You Should Become Aware of the Different Aspects of the Aesthetics of Photography, of Stylistic Trends, and of the Different Technical Approaches Possible

Total Page:16

File Type:pdf, Size:1020Kb

You Should Become Aware of the Different Aspects of the Aesthetics of Photography, of Stylistic Trends, and of the Different Technical Approaches Possible file:///Users/mw/Desktop/photo/books.htm You should become aware of the different aspects of the aesthetics of photography, of stylistic trends, and of the different technical approaches possible. An understanding of the historical implications as well as the current photographic context is a necessary prerequisite to knowledgeable evaluation and a disciplined criticism. A list of photographers important to the medium and a bibliography of both technical and aesthetic source material follows: Photographers: This is far from a complete list; many other photographers will be covered in lectures. You should acquaint yourself with the work of the following: Ansel Adams Hannah Hoch John Pfahl Diane Arbus William Henry Jackson Man Ray Richard Avedon Francis Benjamin Johnson Oscar Rejlander Eugene Atget Gertrude Kasebier Henry Peach Robinson Anna Atkins Barbara Kasten Martha Rosler Margaret Bourke-White Andre Kertesz Thomas Ruff Matthew Brady Barbara Kruger Sebastiao Salgado Brassai David LaChapelle August Sander Harry Callahan Dorothea Lange Cindy Sherman Julia Margaret Cameron Henri Jacques Lartigue Stephen Shore Henri Cartier-Bresson Danny Lyon Lorna Simpson Imogen Cunningham Manual W. Eugene Smith Daguerre Mary Ellen Mark Frederick Sommer Judy Dater Pedro Meyer Edward Stiechen Bruce Davidson Duane Michaels Alfred Stieglitz William Eggleston Richard Misrach Paul Strand Walker Evans Laszlo Moholy-Nagy Thomas Struth Harold Edgerton Mariko Mori Sugimoto Robert Frank Yasusama Morimura Henry Fox Talbot Lee Friedlander Vik Muniz Jerry Uelsmann Ralph Gibson Eadweard Muybridge Jeff Wall 1 of 3 5/18/07 1:03 AM file:///Users/mw/Desktop/photo/books.htm Alex Webb Nan Goldin James Natchwey Carrie Mae Weems Emmet Gowin Bea Nettles Edward Weston Jan Groover Nicephore Niepce Clarence White John Heartfield Timothy O'Sullivan Minor White Lewis Hine Olivia Parker Gary Winogrand A list of books and periodicals that will be helpful: Periodicals, Quarterlies, Annuals Aperture Afterimage Art in America Artforum Exposure Art Papers History of Photography Blind Spot Doubletake Photography Quarterly Leonardo Shutterbug Books: The History of Photography Beaumont Newhall A World History of Photography Naomi Rosenblum A Concise History of Photography Helmut & Alison Gernsheim Photography and Art: Interactions Since 1946 Andy Grundberg and Kathleen McCarthy Gauss The Painter and the Photograph Van Deren Coke One Hundred Years of Photographic History edited by Van Deren Coke American Photography Jonathan Green Photographers on Photography Nathan Lyons Looking at Photographs John Szarkowski The Photographer's Eye John Szarkowski Mirrors and Windows John Szarkowski Daybooks of Edward Weston edited by Nancy Newhall Black Photographers, 1840-1940: A Bio-Bibliography Deborah Willis-Thomas The Snapshot Jonathan Green L'Amour fou, Photography and Surrealism Rosalind Krauss, Jane Livingston, Dawn Ades Photomontage Dawn Ades On Photography Susan Sontag Camera Lucida Roland Barthes 2 of 3 5/18/07 1:03 AM file:///Users/mw/Desktop/photo/books.htm Image, Music, Text Roland Barthes Mythologies Roland Barthes Light Readings A.D. Coleman Thinking Photography Victor Burgin Between Victor Burgin The End of Art Theory Victor Burgin The Burden of Representation John Tagg Photography and Society Gisele Freund Ways of Seeing John Berger About Looking John Berger Photography in Print Vicki Goldberg The Power of the Photograph Vicki Goldberg Classic Essays on Photography Alan Tractenberg The Critical Image: Essays on Contemporary Photography Carol Squiers The Contest of Meaning, Richard Bolton The Body and the Lens John Pultz Photography Against the Grain Alan Sekula Burning with Desire Gregory Batchen Photography at the Dock Abigail Solomon-Godeau Metamorphoses: Photography in the modern age Aperture Fabrications: Staged, Altered and Appropriate Photographs Anne Hoy Montage and Modern Life : 1919-1942 , Matthew Teitelbaum ed. On the Line: the New Color Photojournalism Adam Weinberg Documentary Photography Arthur Rothstein A History of Women Photographers Naomi Rosenblum A Forest of Signs: Art in the Crisis of Representation Ann Goldstein Textbooks: Exploring Color Photography Robert Hirsch Photography London and Upton Photography Phil Davis Photography Bruce Warren Photographing in the Studio Gary Kolb Photographic Materials and Processes Leslie Stroebel Beyond Basic Photography Henry Horenstein The Keepers of Light William Crawford The New Zone System Manual Minor White Breaking the Rules: A Photo Media Cookbook Bea Nettles 3 of 3 5/18/07 1:03 AM.
Recommended publications
  • Pressemappe American Photography
    Exhibition Facts Duration 24 August – 28 November 2021 Virtual Opening 23. August 2021 | 6.30 PM | on Facebook-Live & YouTube Venue Bastion Hall Curator Walter Moser Co-Curator Anna Hanreich Works ca. 180 Catalogue Available for EUR EUR 29,90 (English & German) onsite at the Museum Shop as well as via www.albertina.at Contact Albertinaplatz 1 | 1010 Vienna T +43 (01) 534 83 0 [email protected] www.albertina.at Opening Hours Daily 10 am – 6 pm Press contact Daniel Benyes T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Sarah Wulbrandt T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] 2 American Photography 24 August - 28 November 2021 The exhibition American Photography presents an overview of the development of US American photography between the 1930s and the 2000s. With works by 33 artists on display, it introduces the essential currents that once revolutionized the canon of classic motifs and photographic practices. The effects of this have reached far beyond the country’s borders to the present day. The main focus of the works is on offering a visual survey of the United States by depicting its people and their living environments. A microcosm frequently viewed through the lens of everyday occurrences permits us to draw conclusions about the prevalent political circumstances and social conditions in the United States, capturing the country and its inhabitants in their idiosyncrasies and contradictions. In several instances, artists having immigrated from Europe successfully perceived hitherto unknown aspects through their eyes as outsiders, thus providing new impulses.
    [Show full text]
  • Memphis, Eggleston, About 1965
    J. Paul Getty Museum Education Department Exploring Photographs Information and Questions for Teaching Memphis, William Eggleston Memphis William Eggleston American, Memphis, Tennessee, about 1965–1970 Gelatin silver print 9 1/2 x 6 1/4 in. 2002.38.8 William Eggleston made this image from a two-person table in a Memphis diner; the collection of shakers and condiment jars on the tabletop in front of him are blurred by the camera's close proximity. Eggleston focused on an older woman having coffee at the next table, who returns his gaze. A bright stripe on the wall behind her and a nearby neon clock sign also vie for the camera's attention. The sign's message, "Payroll checks cashed free," addresses the diner's working-class patrons—a friendly message in an alienating interior. Diners are ubiquitous places, fixtures of American road culture where inexpensive food can be had quickly. The diner is also an iconic subject of twentieth-century American art; it featured in Edward Hopper's paintings of the 1930s and Robert Frank's photographs in The Americans, published in the 1950s. Eggleston's image extends their theme of lone city-dwellers sitting forlornly in harshly lit © Eggleston Artistic Trust eating establishments, looking as if they are trapped there. About the Artist William Eggleston (American, b. 1939) William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"—literally photographing the world around him.
    [Show full text]
  • Candida Höfer: in Italy May 25Th – July 10Th, 2010 Private View May 24Th , 2010 6 – 8Pm
    Press Release for Immediate Release Candida Höfer: In Italy May 25th – July 10th, 2010 Private View May 24th , 2010 6 – 8pm Ben Brown Fine Arts is pleased to announce a solo exhibition of works by internationally-renowned German photographer Candida Höfer running from May 25th to July 10th at Ben Brown Fine Arts (301 Pedder Building, 12 Pedder Street, Central, Hong Kong). Candida Höfer’s exhibition will mark the first solo show for the Pedder gallery, following the close of Ben Brown Fine Art’s successful pop up exhibition space in ifc mall. Candida Höfer photographs rooms in public places regarded as pivotal centres of cultural life, such as libraries, museums, theaters, universities, as well as historic houses and palaces, most notably the palace of Versailles in France. Each meticulously composed space is marked with the richness of human activity, yet largely devoid of human presence. Largely hailed by the European vanguards of art as one the greatest architectural photographers, Höfer’s rhythmically patterned images present a universe of interiors constructed by human intention, unearthing patterns of order, logic, and disruption imposed on these spaces by absent creators and inhabitants. The artist rigorously numbers and arranges her works according to size and dimensions, in line with the teachings of the Düsseldorf Art Academy's renowned professors Bernd and Hilla Becher. “I photograph in public and semi-public spaces that date from various epochs. These are spaces available to everyone. They are places where you can meet and communicate, where you can share or receive knowledge, where you can relax and recover.” Candida Höfer Candida Höfer – Biography Candida Höfer lives and works in Cologne.
    [Show full text]
  • M. H< Fass Collection
    3^'W)albua í^txm s -DLM j Ajglt£r £\¿&ns : P haiq^io-pVVb -fo r M. H< fass Collection s e r ie s ■+tvß- Panivi ^ecQoVvf A dyvuVi >~St \ ¿ x t ^ n ,1*135' l*fö ¿ o ? o o ? ' 0 °l SUB SERIES b o x _____ __ ïr=t FOLDER. .... .... A f Photographs for the Farm Security Administration, 1935-1938 A Catalog of Photographic Prints Available from the Farm Security Administration Collection in the Library of Congress Introduction by Jerald C. Maddox A DACAPO PAPERBACK Library of Congress Cataloging in Publication Data Da Capo Press. Walker Evans, photographs for the Farm Security Administration, 1935-1938. (A Da Capo paperback) 1. United States—Rural conditions—Pictorial works— Catalogs. 2. Photographs—Catalogs. I. Evans, Walker, 1903- II. Maddox, Jerald C. III. United States. Farm Security Administration. IV. United States. Library of Congress. V. Title. HN57.D22 1975 779'.9'3092630973 74-23992 ISBN 0-306-80008-X First Paperback Printing 1975 ISBN 0-306-80008-X Copyright © 1973 by Da Capo Press, Inc. All Rights Reserved The copyright on this volume does not apply individually to the photographs which are illustrated. These photographs, commissioned by the Farm Security Administra'ion, U.S. Department of Agriculture, are in the public domain and may be reproduced without permission. Published by Da Capo Press A Division of Plenum Publishing Corporation 227 West 17th Street, New York, N. Y. 10011 Manufactured in the United States of America Publisher’s Preface The Prints and Photographs Division of the Library of Congress is the greatest repository of visual material documenting the development of the American nation.
    [Show full text]
  • Oral History Interview with Walker Evans, 1971 Oct. 13-Dec. 23
    Oral history interview with Walker Evans, 1971 Oct. 13-Dec. 23 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 tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971. Interview PAUL CUMMINGS: It’s October 13, 1971 – Paul Cummings talking to Walker Evans at his home in Connecticut with all the beautiful trees and leaves around today. It’s gorgeous here. You were born in Kenilworth, Illinois – right? WALKER EVANS: Not at all. St. Louis. There’s a big difference. Though in St. Louis it was just babyhood, so really it amounts to the same thing. PAUL CUMMINGS: St. Louis, Missouri. WALKER EVANS: I think I must have been two years old when we left St. Louis; I was a baby and therefore knew nothing. PAUL CUMMINGS: You moved to Illinois. Do you know why your family moved at that point? WALKER EVANS: Sure. Business. There was an opening in an advertising agency called Lord & Thomas, a very famous one. I think Lasker was head of it. Business was just starting then, that is, advertising was just becoming an American profession I suppose you would call it. Anyway, it was very naïve and not at all corrupt the way it became later.
    [Show full text]
  • 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.
    [Show full text]
  • A Photography of Belonging
    Dominican Scholar Collected Faculty and Staff Scholarship Faculty and Staff Scholarship 2014 Gelang: A Photography of Belonging Chase Clow Department of Humanities and Cultural Studies, Dominican University of California, [email protected] Survey: Let us know how this paper benefits you. Recommended Citation Clow, Chase, "Gelang: A Photography of Belonging" (2014). Collected Faculty and Staff Scholarship. 125. https://scholar.dominican.edu/all-faculty/125 This Dissertation is brought to you for free and open access by the Faculty and Staff Scholarship at Dominican Scholar. It has been accepted for inclusion in Collected Faculty and Staff Scholarship by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. GELANG: A PHOTOGRAPHY OF BELONGING by Chase M. Clow A Dissertation Submitted to the Faculty of California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Transformative Studies California Institute of Integral Studies San Francisco, CA 2014 UMI Number: 3680156 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3680156 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O.
    [Show full text]
  • 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.
    [Show full text]
  • Silver Eye 2018 Auction Catalog
    Silver Eye Benefit Auction Guide 18A Contents Welcome 3 Committees & Sponsors 4 Acknowledgments 5 A Note About the Lab 6 Lot Notations 7 Conditions of Sale 8 Auction Lots 10 Glossary 93 Auction Calendar 94 B Cover image: Gregory Halpern, Untitled 1 Welcome Silver Eye 5.19.18 11–2pm Benefit Auction 4808 Penn Ave Pittsburgh, PA AUCTIONEER Welcome to Silver Eye Center for Photography’s 2018 Alison Brand Oehler biennial Auction, one of our largest and most important Director of Concept Art fundraisers. Proceeds from the Auction support Gallery, Pittsburgh exhibitions and artists, and keep our gallery and program admission free. When you place a bid at the Auction, TICKETS: $75 you are helping to create a future for Silver Eye that Admission can be keeps compelling, thoughtful, beautiful, and challenging purchased online: art in our community. silvereye.org/auction2018 The photographs in this catalog represent the most talented, ABSENTEE BIDS generous, and creative artists working in photography today. Available on our website: They have been gathered together over a period of years silvereye.org/auction2018 and represent one of the most exciting exhibitions held on the premises of Silver Eye. As an organization, we are dedicated to the understanding, appreciation, education, and promotion of photography as art. No exhibition allows us to share the breadth and depth of our program as well as the Auction Preview Exhibition. We are profoundly grateful to those who believe in us and support what we bring to the field of photography. Silver Eye is generously supported by the Allegheny Regional Asset District, Pennsylvania Council on the Arts, The Heinz Endowments, The Pittsburgh Foundation, The Fine Foundation, The Jack Buncher Foundation, The Joy of Giving Something Foundation, The Hillman Foundation, an anonymous donor, other foundations, and our members.
    [Show full text]
  • Summary for Spirit Door, Egypt, from the Portfolio
    ARTIST Linda Connor TITLE Spirit Door, Egypt, from the portfolio, 'Visits' DATE 1989 DIMENSIONS 23 in H x 18 in W MEDIUM Platinum Prints CATALOGUE NUMBER 1998.032 CURRENT LOCATION NA 01 LINDA CONNOR BORN 1944 BIRTHPLACE New York, NY GENDER Female CITIZENSHIP United States Light Work — 316 Waverly Avenue, Syracuse, NY 13244 — 315-443-1300 — [email protected] Page 1 of 2 CULTURAL HERITAGE European-American LIGHT WORK RELATIONSHIP Workshop, 1973 Light Work Gallery, 1980 Robert B. Menschel Gallery, 1996 Linda Connor: VisitsPlatinum Editions, 1996 Light Work Endowment Project, 1996 Fine Print Program, 1996 Robert B. Menschel Gallery, 2016 – 2017 Place: Selections from the Light Work Collection LIGHT WORK PUBLICATIONS Contact Sheet 14 Contact Sheet 97 Menschel Gallery Catalogue 46 ESSAYS There are ample connections in Linda Connor's photographs between the corporeal and the spiritual, and even the title of this exhibition suggests such a link. The images in this exhibition were made in seventeen different countries over a seventeen-year period, and the remote location of these places invest the work with a sense of adventure, while the photographs describe a feeling of exchange and connection. In her portraits we can see a directness and consent that Connor established with her subjects during brief visits, while in other images of ancient sites and sacred places, light streaks across the picture plane recalling visitations of a heavenly sort. The movement of Connor's physical journeys can also be viewed as a metaphor for how her work moves across different genres of photography, never easily categorized but never far removed from the traditions of landscape photography.
    [Show full text]
  • Download the No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff Gallery Guide As A
    Karl Blossfeldt (1865–1932) Unless otherwise indicated, the photographs by Karl Blossfeldt are from the holdings of the Karl Blossfeldt Archive/Ann and Jürgen Wilde Foundation, Pinakothek der Moderne, Munich. All photographs are vintage gelatin silver No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff prints; they were created over a period of three and a half decades, from CONTEMPORARY ARTS CENTER 1898 to 1932. Dates provided are approximations based on publication dates. The prints were probably made in the 1920s in the context of September 21, 2018–January 13, 2019 exhibitions and the first editions of Blossfeldt’s books Urformen der Kunst Curated by Ulrike Meyer Stump, FotoFocus Guest Curator and Independent (1928, translated as Art Forms in Nature, 1929) and Wundergarten der Curator and Lecturer, Zurich University of the Arts Natur (1932, translated as Art Forms in Nature. Second Series, 1932). Plate Silphium laciniatum. Rosinweed, compass plant, prior to 1928 numbers refer to these two publications. With few exceptions all the motifs Gelatin silver print 13 7 or variants thereof were on display in the 1929 Warren Gallery show. 11 /16 × 9 /16 in. (29.7 × 23.7 cm) No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff is a curated exhibition for the 2018 Variant of Art Forms in Nature, pl. 41 FotoFocus Biennial: Open Archive. Now in its fourth iteration, the Biennial spans over 90 projects at museums, galleries, and universities across Greater Cincinnati; Northern Kentucky; Dayton and Columbus, Ohio; and features more than 400 artists, curators, and educators. The Open Archive theme emphasizes the centrality of photography and lens-based art to modernism, and examines our fundamental need to preserve photographs and to tell stories through their collection, organization, and interpretation.
    [Show full text]
  • Ag 1 Center for Creative Photography
    AG 1 CENTER FOR CREATIVE PHOTOGRAPHY DESCRIPTION Records, 1975 - , of the Center for Creative Photography. Includes records pertaining to all phases of the Center's operation -- exhibitions, publications, acquisitions, and administrative activities -- which evidence the evolution of the Center through its growth in programs and collections. The collection is still active. 206.5 linear feet. PROVENANCE The archives of the CCP were first brought together in 1983 by archivist, Charles Lamb, who organized and described them. After 1983, records have been transferred from the originating offices to the Research Center at the end of each fiscal year. RESTRICTIONS As an institution funded by the State of Arizona, the Center's records are public and are open to research with a few exceptions. All personnel files are restricted. Some confidential correspondence is restricted. Some financial records are restricted. Consult the Archivist for further information. AG 1 Center for Creative Photography SCOPE AND CONTENT The quality and quantity of documentation in the Director's Subject Files make them central to an understanding of CCP activities. In the Center's early years (1975 - ca.1979), these files represented the entirety of CCP records, with all staff members putting their records in these files. Although the Center's records have become more dispersed since 1979, it is important to check the Director's Subject Files, in addition to other series that might seem more relevant, when searching for records pertaining to any CCP activities. The Center's active exhibition and publication programs are well documented by printed materials (publications, posters, exhibition announcements, checklists, etc.), correspondence, press releases, news clippings, and other records.
    [Show full text]