Sabine Weiss's World
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Claude Cookman, IUB, 2011
Summary: Claude Cookman, April 9, 2010 Colleagues, Here is a summary of what I think are my most significant accomplishments since I presented my case for tenure in the fall of 1999. Thanks very much for your consideration. Teaching Peer-reviewed conference papers in teaching “The effects of Just in Time Teaching on motivation and engagement in a history of photography course,” lead author in a study with two graduate students, Sara Mandel and Mike Lyons. International Society for the Scholarship of Teaching and Learning conference, Washington, D.C., Nov 10, 2006. “A comparison of Just-in-Time Teaching across disciplines and course levels,” Laura A. Guertin, Claude Cookman, Sarah Zappe, Heeyoung Kim. International Society for the Scholarship of Teaching and Learning conference, Washington, D.C., Nov 10, 2006. Book chapters on teaching (Not peer-reviewed) “Using Just-in-Time Teaching to Foster Critical Thinking in a Humanities Course,” in Just In Time Teaching, eds. Scott Simkins, Mark Maier, Sterling, Va.: Stylus Publishing, 2009. (16 pages) Abstract. Details my use of the Just-in-Time Teaching method to foster motivation and engagement in students in my J462 History of Twentieth Century Photography course. It incorporates data collected across three semesters. “Transforming students into historical researchers: A Photographic Historian’s Perspective,” in The Scholarship of Teaching and Learning in Higher Education: Contributions of Research Universities, eds. William E. Becker, Moya L. Andrews, Bloomington: Indiana University Press, 2004. (22 pages) Abstract. Discusses my philosophy of teaching and learning and the methods I use to foster students’ development of critical thinking, creative practice and an historical consciousness. -
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. -
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. -
La Fotografia Umanista in Francia
Corso di Laurea Magistrale in Economia e Gestione delle Arti e delle attività culturali ordinamento ex D.M. 270/2004 Tesi di Laurea La fotografia umanista in Francia Relatore Ch. Prof. Riccardo Zipoli Correlatore Ch. Prof. Marco Dalla Gassa Laureanda Valentina Prete Matricola 860809 Anno Accademico 2017 / 2018 1 2 Indice del testo INTRODUZIONE ______________________________________________________________ 5 1. LA FOTOGRAFIA UMANISTA FRANCESE 1.1 Il concetto di Umanista e l’origine del termine ______________________________________ 7 1.2 La fotografia negli anni ’30 e nel secondo dopoguerra ________________________________ 8 1.3 Gli esordi della fotografia Umanista ______________________________________________ 9 1.4 L’immagine della Francia post guerra ____________________________________________ 11 1.5 I protagonisti della fotografia umanista ___________________________________________ 13 1.6 Groupe des XV _____________________________________________________________ 16 1.7 Gli strumenti del mestiere _____________________________________________________ 17 2. LA FRANCIA DEGLI ANNI ’30 E IL PERIODO POST-BELLICO 2.1 Dall’ inizio degli anni ’30 al Governo di Vichy ____________________________________ 19 2.2 Secondo dopoguerra in Francia _________________________________________________ 21 2.3 La decolonizzazione __________________________________________________________ 22 2.4 Le Trente Glorieuses _________________________________________________________ 25 2.5 Mai 68 ____________________________________________________________________ -
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. -
Is a Landmark Publication That Encompasses the History, Art and Science of Photography in a Single Volume
The Thames & Hudson Dictionary of Photography is a landmark publication that encompasses the history, art and science of photography in a single volume. At a time when information is instantly accessible on the internet but is often of doubtful reliability or provenance, this ambitious project both reasserts the veracity, reliability and accuracy of scholarly research in reference publishing and celebrates the pleasure and immersive experience offered by refined, elegant book design. Compiled under the editorial guidance of Nathalie Herschdorfer and in consultation with an international panel of 150 experts, The Thames & Hudson Dictionary of Photography is based on entirely fresh scholarship by seventy-nine researchers from sixteen countries. The culmination of nearly ten years of development and research, this is the new, relevant and truly definitive reference to photography. Key features Specification Over 1,200 concise yet fully detailed entries on all Casebound with jacket aspects of the subject, including photographers, images, 30.7 × 20.2 cm agencies, genres, movements, exhibitions, publications, (12⅛ × 8 in.) collectors, techniques and processes. 448 pages c. 300 illustrations, A comprehensive reference to over 180 years of photographic history. Truly authoritative and based on c. 60 in colour fresh scholarship. Illustrated throughout with over 300 images showing key works, artist portraits, exhibitions, installations, publications and technical diagrams. A book that offers an immersive experience, combining a clear presentation with the very best in modern yet timeless typographic design. The Thames & Hudson Dictionary of Photography – Information Pack 1 Over a decade in the making Fresh scholarship and clarity of writing The Thames & Hudson Dictionary of Photography Following the consultation and peer-review process represents over a decade of careful consideration, and the finalizing of the list of entries, a team of development and scholarship. -
Photography and Sociology: an Exercise in Serendipity
Eldridge, Alison (2015) Photography and sociology: an exercise in serendipity. PhD thesis. https://theses.gla.ac.uk/7392/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] PHOTOGRAPHY AND SOCIOLOGY: AN EXERCISE IN SERENDIPITY Alison Eldridge Submission for PhD (by research) University of Glasgow History of Art June 2015 c. Alison Eldridge June 2015 1 TABL E OF CONTENTS Chapter 1: Photography and Sociology: An exercise in serendipity.................6 Introduction.....................................................................................7 Bourdieu in Algeria.........................................................................10 Photography and Sociology: Bourdieu’s contribution....................16 Photography: Why a Middle-Brow Art? ......................................26 Bourdieu’s concept of ‘field’: Values and Limitations...................31 The Field of Photographic Production............................................35 Why War? -
Nir Avissar University of Virginia July, 2016
PHOTOACTIVISM: POLITICAL ICONOGRAPHY IN FRANCE, 1944-1968 Nir Avissar Tel Aviv, Israel Master of Arts, Tel Aviv University, 2008 Bachelor of Arts. Tel Aviv University, 2005 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia July, 2016 © 2016 Nir Avissar Abstract The aim of this dissertation is to provide a critical history of French reportage photography in the decades following the Second World War, beginning with the Liberation in 1944 and ending in May ’68. During the Trente Glorieuses, reportage photography became an integral part of the media, which operated as the central platform for engaging the public in political discourse. My research explores how, during this era of mass communication, the photographic medium participated in the nation’s political life in concrete historical circumstances. In the course of this investigation, I inspect both the material, thematic, and formal strategies photographers employed to produce images in different political contexts, and the publication history of their works (who published their images, in what format, and for what purposes). The dissertation thus examines the role reportage photography played in promoting political discourse in France by visually engaging the most critical historical processes the nation was undergoing: modernization, democratization, and decolonization. At the same time, it also analyzes the reciprocal impact that changing political climate had on reportage photography. Specifically, it provides an historical account of the multiple causes that effected during the 1960s the displacement of humanist photography by photojournalism as the medium’s prominent current. -
Llegat I Vigència De Les Aportacions De L'exposició the Family of Man En La Representació Fotogràfica De La Identitat
Llegat i vigència de les aportacions de l'exposició The Family of Man en la representació fotogràfica de la identitat Mar Redondo i Arolas ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Press Release
DINA MITRANI GALLERY FOR IMMEDIATE RELEASE: Willy Ronis, Les Amoureaux de la Bastille, Paris, 1957 Willy Ronis: Paris In collaboration with Peter Fetterman Gallery November 10 – January 11, 2013 Reception and Book Signing with Peter Fetterman Monday, December 3, 2012, 7pm Dina Mitrani Gallery is proud to present Willy Ronis: Paris in collaboration with Peter Fetterman Gallery, Santa Monica, California. This exhibition includes some of the artist’s most celebrated images, which capture the simple pleasures of everyday life in Paris during the 1930s, 40s and 50s. His photographs are poetic, light-hearted, humor-filled, and full of compassion as they capture the delight of French "joie de vivre." Willy Ronis was born in Paris in 1910, the son of immigrants from Russia and Lithuania and lived to be 99 years old. As a young boy, he worked with his father in the family portrait studio and studied piano with his mother. His love of music as well as his early photography work developed his sense of composition. Ronis later claimed to find a resemblance between music and photography in "the taste I have for composition, particularly counterpoint. Many of my photographs are taken from above, either looking down or up, three planes in one image, like three different melodies in a fugue which work together to give the piece structure and harmony." After his father’s death in 1936, Ronis joined the photo agency Rapho and worked alongside well-known photographers such as Cartier-Bresson, Brassaï and Robert Doisneau. Like his colleagues, he wandered the streets of Paris, open to serendipity, chance and luck. -
Robert Doisneau's La Dame Indignée
21 | Ezra’s Archives Robert Doisneau’s La Dame Indignée: Modernity in the Fourth Republic Victoria Gao A woman stops and turns towards the window of a gallery, mouth agape as she gazes upon a painting of a nude woman provocatively presenting her backside to the viewer. The main figure of Robert Doisneau’s La Dame Indignée (Figure 1) is a middle-aged, dark-haired woman, fighting off the chilly weather with her thick coat, scarf, and hat. She completely faces the display window and stands with her feet firmly planted in the ground; her posture and direction indicate that her attention is entirely devoted to further examining the controversial painting. Behind her, another woman, walking just quickly enough for her image to blur, spares a glance in the store window’s direction, perhaps in an attempt to discover the source of the other woman’s comically dramatic expression. The visual elements combine with the historical background of Doisneau’s La Dame Indignée to group it with a category of photography known as humanistic reportage. In that vein the image promotes the rights of the working class, the photographer as a twentieth-century Baudelairean flâneur, and the shifting role of women in society. Representing this variety of themes, La Dame Indignée acts as an icon of French modernity in the Fourth Republic. La Dame Indignée and Historical Context Born in the suburbs of Paris in 1912 to a petit-bourgeois family involved in the plumbing business, Robert Doisneau survived two great world wars and empathized with the lower classes throughout the Robert Doisneau’s La Dame Indignée | 22 entirety of his life.1 Doisneau began his career in the arts as a lithographer-engraver and lettering artist and did not move into photography until he found a position at the advertising firm Atelier Ullmann.2 From that point he turned solely to photography as a profession, gaining greater technical skills and aesthetic judgments as he continued working in advertisement. -
Tibor De Nagy Is Pleased to Present Manhattan Pastoral, an Exhibition of Color Photographs by Louis Stettner
Louis Stettner Umbrellas, 2006 Cibachrome 15 ¾ x 19 ½ inches, 40 x 50 cm Tibor de Nagy is pleased to present Manhattan Pastoral, an exhibition of color photographs by Louis Stettner. This will be Stettner’s first exhibition at the gallery and first in New York since 2009. Stettner was born in Brooklyn in 1922, he first traveled to Paris in the 1950s and spent decades thereafter traveling back and forth between Paris and New York, cities he called his “two loves.” He died in Saint-Ouen, France, in 2016. For our inaugural exhibition of Louis Stettner, we are presenting Manhattan Pastoral, color photography shot in New York from 1998 to 2014. Stettner only took up color photography, along with painting, in the early 1990’s. He was particularly drawn to the Cibachrome process for its rich colors. The works in the exhibition were all shot on his annual summer visits to New York City, mostly in and around Times Square. When in New York, Stettner began each day walking the streets. He called this series Manhattan Pastoral because he sought out the less gentrified parts of Times Square, west of Ninth Avenue, where he could still find regular New Yorkers against the backdrop of the city’s architecture, both vernacular and iconic, and in an ever process of change. From the beginning of his career as a photographer, Stettner was drawn to everyday people and he particularly pursued the subject of people at work. He did this as a point of view and as a political act. Conversely and as a counterpoint, he also often portrayed people at rest, or on their commute home – as in Penn Station series from 1958 and his initial Subway photographs from 1946.