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Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). -
FIAP Yearbooks of Photography, 1954–1960 Alise Tifentale, The
The “Cosmopolitan Art”: FIAP Yearbooks of Photography, 1954–1960 Alise Tifentale, The Graduate Center, City University of New York [Research paper presented at the CAA 2017 in New York City, February 17, 2017, at the session “Photography in Print.”] “It is a diversified, yet tempered picture book containing surprises on every page, a mirror to pulsating life, a rich fragment of cosmopolitan art, a pleasure ground of phantasy”—this is how, in March 1956, the editorial board of Camera magazine introduced the latest photography yearbook by the International Federation of Photographic Art (Fédération internationale de l'art photographique, FIAP). By examining the first four FIAP Yearbooks, published between 1954 and 1960 on a biennial basis,1 this paper aims to reconstruct some of the ideals behind the work of FIAP and to understand the “cosmopolitan art” of photography promoted by this organization. FIAP, a non-governmental and transnational association, was founded in Switzerland in 1950 and aimed at uniting the world’s photographers. It consisted of national associations of photographers, representing 55 countries: seventeen in Western Europe, thirteen in Asia, ten in Latin America, six in Eastern Europe, four in Middle East, three in Africa, one in North America, and Australia. As with many non-governmental organizations established around 1950, its membership was global, but the founders and leaders were based in Western Europe— Belgium, Switzerland, France, and West Germany. FIAP epitomized the postwar idealism which it shared with organizations such as UN or UNESCO. “The black and white art (..) through its truthfulness also stimulates one to 1 Three more FIAP yearbooks were published in 1962, 1964, and 1966. -
The Complete Run of the Iconic Newspaper Of
1938-1957 The compleTe run of The iconic newspaper of phoTojournalism now online www.gale.cengage.co.uk/picturepost THe PICTURE POST HiSToRiCAl ARCHiVe, 1938-1957 The Picture Post Historical Archive, 1938-1957 is the complete, fully text searchable facsimile archive of the Picture Post, the iconic newspaper published in Britain from 1938-1957 that defi ned the style of photojournalism in the 20th century. As the latest addition to Gale Historical Newspaper Collections, the Picture Post provides students and researchers with online access to a remarkable visual record of the 1930s to 1950s – from the humorous and light-hearted snapshots of daily life in Britain to the serious and history-defi ning moments of domestic and international affairs. The online archive consists of the complete run of the paper – from its fi rst issue in 1938 to its last in 1957 – and includes almost 50,000 pages, all newly digitised from originals in full colour. Time-saving features such as multiple search paths, browse options and limiters allow users to pinpoint results quickly. Increasing the speed and the effi cacy of teaching and research, users can magnify and crop images as required and store results and save notes in a named user account across sessions. SEARCH FEATURES AND FUNCTIONALITY Home page • Basic Search • Advanced Search by index types – Entire Document, Article Title, Caption, Contributor Name, Keyword, Record Number • Limit Searches by Publication Date, Article Type, or Illustration Type • Browse by Issue or Contributor • Sophisticated Image Viewer -
An Exhibition of B&W Argentic Photographs by Olivier Meyer
An exhibition of b&w argentic photographs by Olivier Meyer Location Gonville & Caius College, Trinity Street, Cambridge Exhibition 29 & 30 September 2018 10 am—5 pm Contact [email protected] Avenue du Président Wilson. 1987 Olivier Meyer, photographer Olivier Meyer is a contemporary French photographer born in 1957. He lives and works in Paris, France. His photo-journalism was first published in France-Soir Magazine and subsequently in the daily France-Soir in 1981. Starting from 1989, a selection of his black and white photographs of Paris were produced as postcards by Éditions Marion Valentine. He often met the photographer Édouard Boubat on the île Saint-Louis in Paris and at the Publimod laboratory in the rue du Roi de Sicile. Having seen his photographs, Boubat told him: “at the end of the day, we are all doing the same thing...” When featured in the magazine Le Monde 2 in 2007 his work was noticed by gallery owner Charles Zalber who exhibited his photographs at the gallery Photo4 managed by Victor Mendès. Work His work is in the tradition of humanist photography and Street photography, using the same material as many of the forerunners of this style: Kodak Tri-X black and white film, silver bromide prints on baryta paper, Leica M3 or Leica M4 with a 50 or 90 mm lens. The thin black line surrounding the prints shows that the picture has not been cropped. His inspiration came from Henri Cartier-Bresson, Édouard Boubat, Saul Leiter. His portrait of Aguigui Mouna sticking his tongue out like Albert Einstein, published in postcard form in 1988, and subsequently as an illustration in a book by Anne Gallois served as a blueprint for a stencil work by the artist Jef Aérosol in 2006 subsequently reproduced in the book VIP. -
Exploring the Complex Political Ideology Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M University RECOVERING CARL SANDBURG: POLITICS, PROSE, AND POETRY AFTER 1920 A Dissertation by EVERT VILLARREAL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2006 Major Subject: English RECOVERING CARL SANDBURG: POLITICS, PROSE, AND POETRY AFTER 1920 A Dissertation by EVERT VILLARREAL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, William Bedford Clark Committee Members, Clinton J. Machann Marco A. Portales David Vaught Head of Department, Paul A. Parrish August 2006 Major Subject: English iii ABSTRACT Recovering Carl Sandburg: Politics, Prose, and Poetry After 1920. (August 2006) Evert Villarreal, B.A., The University of Texas-Pan American; M.A., The University of Texas-Pan American Chair of Advisory Committee: Dr. William Bedford Clark Chapter I of this study is an attempt to articulate and understand the factors that have contributed to Carl Sandburg’s declining trajectory, which has led to a reputation that has diminished significantly in the twentieth century. I note that from the outset of his long career of publication – running from 1904 to 1963 – Sandburg was a literary outsider despite (and sometimes because of) his great public popularity though he enjoyed a national reputation from the early 1920s onward. Chapter II clarifies how Carl Sandburg, in various ways, was attempting to re- invent or re-construct American literature. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator. -
“THE FAMILY of MAN”: a VISUAL UNIVERSAL DECLARATION of HUMAN RIGHTS Ariella Azoulay
“THE FAMILY OF MAN”: A VISUAL UNIVERSAL DECLARATION OF HUMAN RIGHTS Ariella Azoulay “The Family of Man,” the exhibition curated by Edward Steichen in 1955, was a landmark event in the history of photography and human rights.1 It was visited by mil- lions of spectators around the world and was an object of critique — of which Roland Barthes was the lead- ing voice — that has become paradigmatic in the fields of visual culture and critical theory.2 A contemporary revi- sion of “The Family of Man” should start with question- ing Barthes’s precise and compelling observations and his role as a viewer. He dismissed the photographic material and what he claimed to be mainly invisible ideas — astonishingly so, considering that the hidden ideology he ascribed to the exhibition was similar to Steichen’s explicit 1 See the exhibition catalog, Edward Steichen, The Family of Man (New York: Museum of Modern Art, 1955). 2 Following a first wave of critique of the exhibition, influenced mainly by Barthes’s 1956 essay “The Great Family of Man,” a second wave of writers began to be interested in the exhibition and its role and modes of reception during the ten years of its world tour. See, for example, Eric J. Sandeen, “The Family of Man 1955–2001,” in “The Family of Man,” 1955–2001: Humanism and Postmodernism; A Reappraisal of the Photo Exhibition by Edward Steichen, eds. Jean Back and Viktoria Schmidt- Linsenhoff (Marburg: Jonas Verlag, 2005); and Blake Stimson, The Pivot of the World: Photography and Its Nation (Cambridge, MA: MIT Press, 2006). -
The Family of Man in the 21St Century Reassessing an Epochal Exhibition
THE FAMILY OF MAN IN THE 21ST CENTURY Reassessing an Epochal Exhibition Liège Clervaux Namur/Bruxelles Trier International Conference THE FAMILY OF MAN 19-20 June 2015 STEICHEN COLLECTIONS Clervaux Castle Clervaux Castle, Clervaux, Luxembourg Luxembourg B.P. 32 L-9701 Clervaux Tel. : + 352 92 96 57 Alfred Eisenstaedt, Time & Life © Getty Images Alfred Eisenstaedt, Time [email protected] Dudelange www.steichencollections.lu Thionville/Metz www.steichencollections.lu THE FAMILY OF MAN Conference Program IN THE 21ST CENTURY FRIDAY 19.06.2015 SATURDAY 20.06.2015 10:00 10:00-10:45 Conference Welcome Kerstin Schmidt (Catholic University Reassessing an Epochal Exhibition of Eichstaett-Ingolstadt, Germany) 10:15-12:00 Places of the Human Condition: Aesthetics and Jean Back, Anke Reitz (CNA, Luxembourg) Philosophy of Place in Steichen’s The Family of Man Guided Tour of the Exhibition The Family of Man With more than ten million viewers across the The conference wants to reassess and discuss 10:45-11:30 globe and more than five million copies of its the exhibition’s appeal and message, launched 12:00-14:00 Lunch Break Eric Sandeen (University of Wyoming, catalogue sold, “The Family of Man” is one of against the backdrop of Cold War threat of Laramie, WY, USA) the most successful, influential, and written atomic annihilation. It also wants to indicate 14:00-14:30 The Family of Man at Home about photography exhibitions of all time. It new ways in which the exhibition, as an artis- Bob Krieps (Director General 11:30-11:45 Short Coffee Break introduced the art of photography to the gen- tic response to a historical moment of crisis, of the Ministry of Culture) Welcoming Remarks eral public, one critic noted, “like no other pho- can remain relevant in the context of 21st-cen- 11:45-12:30 tographic event had ever done.” At the same tury challenges. -
The Photographer Sabine Weiss Chooses the Musée De L'elysée To
The photographer Sabine Weiss chooses the Musée de l’Elysée to preserve her work and archives Announcement of June 12, 2017 Elysée Lausanne Press release Press release 12.06.2017 Elysée Lausanne 2/6 Sabine Weiss has entrusted her photographic work, the achievement of a lifetime, to the Musée de l’Elysée. The archives of the photographer, born in Switzerland in 1924, will integrate the Musée de l’Elysée’s collections as soon as it moves to PLATEFORME 10, by 2021. This donation was made possible thanks to the generous support of the Canton of Vaud through the SERAC. Sabine Weiss chose the Musée de l’Elysée, a Swiss public institution with solid expertise in the management of photographic heritage, to preserve and showcase her work and to make it available to a broad audience. "The donation of an archive of the content and scope of that of Sabine Weiss is a significant step in the strategy of the museum, which is based in particular on its expertise in the valorization of complete collections of Swiss and international photographers. It resonates with travel photography, which is very present in the collections, and other important names of women photographers like Ella Maillart, Gertrud Fehr, Henriette Grindat and Monique Jacot", underlines Tatyana Franck, Director. At PLATEFORME 10, the Musée de l’Elysée will benefit from extensive conservation and storage spaces, as well as modular exhibition spaces designed to regularly host projects to showcase its collections. A life devoted to photography Sabine Weiss is one of the great names in European photography. Born Sabine Weber in 1924 in Saint-Gingolph, the Swiss-born photographer did her apprenticeship with Paul Boissonnas in Geneva, before moving to Paris in 1946 where she was the assistant of Willy Maywald for four years. -
2/18/2015 23-R-15 a RESOLUTION Memorializing the President of The
2/18/2015 23-R-15 A RESOLUTION Memorializing the President of the United States and Congress to Establish the Carl Sandburg National Historic Trail in the State of Illinois WHEREAS, Carl August Sandburg was born January 6, 1878, in a three- room cottage in Galesburg, Illinois, to August and Clara Sandburg, immigrants from Sweden who met and married in the United States. One of seven children, he left school at the age of 13 to work and help support his family. He volunteered for military service during the Spanish-American War and afterward, qualified as a veteran for college admission despite his lack of a high school diploma. At Lombard College in Galesburg, Sandburg began to write poetry and prose, and his first booklets were published by his favorite professor, Philip Green Wright. WHEREAS, Sandburg left college without graduating and worked as a traveling salesman before becoming an organizer and orator for the Social Democratic Party of Wisconsin in 1907. At party headquarters, he met Lilian Steichen, younger sister of the painter and photographer Edward Steichen, who was already making a name for himself in New York and Paris. Sandburg and Lilian Steichen were married in 1908, and moved to Chicago in 1912, where Sandburg went to work as a journalist, sometimes using a pseudonym and writing for business journals and socialist journals and newspapers. During nearly five decades as a newspaperman, he was a local news reporter, an investigative reporter, a war correspondent, a movie critic, and a nationally syndicated columnist. 23-R-15 WHEREAS, Encouraged by his wife, Sandburg kept writing poetry, most of it free verse. -
Elements of Satire and Irony in the Major Works of George Orwell
ELEMENTS OF SATIRE AND IRONY IN THE MAJOR WORKS OF GEORGE ORWELL ABSTRACT \ THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF JBottor of $I)iIo£(opt)p \ : IN ENGLISH V / BY JAWED S. AHMED DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2004 .-^•Tb NoT^43.i\?rf Chapter- I: Introduction This chapter explores the English writers' mindset especially during 1920's and 1930's and the background against which they were writing. In this chapter the history of satire has been explored right from the time of Persius, Horace and Juvenal - all considered to be classical masters of satire. Chaucer and Langland also find mention here as they too are renowned in this genre. The Age of Restoration in England was the age of political satire and both Dryden and Pope stand out as towering figures. Swift too holds a special position for his generalized satire. The sole objective of the satirists can rightly be said to correct the vices of society. George Orwell, too set out to highlight the discrepancies in the political system out of a sense of concern for diluting the power of evil in the world of politics. And at the end of the day, we find that he succeeds to a very great extent in expressing his socio-political views, and his commitment to bring about a radical change for the betterment of society. Chapter- II: Social and Political Baclcground In this chapter the causes of Orwell's all-round disillusionment are explored. His experiences are traced beginning with St. Cyprian's, then his bitter experiences as a police officer in Burma; after that his life in Paris and London and Spain. -
Family of Man Book
k THE MUSEUM OF MODERN ART FOR RELEASE: TUESDAY 11 WEST 53 STREET, NEW YORK 19, N. Y. JUNE 21, 1955 TfLlPHONi: CIRCLI 3-8900 THE FAMILY 0 F MAN deluxe edition, published by Simon and Schuster in collaboration with Maco Maga zine Corporation for the Museum of Modern Art, New York. Boards, boxed, 226 pages, more than 500 photographs from 68 countries, including portfolio of installation pictures of the exhibition "The Family of Man" in the Museum of Modern Art, New York. Prologue by Carl Sandburg, introduction by Edward Steichen. 8 l/2 x 11". $10 paper edition, published by the Maco Maga zine Corporation for the Museum of Modern Art. Stiff paper cover printed in four colors. More than 500 photographs from 68 coun tries. 192 pages. Prologue by Carl Sandburg, introduction by Edward Steichen 8 1/2 x 11". $1 Two editions of The Family of Man based on the widely hailed exhibition created by Edward Steichen for the Museum of Modern Art, New York, will be published on June 21, the opening date of the show's national tour which begins in Minneapolis. A deluxe edition, published by Simon and Schuster in collaboration with the Maco Magazine Corporation for the Museum, contains 226 pages and is bound in boards and boxed. The paper edition, published by the Maco Magazine Corporation for the Museum, sells for $1 and contains 192 pages. Both books include virtually all the photographs in the exhibition, Carl Sandburg's prologue and an introduction by Edward Steichen. The deluxe edition also contains a portfolio of photographs showing the exhibition as it was installed in the Museum and photographic footnotes by Wayne Miller, Steichen's assistant on the show.