DOCSLIB.ORG

The Self in Black and White Interfaces: Studies in Visual Culture Editors Mark J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Self in Black and White Interfaces: Studies in Visual Culture Editors Mark J the self in black and white Interfaces: Studies in Visual Culture Editors Mark J. Williams and Adrian W. B. Randolph, Dartmouth College This series, sponsored by Dartmouth College Press, develops and promotes the study of visual culture from a variety of critical and methodological perspectives. Its impetus derives from the increasing importance of visual signs in everyday life, and from the rapid expansion of what are termed “new media.” The broad cultural and social dynamics attendant to these developments present new challenges and opportunities across and within the disciplines. These have resulted in a trans-disciplinary fascination with all things visual, from “high” to “low,” and from esoteric to popular. This series brings together approaches to visual cul- ture — broadly conceived — that assess these dynamics critically and that break new ground in understanding their effects and implications. For a complete list of books available in the series, visit www.upne.com Erina Duganne, The Self in Black and White: Race and Subjectivity in Postwar American Photography Eric Gordon, The Urban Spectator: American Concept Cities from Kodak to Google Barbara Larson and Fae Brauer, eds., The Art of Evolution: Darwin, Darwinisms, and Visual Culture Jeffrey Middents, Writing National Cinema: Film Journals and Film Culture in Peru Michael Golec, The Brillo Box Archive: Aesthetics, Design, and Art Rob Kroes, Photographic Memories: Private Pictures, Public Images, and American History Jonathan Beller, The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle Ann B. Shteir and Bernard Lightman, eds., Figuring It Out: Science, Gender, and Visual Culture Anna Munster, Materializing New Media: Body, Image, and Interface in Information Aesthetics Luc Pauwels, ed., Visual Cultures of Science: Rethinking Representational Practices in Knowledge Building and Science Communication Lisa Saltzman and Eric Rosenberg, eds., Trauma and Visuality in Modernity The Self in Black and White Race and Subjectivity in Postwar American Photography Erina Duganne Dartmouth College Press hanover, new hampshire Published by University Press of New England hanover and london Dartmouth College Press Published by University Press of New England One Court Street, Lebanon NH 03766 www.upne.com © 2009 by Dartmouth College Press <<Comp carry query: Des: this info correct?>>Printed in the United States of America 5 4 3 2 1 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or authors and publishers who would like to obtain permission for any of the material in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon NH 03766. <<Comp carry query: Des: insert GPI info?>> <<LC CIP data TK>> For My Family contents Acknowledgments 000 Introduction: The Self in Black and White 1 Chapter 1: Beyond the “Negro Point of View”: The Kamoinge Workshop’s “Harlem” Portfolio 10 Chapter 2: Bruce Davidson’s “American Negro” Photographs in Context 55 Chapter 3: Getting Down to the Feeling: Bruce Davidson, Roy DeCarava, and the Civil Rights Movement 94 Chapter 4: Roy DeCarava, Harlem, and the Psychic Self 132 Epilogue: Dawoud Bey and the Act of Reciprocity 168 Notes 179 Bibliography 218 Index 225 acknowledgments The completion of this book could not have happened without the generosity, dedi- cation, and compassion of many individuals. First, I would like to thank my advisor, mentor, and friend, Ann Reynolds. Her passionate dedication to the highest standards of intellectual curiosity and excellence and her unwavering support of my work have both challenged me and provided me with indispensable models to use in my pro- fessional and personal life. I am also indebted to the other members of my doctoral committee for their interest and support of my project: Mia Carter, Michael Charles- worth, Linda Henderson, Amelia Malagamba, and Camara Dia Holloway. A number of other individuals offered their time, memories, and commentary during various stages of this project. Most especially, the lively and engaging conversations that I had with Kamoinge Workshop members Beuford Smith, the late Louis Draper, and Albert [ ix ] Fennar have been indispensable to my thinking about this project. The early stages of writing were supported by the encouragement and friendship provided by Susan Richmond and Heather Mathews. I am also indebted to Sara Blair, Greg Stanczak, Brenna Munro, and the anonymous readers at the University Press of New England for their careful readings, indispensable comments, and thoughtful advice. They have all made this book considerably better. I would also like to thank Lizy Wildsmith, Lori Cavagnaro, Paige Bonner, Ruth McGillion, and Sarah Wymer for their lifelong support and friendship as well as Barry and Mae Stone, Ann Pizer, Vince Prothro, Beaty and Fletcher Wilson, Susan Alexander-Wilson, Davis Comeau, Rae Craig, Shawn and Kendall Camp, Cara and Mavis Harrison, Jeff Hampton, Ai- mee Jost, Bill Mayer, Todd Komanetsky, and Amy, Chris, and Nassos Papalexandrou for making Austin a better place to live. I am exceedingly grateful for the two years that I spent as an Andrew W. Mellon Postdoctoral Fellow in the History of Photography at Williams College. This fellow- ship gave me not only the time and resources to further develop and expand this proj- ect but also an astonishing and nurturing intellectual community that helped to shape the project in significant ways. In particular, Holly Edwards, Karin Stack, Richard Scullin, Mark Reinhardt, Aida Laleian, Steve Levin, Frank Jackson, Stefanie Solum, Olga Shevchenko, Barry Goldstein, Carol Ockman, and Ralph Lieberman provided advice, encouragement, and, above all, friendship. I would also like to thank my col- leagues and students in the Department of Art and Design at Texas State University, especially Alan Pizer, Andy Campbell, Josh Rios, and Kristi Reese, for their intellec- tual support and enthusiasm. Parts of this book were presented as papers to lively audiences at conferenc- es sponsored by Colgate University, the College Art Association, and the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans at the University of Maryland, College Park. I am especially grateful to Mary Ann Calo, Camara Dia Holloway as well as Renée Ater, and Adrienne Childs for respectively organizing these events and supporting my work as well as to Bill Gaskins — who I had the good fortune to meet during one of these conferences — for his dynamic conver- sations and untiring enthusiasm for this project. The arguments that I make in this book depend a great deal on archival sources; for that reason, I am most grateful for the special research and image assistance that [ ] I received from Alan Fisher, Margaret Harman, and Eric Cuellar at the LBJ School Library and Museum, Sarah Hermanson at the Museum of Modern Art, Mary Year- wood at the Schomburg Center for Research in Black Culture, Peter Bunnell at the Minor White Archive at the Princeton University Art Museum, Gary Saretzky and Mel Leipzig at Mercer Community College, Mary Ison at the Library of Congress, Anna Winand at the International Center for Photography, Christine Cordazzo at Esto Photographics, Michael Shulman at Magnum Photos, Christina Deane at the University of Virginia Library, Tom Lisanti at the New York Public Library, Elizabeth Shank at the Bruce Silverstein Gallery, Anne Coleman Torrey at the Aaron Siskind Foundation, Nicole Dobynes at Ebony, and Elisa Marquez at AP/World Wide Photos. I would also like to thank Beuford Smith, Herb Randall, Bob Adelman, Nell Winston, Michele Durrant, Robert and Cheryl Cottrol, Ken Keyman, and Lillian Gregory for permission to reproduce images. Parts of Chapters 1 and 2 appeared in New Thoughts on the Black Arts Move- ment and Visual Research Methods: Image, Society, and Representation. I am grateful to the editors of these books — Lisa Gail Collins and Margo Crawford as well as Greg Stanczak — for their insightful comments and the opportunity to publish this material. I also received indispensable financial support from the Wyeth Endowment for Amer- ican Art in the form of a College Art Association (CAA) Professional Development Fellowship for Art Historians as well as a Publication Grant for former CAA Profes- the self in black and white sional Development Fellows. This support came at two crucial points in the trajectory of this project, and I am exceedingly fortunate for their continued commitment to me and my work. I am also indebted to Richard Pult, Lys Weiss, Rosemary Williams, and Katy Grabill at the University Press of New England and the editors of this se- ries — Mark J. Williams and Adrian W. B. Randolph at Dartmouth College — for their extraordinary commitment to this project as well as their support and care for seeing it through to completion. Without the unwavering support of my family I would have never had the de- termination and resolve to complete this project. Robert and Brendan Duganne have each in their different ways supported, challenged, and most importantly loved me. I am also deeply indebted to Carol Lynn Duganne, whose fierce dedication, affection, and companionship have been a constant source of support for me in all aspects of my life. Finally, I am most grateful not only for the patience, humor, and affection that John Hunt has given to me at every stage and turn in this journey, but also for the liveliness, curiosity, and tenacity of Tiernan Hunt, who continues to make the world [ xi ] an immeasurably better place. Their collective commitment and unquestioning love of me and my work are the most precious gifts of all. I am blessed to have them in my life, and this book is dedicated to them.
Load more

Recommended publications
  • The Full Resource List
    Title Format Author Call Number Eyes on the Prize : America's Online Civil Rights Years. Video PBS, 1990. Online Only King me : three one-act plays inspired by the life and legacy of Dr. Martin Luther King Jr. eBook Clinnesha D. Sibley. Online Only Behind the dream : the making of the speech that Clarence B. Jones and Stuart transformed a nation Book Connelly. E185.97 .K5 J576 2011 poetry by Ntozake Shange ; Coretta Scott Book paintings by Kadir Nelson. E185.97 .K47 S53 2009 Becoming King : Martin Luther King, Jr. and the Troy Jackson ; introduction by making of a national leader Book Clayborne Carson. E185.97 .K5 J343 2008 This bright light of ours: stories from the 1965 Voting Rights fight eBook Maria Gitin. Online Only Controversy and Hope: the civil rights photographs of Julian Cox with Rebekah Jacob James Karales Book and Monica Karales E185.615 .K287 2013 Blood Done Sign My Name DVD Image Entertainment PN1997.99 .B59645 2010 The Black American Experience: Mary McLeod Bethune - Champion for Education DVD TMW Media Group E185.97 .B34 M385 2009 Paul Robeson: portraits of the PN1997.99 .P3885 2007 artist DVD Criterion Collection BOOKLET Roots DVD Warner Home Video PN1992.77 .R66 2007 This side of the river: self-determination and survival in the oldest black town in America DVD NC State University F264 .P75 T55 2006 Do the right thing DVD Universal City Studios PN1997.99 .D6 2001 Wattstax DVD Warner Home Video M1670 .W37 2004 Citizen King DVD PBS Home Video E185.97 .K5 C58 2004 America beyond the color line DVD PBS Home Video E185.625 .A47 2003 With all deliberate speed DVD Discovery Communications LC214.2 .W58 2004 Chisholm '72: Unbought and 20th Century Fox Home Unbossed DVD Entertainmen E840.8 .C48 C55 2004 Between the World and Me Book Ta-Nehisi Coates E185.615 .C6335 2015 The autobiography of Malcolm X Book Malcolm X E185.97 .L5 A3 2015 Dreams from my father : a story of race and inheritance Book Barack Obama E185.97 .O23 A3 2007 Up from slavery : an autobiography Book Booker T.
    [Show full text]
  • Tips for Families
    GRADE 2 | MODULE 3 TIPS FOR FAMILIES WHAT IS MY GRADE 2 STUDENT LEARNING IN MODULE 3? Wit & Wisdom® is our English curriculum. It builds knowledge of key topics in history, science, and literature through the study of excellent texts. By reading and responding to stories and nonfiction texts, we will build knowledge of the following topics: Module 1: A Season of Change Module 2: The American West Module 3: Civil Rights Heroes Module 4: Good Eating In Module 3, we will study a number of strong and brave people who responded to the injustice they saw and experienced. By analyzing texts and art, students answer the question: How can people respond to injustice? OUR CLASS WILL READ THESE BOOKS Picture Books (Informational) ▪ Martin Luther King, Jr. and the March on Washington, Frances E. Ruffin; illustrations, Stephen Marchesi ▪ I Have a Dream, Dr. Martin Luther King, Jr.; paintings, Kadir Nelson ▪ Ruby Bridges Goes to School: My True Story, Ruby Bridges ▪ The Story of Ruby Bridges, Robert Coles; illustrations, George Ford ▪ Separate is Never Equal: Sylvia Mendez and Her Family’s Fight for Desegregation, Duncan Tonatiuh Poetry ▪ “Words Like Freedom,” Langston Hughes ▪ “Dreams,” Langston Hughes OUR CLASS WILL EXAMINE THIS PHOTOGRAPH ▪ Selma to Montgomery March, Alabama, 1965, James Karales OUR CLASS WILL READ THESE ARTICLES ▪ “Different Voices,” Anna Gratz Cockerille ▪ “When Peace Met Power,” Laura Helwegs OUR CLASS WILL WATCH THESE VIDEOS ▪ “Ruby Bridges Interview” ▪ “Civil Rights – Ruby Bridges” ▪ “The Man Who Changed America” For more resources,
    [Show full text]
  • 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.
    [Show full text]
  • Coney Island: Visions of an American Dreamland, 1861–2008 Jan
    Coney Island: Visions of an American Dreamland, 1861–2008 Jan. 31 – May 31, 2015 Exhibition Checklist DOWN AT CONEY ISLE, 1861-94 1. Sanford Robinson Gifford The Beach at Coney Island, 1866 Oil on canvas 10 x 20 inches Courtesy of Jonathan Boos 2. Francis Augustus Silva Schooner "Progress" Wrecked at Coney Island, July 4, 1874, 1875 Oil on canvas 20 x 38 1/4 inches Manoogian Collection, Michigan 3. John Mackie Falconer Coney Island Huts, 1879 Oil on paper board 9 5/8 x 13 3/4 inches Brooklyn Historical Society, M1974.167 4. Samuel S. Carr Beach Scene, c. 1879 Oil on canvas 12 x 20 inches Smith College Museum of Art, Northampton, Massachusetts, Bequest of Annie Swan Coburn (Mrs. Lewis Larned Coburn), 1934:3-10 5. Samuel S. Carr Beach Scene with Acrobats, c. 1879-81 Oil on canvas 6 x 9 inches Collection Max N. Berry, Washington, D.C. 6. William Merritt Chase At the Shore, c. 1884 Oil on canvas 22 1/4 x 34 1/4 inches Private Collection Wadsworth Atheneum Museum of Art Page 1 of 19 Exhibition Checklist, Coney Island: Visions of an American Dreamland, 1861 – 2008 12-15-14-ay 7. John Henry Twachtman Dunes Back of Coney Island, c. 1880 Oil on canvas 13 7/8 x 19 7/8 inches Frye Art Museum, Seattle, 1956.010 8. William Merritt Chase Landscape, near Coney Island, c. 1886 Oil on panel 8 1/8 x 12 5/8 inches The Hyde Collection, Glens Falls, N.Y., Gift of Mary H. Beeman to the Pruyn Family Collection, 1995.12.7 9.
    [Show full text]
  • 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.
    [Show full text]
  • Jerry Uelsmann by Sarah J
    e CENTER FOR CREATIVE PHOTOGRAPHY • UNIVERSITY OF ARIZONA RESEARCH SERIES NUMBER 15 JANUARY 1982 DEAN BROWN Contents The Dean Brown Archive 3 by James L. Enyeart An Appreciation 5 by Carol Brown Dean Brown: An Overview by Susan E. Ruff 6 Dean Brown: 11 A Black-and-White Portfolio Dean Brown: 25 A Color Portfolio Exhibitions of the Center 45 1975-1981 by Nancy D. Solomon Acquisitions Highlight: 51 Jerry Uelsmann by Sarah J. Moore Acquisitions: 54 July-December 1980 compiled by Sharon Denton The Archive, Research Series, is a continuation of the research publication entitled Cmter for Creative Photography; there is no break in the consecutive numbering of issues. The A ,chive makes available previously unpublished or unique material from the collections in the Archives of the Center for Creative Photography. Subscription and renewal rate: $20 (USA), S30 (foreign), for four issues. Some back issues are available. Orders and inquiries should be addressed to: Subscriptions Center for Creative Photography University of Arizona 843 E. University Blvd. Tucson, Arizona 85719 Center for Creative Photography University of Arizona Copyright © 1982 Arizona Board of Regents All Rights Reserved Photographs by Dean Brown Copyright ©1982 by Carol Brown Designed by Nancy Solomon Griffo Alphatype by Morneau Typographers Laser-Scanned Color Separations by American Color Printed by Prisma Graphic Bound by Roswell Bookbinding The Archive, Research Series, of the Center for Creative Photography is supported in part by Polaroid Corporation. Plate 31 was reproduced in Cactus Country, a volume in the Time­ Life Book series-The American Wilderness. Plates 30, 34, and 37 were reproduced in Wild Alaska from the same series.
    [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]
  • William Gropper's
    US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image.
    [Show full text]
  • 2016 in the United States ­ Wikipedia 2016 in the United States from Wikipedia, the Free Encyclopedia
    4/30/2017 2016 in the United States ­ Wikipedia 2016 in the United States From Wikipedia, the free encyclopedia Events in the year 2016 in the United States. Contents 1 Incumbents 1.1 Federal government 1.2 Governors 1.3 Lieutenant governors 2 Events 2.1 January 2.2 February 2.3 March 2.4 April 2.5 May 2.6 June 2.7 July 2.8 August 2.9 September 2.10 October 2.11 November 2.12 December 3 Deaths 3.1 January 3.2 February 3.3 March 3.4 April 3.5 May 3.6 June 3.7 July 3.8 August 3.9 September 3.10 October 3.11 November 3.12 December 4 See also 5 References Incumbents Federal government President: Barack Obama (D­Illinois) Vice President: Joe Biden (D­Delaware) Chief Justice: John Roberts (New York) https://en.wikipedia.org/wiki/2016_in_the_United_States 1/60 4/30/2017 2016 in the United States ­ Wikipedia Speaker of the House of Representatives: Paul Ryan (R­Wisconsin) Senate Majority Leader: Mitch McConnell (R­Kentucky) Congress: 114th https://en.wikipedia.org/wiki/2016_in_the_United_States 2/60 4/30/2017 2016 in the United States ­ Wikipedia Governors and Lieutenant governors Governors Governor of Alabama: Robert J. Bentley Governor of Mississippi: Phil Bryant (Republican) (Republican) Governor of Alaska: Bill Walker Governor of Missouri: Jay Nixon (Independent) (Democratic) Governor of Arizona: Doug Ducey Governor of Montana: Steve Bullock (Republican) (Democratic) Governor of Arkansas: Asa Hutchinson Governor of Nebraska: Pete Ricketts (Republican) (Republican) Governor of California: Jerry Brown Governor of Nevada: Brian Sandoval (Democratic)
    [Show full text]
  • Intensify the Effort in 1964
    INTENSIFY THE EFFORT IN 1964 Because of our action we have had some victories since I960 but many setbacks. The South's public transportation system is nearer to complete desegregation than any other :areg thanks to the Freedom Rides, which involved both northern and southern students. Their has been some lull in activities in local protest movements in the South since the March On Washington. Many people believe that the Movement is over and that its goals have been achieved - th?sy%re wrong ! The Movement is finding new directions; those involved are increasing in their own understand­ ing of which goals are most important in short-range and long-range terms.fc To illustrate the fact that the Movement is aiming at freedom in all areas, we feel it is necessary to expand our efforts in 1964. As a first step let us move with new and creative methods and techniques of fighting employment bias, of fighting those racists who have a political and economic stronghold on the American scene; and finally, new ways to protest against the unjust system of segregation For example, the Washington D. C. Nonviolent Action Group (NAG), affiliated with Snick, will be holding a massive demonstration on Capital Hill on January 31 demanding jobs for you, expanded home rule, improvement of housing and working conditions for those in the Capital|s ghetto. We hope that all communities across the nation will help us to expand the Movement in 1964 by carrying out the following action of February 1st: (1) organize mass marches on City Hall protesting policeyfeorutality and demanding the right for decent jobs and the right to vote (2) picket local federal buildings for passage of a strong Civil Rights Bill and the right to vote (3)- renew demonstrations in all areas demanding an open city and an open community (4)- organize a one-day boycott of schools to take place between February 1st and February 11.
    [Show full text]
  • Contemporary Black & White Print Editions
    Contemporary! Black & White ! Print Editions Effective March, 2015 Note: All listed editions are twenty (20) silver gelatin prints, printed between 2009 and the present. Print sizes refer to paper size; image size varies. Images are printed with a minimum one inch border to allow for archival framing. Additional sizes may be available upon request. Please contact the studio for date printed, image size and current edition numbers for specific prints. Vintage and Printed Later prints may be available for these and other images; please contact the studio for details. About Harold Feinstein Harold Feinstein was born in Coney Island, New York, in 1931 and began his photography career in 1946 at the age of 15. When he was 17, he joined the Photo League. At 19, Edward Steichen purchased his work for the permanent collection of the Museum of Modern Art. He is best known for his six-decade love affair with Coney Island as well as traditional street photography and photos from the Korean War. In addition to small camera black and white, Feinstein has a large collection of 35mm and digital color imagery. In 1998, Feinstein broke new ground as one of the pioneers of scanography, for which he was awarded the Computerworld Smithsonian Award in 2000. His most recent of eight books, Harold Feinstein: A Retrospective (Nazraeli, 2012) was a winner of the PDN Photo Annual 2013 Photo Book award. His photographs have been exhibited in and are represented in the permanent collections of major museums including MOMA, International Center of Photography, George Eastman House, Center for Creative Photography, The Jewish Museum and Museum of the City of New York.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]