in art. I. Title. TR642.K445 2015 770— dc23 2014040717 For Cynthia Cone Contents Introduction 1 1 William Henry Fox Talbot and His Picture Machine 12 2 Defi ning Art against the Mechanical, c. 1860 40 3 Julia Margaret Cameron Transfi gures the Glitch 66 4 Th e Fog of Beauty, c. 1890 102 5 Alfred Stieglitz Moves with the City 149 6 Stalking Chance and Making News, c. 1930 180 7 Frederick Sommer Decomposes Our Nature 214 8 Pressing Photography into a Modernist Mold, c. 1970 249 9 John Baldessari Plays the Fool 284 Conclusion 311 Notes 325 Ac know ledg ments 385 Index 389 Photography and the Art of Chance Introduction Can photographs be art? Institutionally, the answer is obviously yes. Our art museums and galleries abound in photography, and our scholarly jour- nals lavish photographs with attention once reserved for work in other media. Although many contemporary artists mix photography with other tech- nical methods, our institutions do not require this. Th e broad affi rmation that photographs can be art, which comes after more than a century of disagreement and doubt, fulfi lls an old dream of uniting creativity and industry, art and automatism, soul and machine. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture UNSETTLED MASSES: PUBLIC TRANSPORTATION IN THE ART OF NEW YORK CITY, 1929–1941 A Dissertation in Art History by Emily A. Schiller © 2016 Emily A. Schiller Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2016 The dissertation of Emily A. Schiller was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Co-Adviser Co-Chair of Committee Leo G. Mazow Louise B. and J. Harwood Cochrane Curator Head of the Department of American Art Virginia Museum of Fine Arts Dissertation Co-Adviser Co-Chair of Committee Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Craig Zabel Associate Professor of Art History Head of the Department of Art History Anne Rose Distinguished Professor of History and Religious Studies *Signatures are on file in the Graduate School. ii ABSTRACT During the Great Depression and World War II, public transportation thrived as an alternative to costly travel by railroads or private cars. This dissertation uses depictions of mass transit as points of departure into contextual examinations of three artists who repeatedly used passengers as subjects: Reginald Marsh (1898–1954), Donald Freeman (1908–1978), and Walker Evans (1903–1975). I argue that travel imagery attests to mobility as a common experience—an aspect of American life that viewers would recognize. Through a close examination of representations of mobility, it becomes clear that the motif appealed to these artists because it was simultaneously common and complicated—implicitly moving but explicitly stationary. -
Review2003/2004
NPG_AR_04_text.film 10/12/05 9:52 AM Page 1 Review 2003/2004 2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2 This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval.