20 2013 20Th Anniversary Year
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
Chafin, Carl Research Collection, Ca
ARIZONA HISTORICAL SOCIETY 949 East Second Street Library and Archives Tucson, AZ 85719 (520) 617-1157 [email protected] MS 1274 Chafin, Carl Research collection, ca. 1958-1995 DESCRIPTION Series 1: Research notes; photocopies of government records including great (voters) registers, assessor’s rolls, and Tombstone Common Council minutes; transcripts and indexes of various records of Tombstone and Cochise County primarily dated in the 1880s. The originals of these materials are housed elsewhere (see f.1). There are typed transcripts of early newspaper articles from Arizona and California newspapers concerning events, mining and growth in Cochise County. Extensive card indexes include indexes by personal name with article citations and appearances in great registers as well as an index to his published version of George Parson’s diaries. There is also a photocopy of the Arizona Quarterly Illustrated published in 1881. Series 2: Manuscripts and publications include: manuscripts and articles about environmental issues, the Grand Canyon, and Tombstone, AZ. Also included are Patagonia Roadrunner from 1967-1968 and Utopian Times in Alaska from 1970, two publications for which Chafin wrote. The collection contains correspondence, mostly pertaining to environmental issues, and a Chafin family genealogy. Finally, there is printed matter on Sidney M. Rosen and Lipizzan Stallions, as well as photographs of Lipizzan Stallions and other miscellaneous material. 23 boxes, 1 outside item, 14 linear ft. BIOGRAPHICAL NOTE Carl Chafin was born in San Francisco, CA. While employed at Hughes Aircraft Company in Tucson, Arizona in 1966, Chafin began his life-long research into Tombstone, Arizona history and particularly the diaries of George Whitwell Parsons. -
Twisted Trails of the Wold West by Matthew Baugh © 2006
Twisted Trails of the Wold West By Matthew Baugh © 2006 The Old West was an interesting place, and even more so in the Wold- Newton Universe. Until fairly recently only a few of the heroes and villains who inhabited the early western United States had been confirmed through crossover stories as existing in the WNU. Several comic book miniseries have done a lot to change this, and though there are some problems fitting each into the tapestry of the WNU, it has been worth the effort. Marvel Comics’ miniseries, Rawhide Kid: Slap Leather was a humorous storyline, parodying the Kid’s established image and lampooning westerns in general. It is best known for ‘outing’ the Kid as a homosexual. While that assertion remains an open issue with fans, it isn’t what causes the problems with incorporating the story into the WNU. What is of more concern are the blatant anachronisms and impossibilities the story offers. We can accept it, but only with the caveat that some of the details have been distorted for comic effect. When the Rawhide Kid is established as a character in the Wold-Newton Universe he provides links to a number of other western characters, both from the Marvel Universe and from classic western novels and movies. It draws in the Marvel Comics series’ Blaze of Glory, Apache Skies, and Sunset Riders as wall as DC Comics’ The Kents. As with most Marvel and DC characters there is the problem with bringing in the mammoth superhero continuities of the Marvel and DC universes, though this is not insurmountable. -
Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2016 Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970 William Brian Piper College of William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Piper, William Brian, "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970" (2016). Dissertations, Theses, and Masters Projects. Paper 1477068187. http://doi.org/10.21220/S2SG69 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970 W. Brian Piper Richmond, Virginia Master of Arts, College of William and Mary, 2006 Bachelor of Arts, University of Virginia, 1998 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College of William and Mary August, 2016 © Copyright by William Brian Piper 2016 All Rights Reserved ABSTRACT This dissertation examines the professional lives of African American studio photographers, recovering the history of an important industry in African American community life during segregation and the long Civil Rights Movement. It builds on previous scholarship of black photography by analyzing photographers’ business and personal records in concert with their images in order to more critically consider the circumstances under which African Americans produced and consumed photographs every day. -
Lost-And-Found Photos: Practices and Perceptions
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2016 Lost-and-found Photos: Practices and Perceptions Todd J. Wemmer University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Digital Humanities Commons, and the Photography Commons Recommended Citation Wemmer, Todd J., "Lost-and-found Photos: Practices and Perceptions" (2016). Doctoral Dissertations. 605. https://doi.org/10.7275/7941035.0 https://scholarworks.umass.edu/dissertations_2/605 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Lost-and-found Photos: Practices and Perceptions A Dissertation Presented by TODD J WEMMER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2016 Department of Communication © Copyright by Todd J Wemmer 2016 All Rights Reserved Lost-and-Found Photos: Practices and Perceptions A Dissertation Presented By TODD J WEMMER Approved as to style and content by: _________________________________________________ Carolyn Anderson, Chair _________________________________________________ Emily West, Member _________________________________________________ Jackie Urla, Member __________________________________________ Erica Scharrer, Department Head Department of Communication DEDICATION For my father, Jerry J Wemmer, who taught me how to use a camera and to be a collector. ACKNOWLEDGMENTS First, I would like to thank my advisor, Carolyn Anderson, for endless support throughout the process of creating this dissertation. -
The Rushed to Ether, One Outfit Crashin Into the Other
O verland Journal volume 33, number 3 fa l l 2015 the rushed toether, one outfit crashin into the other IN THIS ISSUE - THE EARP WAGON TRAIN TO SAN BERNARDINO • BOOK REVIEWS LETTERS FROM OUR READERS • PLUS LOOKING WEST & O verland Journal volum e 33, n u m b e r 3 fa l l 2015 The Look of the Elephant by andy hammond DISASTROUS CROSSINGS Like the evil troll that lived under the bridge in the “Billy down the stream some of the donage floated off, Bill Goats Gruff” fairy tale, the Elephant often appeared at Morton lost his carpet-sack, Kinsey his bundle & river and stream crossings. This has been touched on in pre- Perin his gun. / We . cross over Sincer’s Hill & . vious columns, but here’s more: through the Catterack of Hell, crosing the Trucky on a pile of rocks. The first plunge, under went the cattle, As the river is too steep to ford we this evening made next came the waggon, driving them upon a thunder- arrangement for two canoes to ferry us over tomor- ing boulder, then a surge & the couplin broke. Here row. We have to pay eight dollars per day for them was hell again & the Elephant afloat. In jumpt the and to do the work ourselves . a platform was men & mored the wreck ashore away below the ford laid over the canoes with the plank we had sawed . We were some time righting our injured wagon. at “Santa Antonietta”, the Mexicans charging us —John Clark, August 23/24, 1852 12½ cents each for 3 small poles to bind the canoes (Truckee River, Nevada) together, and this morning by day break all hands were in motion . -
2-24-19 Newsletter.Docx
In Search of Eldorado Day 51 Sunday February 24th Willcox To Bowie Weather H ello to Family & Friends 50’s and Sunny I t hink this is going to be fun, something I never tried before. Eldorado You’ll see it when it comes along. By Edgar Allen Poe W illcox to Bowie, about 25 miles by Interstate, but some very int eresting things in-between. My first task is to explore Gaily bedight, A gallant knight, W illcox; a couple museums, Railroad Park, 1880 train depot, In sunshine and in shadow, sounds good. The lady at the RV Park assured me the Had journeyed long, mu seums were open today. Singing a song, In search of Eldorado. But he grew old— This knight so bold— And o’er his heart a shadow— Fell as he found No spot of ground That looked like Eldorado. And, as his strength Failed him at length, He met a pilgrim shadow— ‘Shadow,’ said he, ‘Where can it be— This land of Eldorado?’ ‘Over the Mountains Of the Moon, Down the Valley of the Shadow, Ride, boldly ride,’ I guess Historic Downtown Willcox is just about as busy The shade replied,— on a Sunday as historic downtown Kingman was. ‘If you seek for Eldorado!’ I forgot this one yesterday. It’s a panoramic from the turn-around point of my hike. At least the Par k was open . The loc al War Me morial to the far right. They put the statue the wrong way again I knew I recognized that name from more than western movies. -
Sharing Photography
Feature ACTIVE SENIORS: THE POTENTIAL OF A “SUPER-AGED” SOCIETY Sharing the Joy of Nishimoto Kimiko uses photo editing software Photography to process her own photographs. Nishimoto Kimiko began taking pictures at the age of 72. She is still an active photographer, and has more than 230,000 Instagram followers. Her humor- ous selfies are especially popular. FUJITA MAO ishimoto Kimiko (92), a photographer living in Kumamoto City, Kumamoto Prefecture, publishes selfies that would make anyone instantly burst into laugh- Nter. Nishimoto began taking photos when she was 72 years old. Having started out as a beautician at the age of 18, switching to become a professional cycle racer at 22, she gave up her career when she married five years later, and went on to raise three children. Nishimoto first picked up a single-lens reflex camera when she was asked by a friend to attend a photog- raphy class taught by Nishimoto’s photographer son, Kazutami. “At first, I didn’t know anything about photogra- phy—I only joined the class to make new friends. But I came to see the merit in the fact that photos can be preserved, and as I continued to attend the weekly classes, I started to enjoy taking photographs,” says Nishimoto. All photos: Courtesy of Nishimoto Kimiko 8 | highlighting japan The photography classes are held in seven loca- in 2018 after learning how to use it in her photogra- tions across Japan, including Kumamoto, Tokyo phy class. As of January 2021, Nishimoto had over and Osaka, so she has made friends of all ages from 230,000 Instagram followers, her work even attract- all over the country as she had hoped. -
Words Without Pictures
WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine -
Urban Demolition and the Aesthetics of Recent Ruins In
Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria. -
Los Gatos-Saratoga Camera Club Newsletter Page 2
Newsletter Vol 35 Issue 9 September 2013 In this Edition Coming Club Events Member Shows 2 See the Events page or Event Calendar on our web site for August Competition Winners Tell Us How They Did It 3 updates or further details. Meet Pat Puder, Print Assistant 7 Saturday, September 7, 2013 11:30pm Projected Image Key Contacts 8 Entry Deadline Color, Monochrome, Photojournalism Reminders Monday, September 9, 2013 Too Many Image Entries 5pm Online Print Entry In the last competition, there were some members who entered too many Deadline images. The statement below is included in each Competition Definition. 7:15pm Print Entry Deadline Media are defined as Digital/Projected and Print. Categories are Color (Pictorial), Monochrome, Creative, Travel, Nature, and Photojournalism. Competition: Color, Monochrome, Members may enter a total of four images into a monthly competition with a Photojournalism maximum of three images in any one category and a maximum of three Judge: Hal Geren images in any one medium. Sequences of up to four images are allowed in Digital/Projected and only count as one image, provided you follow the Refreshments: Harry instructions on the website for submitting a sequence. Glatstein, Harvey Gold, Alex Goldberger Photojournalism Definition Monday, September 16, 2013 Journalism entries shall consist of pictures with informative content and Program: Member Shows. emotional impact, including human interest, documentary and spot news. See the next page for details. The journalistic value of the photograph shall be considered over pictorial quality. In the interest of credibility, photographs which misrepresent the Refreshments: truth, such as manipulation of the image, or situations which are set up for Sherman Golub, Joseph the purpose of photography, are unacceptable in Journalism competition. -
Art 340 Procedure: A. Look for Found Photography Anywhere
Project 3: Found Photographs Art 340 Overview: Found photography is a genre of photography and/or visual art based on the recovery (and pos- sible exhibition) of lost, unclaimed, or discarded photographs. It is related to vernacular photogra- phy (common), but differs in the fact that the “presenter” or exhibitor of the photographs did not “shoot” the photograph itself, does not know anything about the photographer, and generally does not know anything about the subject(s) of the photographs. Found photos are generally acquired at flea markets, thrift stores, yard sales, estate sales, or literally just “found” anywhere (internet). I as- sume you are not allowed at this time to leave your home, so internet will be the main source for the images used in this assignment. Much of the appeal of found photography is the mystery regarding the original photographer or subject matter. There are possibly three practices of looking that influence inferences made in re- gards to the origin of found photos: (1) Voyeurism-which a photographer must be, the term comes from the French voyeur, “one who looks,”, (2) Sherlock Holmes’ style deductive reasoning, (3) Surrealism, like the eye’s of a cultural anthropologist. He describes the ideal found photography exhibit as inviting a viewer to sample all of these viewing practices in order to achieve two results: to force a viewer to consider the effect of their own perceptual process during their viewing and to build the widest spectrum of possible meaning within the limitations of found photography. Some History: found photography actually falls underneath the umbrella of found art, which has its origins with Marcel Duchamp and his Readymades he found (used) in the 1910s.