Eliot Elisofon
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The Magnificent Eleven: the D-Day Photographs of Robert Capa
Men of the 16th Infantry Regiment seek shelter from German machine-gun fire in shallow water behind "Czech hedgehog" beach obstacles, Easy Red sector, Omaha Beach. © Robert Capa/Magnum Photos. The Magnificent Eleven: The D-Day Photographs of Robert Capa "The war correspondent has his stake — his life — in his own The Photographer: Bob Capa hands, and he can put it on this When soldiers of the 16th Regiment of the 1st horse or that horse, or he can put it back in his pocket at the Infantry Division landed at Omaha Beach on June 6, very last minute ... I am a 1944, photographer Robert Capa, in the employ of LIFE gambler. I decided to go in with Company E in the first wave." magazine, was among them. – Robert Capa Perhaps the best known of all World War II combat photographers, the Hungarian-born Capa The ten photos selected from the eleven surviving negatives had made a name for and published by LIFE on June himself well before 19, 1944 ... climbing into a landing craft with men of Company E in the early morning hours of D-Day. He risked his life on more than one occasion during the Spanish Civil War and had taken what is considered the most eerily fascinating of all war photographs. The famous image reportedly depicts the death of Spanish Loyalist militiaman Frederico Borrell Garcia as he is struck in the chest by a Nationalist bullet on a barren Iberian hillside. Capa was known to say, "If your pictures aren't good enough, you aren't close enough." On D-Day, he came close once again. -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
HHI Front Matter
A PUBLIC TRUST AT RISK: The Heritage Health Index Report on the State of America’s Collections HHIHeritage Health Index a partnership between Heritage Preservation and the Institute of Museum and Library Services ©2005 Heritage Preservation, Inc. Heritage Preservation 1012 14th St. Suite 1200 Washington, DC 20005 202-233-0800 fax 202-233-0807 www.heritagepreservation.org [email protected] Heritage Preservation receives funding from the National Park Service, Department of the Interior. However, the content and opinions included in this publication do not necessarily reflect the views or policies of the Department of the Interior. Table of Contents Introduction and Acknowledgements . i Executive Summary . 1 1. Heritage Health Index Development . 3 2. Methodology . 11 3. Characteristics of Collecting Institutions in the United States. 23 4. Condition of Collections. 27 5. Collections Environment . 51 6. Collections Storage . 57 7. Emergency Plannning and Security . 61 8. Preservation Staffing and Activitives . 67 9. Preservation Expenditures and Funding . 73 10. Intellectual Control and Assessment . 79 Appendices: A. Institutional Advisory Committee Members . A1 B. Working Group Members . B1 C. Heritage Preservation Board Members. C1 D. Sources Consulted in Identifying the Heritage Health Index Study Population. D1 E. Heritage Health Index Participants. E1 F. Heritage Health Index Survey Instrument, Instructions, and Frequently Asked Questions . F1 G. Selected Bibliography of Sources Consulted in Planning the Heritage Health Index. G1 H. N Values for Data Shown in Report Figures . H1 The Heritage Health Index Report i Introduction and Acknowledgements At this time a year ago, staff members of thou- Mary Chute, Schroeder Cherry, Mary Estelle sands of museums, libraries, and archives nation- Kenelly, Joyce Ray, Mamie Bittner, Eileen wide were breathing a sigh of relief as they fin- Maxwell, Christine Henry, and Elizabeth Lyons. -
Penelope Umbrico (Us) – Everyone's Photos Any
PENELOPE UMBRICO (US) – EVERYONE’S PHOTOS ANY LICENSE (654 of 1,146,034 Full Moons on Flickr, November 2015) – 2015 Penelope Umbrico asked – through Flickr – permission from professional and amateur photographers to use their photographs of full moons for an installation. The work stresses the relationship between the perceived democratic nature of the photographic medium and the actual exclusivity of its technology. Within the context of the abundance of digital images, the work calls into question ide as of originality and individuality. MIT ARCHIVE – MARGARET HAMILTON STANDING NEXT TO THE APOLLO GUIDANCE COMPUTER SOURCE CODE – 1969 Space travel is a male bastion, but Russian cosmonaut Valentina Tereshkova became the first woman to travel into space in 1963. On earth too it’s not just men who do groundbreaking work. The American computer scientist Margaret Hamilton poses next to the source code that she and her team developed at the Massachusetts Institute of Technology, which allowed people to land safely on the moon. An enormous achievement given that computer technology was still in its infancy in the 1960s. Back then, the colossal computers were powered by just 72KB of computer memory (a smartphone nowadays has a million times more storage space) and relied upon analogue punched cards for input. Clockwise: SJOERD KNIBBELER (NETHERLANDS) – FRIEDE – 2017 For the Lunacy project, Sjoerd Knibbeler immersed himself in the rich history of flights to the moon. On the basis of documentation, he made wooden scale models of various spacecraft and photographed them by moonlight in an open-air studio. Knibbeler has successively built and captured: Friede, the fictitious rocket from the first science fiction film to be based on actual scientific research (Frau im Mond by Fritz Lang, 1929). -
Heritage Vol.1 No.2 Newsletter of the American Jewish Historical Society Fall/Winter 2003
HERITAGE VOL.1 NO.2 NEWSLETTER OF THE AMERICAN JEWISH HISTORICAL SOCIETY FALL/WINTER 2003 “As Seen By…” Great Jewish- American Photographers TIME LIFE PICTURES © ALL RIGHTS RESERVED INC. Baseball’s First Jewish Superstar Archival Treasure Trove Yiddish Theater in America American Jewish Historical Society 2002 -2003 Gift Roster This list reflects donations through April 2003. We extend our thanks to the many hundreds of other wonderful donors whose names do not appear here. Over $200,000 Genevieve & Justin L. Wyner $100,000 + Ann E. & Kenneth J. Bialkin Marion & George Blumenthal Ruth & Sidney Lapidus Barbara & Ira A. Lipman $25,000 + Citigroup Foundation Mr. David S. Gottesman Yvonne S. & Leslie M. Pollack Dianne B. and David J. Stern The Horace W. Goldsmith Linda & Michael Jesselson Nancy F. & David P. Solomon Mr. and Mrs. Sanford I. Weill Foundation Sandra C. & Kenneth D. Malamed Diane & Joseph S. Steinberg $10,000 + Mr. S. Daniel Abraham Edith & Henry J. Everett Mr. Jean-Marie Messier Muriel K. and David R Pokross Mr. Donald L. SaundersDr. and Elsie & M. Bernard Aidinoff Stephen and Myrna Greenberg Mr. Thomas Moran Mrs. Nancy T. Polevoy Mrs. Herbert Schilder Mr. Ted Benard-Cutler Mrs. Erica Jesselson Ruth G. & Edgar J. Nathan, III Mr. Joel Press Francesca & Bruce Slovin Mr. Len Blavatnik Renee & Daniel R. Kaplan National Basketball Association Mr. and Mrs. James Ratner Mr. Stanley Snider Mr. Edgar Bronfman Mr. and Mrs. Norman B. Leventhal National Hockey League Foundation Patrick and Chris Riley aMrs. Louise B. Stern Mr. Stanley Cohen Mr. Leonard Litwin Mr. George Noble Ambassador and Mrs. Felix Rohatyn Mr. -
Bottom-Line Pressures in Publishing: a Panel Discussion
BOTTOM-LINE PRESSURES IN PUBLISHING: A PANEL DISCUSSION http://www.najp.org This is an edited and abbreviated transcript of a National Arts Journalism Program panel on the effect of bottom-line pressures on the publishing industry held at Columbia University on April 17, 1998. Panelists: Susan Bergholz, literary agent based in New York City. Formerly a bookseller, Ms. Bergholz has also worked as a buyer for Endicott. Lee Buttala, Associate Editor at Alfred A. Knopf, where he has worked since 1995. Previous to that, he was an editor at Interview and Metropolitan Home magazines. Jeff Seroy, Vice President and Publicity Director, Farrar, Straus & Giroux. A graduate of Columbia University, Mr. Seroy was awarded a Kellett Fellowship for continuing studies at Cambridge University for the 1976-77 academic year, after which he entered the publishing industry. Elisabeth Sifton, Senior Vice President, Farrar, Straus & Giroux, and Publisher, Hill & Wang. Ms. Sifton has held editorial and executive positions at The Viking Press, Viking Penguin, Alfred A. Knopf, Inc., and Elisabeth Sifton Books, which won the Carey-Thomas Award for Creative Publishing in 1986. William B. Strachan, President and Director, Columbia University Press. Formerly editor in chief at Henry Holt, Mr. Strachan has worked at a number of other trade publishers throughout his career including Viking Press and Anchor Press. Moderators: Ruth Lopez, 1997-98 NAJP Fellow, Book Review editor at The Santa Fe New Mexican. Carlin Romano, 1997-98 NAJP Senior Fellow, literary critic, The Philadelphia -
Pacific Standard Time: Art in La
FOR IMMEDIATE RELEASE Press Contacts Ruder Finn Arts & Communications Counselors Rachel Bauch (310) 882-4013 / [email protected] Olivia Wareham (212) 583-2754 / [email protected] PACIFIC STANDARD TIME: ART IN L.A. 1945-1980 BEGINS THE COUNTDOWN TO ITS OCTOBER 2011 OPENING Bank of America Joins as Presenting Sponsor; Community Leaders and Foundations Expand the Ever-Growing Circle of Support New Partnerships, Exhibitions, Outreach Programs and Performance Art and Public Art Festival Are Announced for the Unprecedented Region-Wide Collaboration Los Angeles, CA, November 4, 2010 — Deborah Marrow, Interim President and CEO of the J. Paul Getty Trust, joined today with cultural and civic leaders from throughout Southern California to announce a host of new initiatives, partnerships, exhibitions and programs for the region-wide initiative Pacific Standard Time: Art in L.A. 1945-1980, including presenting sponsorship from Bank of America. The first project of its kind, Pacific Standard Time has now begun the countdown to its October 2011 opening, when more than sixty cultural institutions throughout Southern California will come together to tell the story of the birth of the Los Angeles art scene and how it became a new force in the art world. This collaboration, the largest ever undertaken by cultural institutions in the region, will continue through April 2012. It has been initiated through grants totaling $10 million from the Getty Foundation. ―As we start marking the days toward the opening, the excitement about Pacific Standard Time continues to grow, and so does the project itself,‖ Deborah Marrow stated. ―What began as an effort to document the milestones in this region’s artistic history has expanded until it is now becoming a great creative landmark in itself. -
Press Release
NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: October 2, 2019 MEDIA CONTACT FOR IMMEDIATE RELEASE Julie Jaskol Getty Communications (310) 440-7607 [email protected] DEBORAH MARROW LED GETTY FOUNDATION FOR 30 YEARS Courtesy of the J. Paul Getty Trust LOS ANGELES – Deborah Marrow, who retired as director of the Getty Foundation at the end of last year after more than three decades of leadership in various roles at the Getty, including two stints as interim president, died early Tuesday morning. “No one has contributed more to the life and mission of the Getty than Deborah, and we will miss her deeply,” said James Cuno, president and CEO of the J. Paul Getty Trust. “She provided inspiring leadership in almost every aspect of the Getty, in roles including director of the Getty Foundation, acting director of the Getty Research Institute, and interim president of the Getty Trust. She brought clarity, vision, and selfless dedication to her work, and made loyal professional friends around the world.” As Foundation director, Marrow oversaw all grantmaking activity locally and worldwide in the areas of art history, conservation, and museums, as well as grants administration for all of the programs and departments of the J. Paul Getty Trust. The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel: 310 440 7360 www.getty.edu Communications Department Los Angeles, CA 90049-1681 Fax: 310 440 7722 Cuno noted that one of Marrow’s proudest accomplishments was the creation of the Getty’s Multicultural Undergraduate Internship program, which over 27 years has dedicated over $14 million to support more than 3,400 internships at 160 local arts institutions in a pioneering effort to increase staff diversity in museums and visual arts organizations. -
Deploying the Dead: Combat Photography, Death and the Second World War in the USA and the Soviet Union
KEVIN FOSTER Deploying the Dead: Combat Photography, Death and the Second World War in the USA and the Soviet Union s Susan Sontag has noted, ‘Ever since cameras were invented in 1839, photography has kept company with death’ (Sontag, 2003: 24). It has done so, principally, by taking its place on the world’s battlefields and, from the AUS Civil War onwards, bringing to the public graphic images of war’s ultimate truth. The camera’s unflinching witness to death helped establish photography’s authority as an apparently unimpeachable record of events. ‘A photograph’, Sontag observes, ‘passes for incontrovertible proof that a given thing happened’ (Sontag, 1977: 5). Yet the ‘truth’ of any photo is only ever conditional: ‘the photographic image … cannot be simply a transparency of something that happened. It is always the image that someone chose; to photograph is to frame, and to frame is to exclude’ (Sontag, 2003: 46). Photographers often worked, and continue to work, under close editorial direction with a detailed brief to collect specific images from designated areas in prescribed forms. The photographs they take are ‘Crafted through a maze of practices and standards, both explicit and implicit’ overseen by ‘photographers, photographic editors, news editors and journalists’ who collectively determine ‘how war can be reduced to a photograph’. The resulting images, Barbie Zelizer argues, ‘reflect what the camera sees by projecting onto that vision a set of broader assumptions about how the world works’ (Zelizer, 2004: 115). In this context it is clear that the photographic truth is less an elusive ideal than a consciously crafted product – it is manufactured, not discovered or revealed. -
A Life in Space” As Requested
These are sections of “A Life in Space” as requested. They have been selected at random and edited slightly so they flow better. On 12 April 1961, my mother, Marnie and I took a trip to London on the train from Epsom, Surrey to Waterloo Station. After doing some shopping, Mum and I went to a Lyons Corner House at the end of the Strand close to Trafalgar Square. I ate a huge lemon meringue pie with a thick layer of meringue that seemed to be a foot tall. As the years go by, the dimensions of the meringue topping reach epic proportions in my mind. Mum and I then walked to Leicester Square Underground station. Outside the station, the first editions of the Evening News and Evening Standard were being sold. The billboards displayed the words: “MAN IN SPACE”. This 12 year old was hooked. This is the story of a space nut. In the beginning, God created the heaven and the Earth - and I was born on the Ewell by-pass. My blast-off occurred on 14 April 1948 at the Wilmer Lodge nursing home just up the road from Ewell village, near Epsom, Surrey, England. Margaret Josephine “Marnie” Furniss gave birth to a 10.5 pounder, her third son in a row. At the time, at White Sands, New Mexico, USA, a two stage Bumper Wac - a former German V2 missile with a Corporal upper stage - was being prepared for a 79 mile altitude flight on America’s road towards exploring space. My father, John, was an ancestor of Raffe (Ralph) Furnisse (Furniss), who was born in Ewell in 1585, during the reign of Queen Elizabeth 1 and two years before Mary Tudor lost her head. -
Zachary M. Schrag Institutional Review Blog
Zachary M. Schrag Institutional Review Blog August 2012 – January 2017 This document contains all text appearing on the Institutional Review Blog, http://www.institutionalreviewblog.com/, from 31 August 2012 (the first entry after the previous archive) through the end of January 2017. Except where noted, all entries were written by Zachary M. Schrag, of the George Mason University Department of History and Art History. This version was prepared for archiving at the Mason Archival Repository Service (MARS), mars.gmu.edu. Readers are encouraged to cite individual blog entries, e.g., Zachary M. Schrag, "Smithsonian Frees Oral History, Journalism, and Folklore," Institutional Review Blog, 30 July 2010, http://www.institutionalreviewblog.com/2010/07/smithsonian-frees-oral-history.html Each entry in the Institutional Review Blog by Zachary M. Schrag is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. You are free: • to Share — to copy, distribute and transmit the work Under the following conditions: • Attribution — You must attribute Institutional Review Blog to Zachary M. Schrag (with link). Attribute this work: <div xmlns:cc="http://creativecommons.org/ns#" xmlns:dct="http://purl.org/dc/terms/" about="http://www.institutionalreviewblog.com/2006/12/introduction.html"><span property="dct:title">Institutional Review Blog</span> (<a rel="cc:attributionURL" property="cc:attributionName" href="http://institutionalreviewblog.com">Zachary M. Schrag</a>) / <a rel="license" href="http://creativecommons.org/licenses/by-nc- nd/3.0/">CC BY-NC-ND 3.0</a></div> • Noncommercial — You may not use this work for commercial purposes. • No Derivative Works — You may not alter, transform, or build upon this work. -
Eliot Elisofon
Eliot Elisofon: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Elisofon, Eliot Title: Eliot Elisofon Papers and Photography Collection Dates: 1930-1988 (bulk 1942-1973) Extent: 144 boxes, 2 scrapbook boxes, 2 oversized boxes, 3 glass slide boxes (60.5 linear feet) Abstract: The papers of this American photographer and author contains photographs, transparencies, slides, negatives, films, research material, notes, photo captions, logbooks, correspondence, agreements and other documents, drafts, proofs, tearsheets, clippings, scrapbooks, catalogs, sketchbooks, and artifacts documenting his entire career. RLIN Record #: TXRC99-A19 Language English. Access Open for research with the exception of Elin Elisofon's biography research files (folders 70.15 through 72.5) which require her permission to use. Administrative Information Acquisition Gift, 1992 Processed by Katherine Mosley, 1999 Repository: Harry Ransom Center, University of Texas at Austin Elisofon, Eliot Biographical Sketch Photographer, artist, art collector, author, and filmmaker Eliot Elisofon was born Meyer Eliot Elicofon, the son of immigrants Sarah and Samuel Elicofon, in New York City on April 17, 1911. As a teenager, he became interested in both photography and painting. Elisofon graduated from DeWitt Clinton High School in 1929, and at that time he dropped his first name and changed the spelling of his surname. For the next few years he worked at the New York State Workmen's Compensation Bureau while attending Fordham University at night, ultimately receiving a B.S. in 1933. Meanwhile, he continued to pursue his interest in photography, and in 1935 Elisofon, Marty Bauman, and Al Weiner opened a commercial photography studio, August and Company.