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The Art of the American Snapshot, 1888-1978 by Sarah Greenough,Diane Waggoner,Sarah Kennel,Matthew S. Witkovsky Pdf
'The Art of the American Snapshot' examines the evolution of this most common form of photography. The book shows that among the countless snapshots taken by American amateurs, some works, through intention or accident, continue to resonate long after their intimate context and original meaning have been lost.
Jayne Cortez, Adrienne Rich, and the Feminist Superhero by Laura Hinton Pdf
One a lyric "confessional" poet and essayist, the other a jazz "spoken-word" performance artist, Adrienne Rich and Jayne Cortez were American feminist superheroes who produced extensive bodies of poetic work that reveal strangely overlapping visions, but in radically different voices and poetic styles. This book reconsiders the poetry activism of Cortez and Rich side-by-side, engaging poetics theory, cultural studies, and popular media in its literary analyses. A collection of eight integrated chapters by multiple poetry critics, as well as an artist-statement narrative by Wonder Woman sculptor Linda Stein, the book focuses upon the voice of bravado, the various calls for global justice, and Third Wave feminist "intersectional" critiques all embodied within these two women's poetic texts. The book also examines the twentieth-century figure of the American superhero, particularly Wonder Woman, bringing popular-culture studies into conversation with literary criticism, as well as visual art through the inclusion of Stein's commentary and illustrations. This beautiful and compelling book experiments with the festschrift concept by inviting multiple and competing disciplinary views on U.S. feminist poetics, women's art and aesthetics, racial and sexual identities, as well as politics and performance—all in tribute to the power of poetry by Cortez and Rich.
Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets by Linda A. Kinnahan Pdf
In Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets, Linda A. Kinnahan explores the making of Mina Loy’s late modernist poetics in relation to photography’s ascendance, by the mid-twentieth century, as a distinctively modern force shaping representation and perception. As photography develops over the course of the century as an art form, social tool, and cultural force, Loy’s relationship to a range of photographic cultures emerging in the first half of the twentieth century suggests how we might understand not only the intriguing work of this poet, but also the shaping impact of photography and new technologies of vision upon modernist poetics. Framing Loy’s encounters with photography through intersections of portraiture, Surrealism, fashion, documentary, and photojournalism, Kinnahan draws correspondences between Loy’s late poetry and visual discourses of the body, urban poverty, and war, discerning how a visual rhetoric of gender often underlies these mappings and connections. In her final chapter, Kinnahan examines two contemporary poets who directly engage the camera’s modern impact –Kathleen Fraser and Caroline Bergvall – to explore the questions posed in their work about the particular relation of the camera, the photographic image, and the construction of gender in the late twentieth century.
Snapshots of a Century in African American Lives by Jennifer Cain Bohrnstedt Pdf
Snapshots of a Century in African American Lives heralds the artistry and historical importance of amateur snapshots taken during the twentieth century. Noted scholar Professor Emeritus Edmund W. Gordon wrote (Foreword): "This is also a book about the universal celebration of the beauty and dignity of the human condition as it is and can be captured by amateur camera persons. . ." A book that captures visual history and visual culture is an ambitious project. Snapshots of a Century in African American Lives contains more than 100 images never before in publication. Images were culled from a private collection. Photojournalism professor D. Michael Cheers wrote (Introduction): "These creative expressions, which showcase posed, candid and ordinary, yet unique, images, hand us a lens that drops in on strangers and allows all of us to reconnect with 'our African heritage.'" Photography curator Carol McCusker described their impact in the Afterword: "Through their details, we are moved back in time or to somewhere in ourselves. They engage us in history in ways other media does not. In this capacity, Snapshots of a Century in African-American Lives makes us aware of what we know, what we think we know, and what we collectively aspire toward or want to forget, and, throughout, is undeniably American in our optimism." Educators, historical societies, and museums will identify the important relevance of this book and the collection represented. This 120 page book is available in 8.5 x 11 soft cover format. A limited edition of 100 copies (11 x 11 hard cover) will be available through the editor. The creator of this work, author and editor Jennifer Cain Bohrnstedt, is available for talks and book-signing events. Contact her at: [email protected]
Tucked away among the letters, diaries, and other ephemera in the Smithsonian's archives lies a trove of rarely seen snapshots of some of the twentieth century's most celebrated artists. Unlike the familiar official portraits and genius-at-work shots, these humble snaps capture creative giants with their guard down, in the moment, living life. Pablo Picasso stands proudly on a balcony with young daughter Maya—a tiny, meticulously inked annotation penned by an unknown hand proclaims that "he's very much in love." Jackson Pollock morosely carves a turkey while his mother, Stella, and wife, Lee Krasner, look on. A young Andy Warhol clowns for the camera with college friend Philip Pearlstein, and in a later shot more closely resembles his famously enigmatic public self at a gallery opening with John Lennon and Yoko Ono.
In Soldier Snapshots Jay Mechling explores how American men socially construct their performance of masculinity in everyday life in all-male friendship groups during their service in the military. The evidence Mechling analyzes is a collection of vernacular photographs, “snapshots,” of and by American soldiers, sailors, Marines, and aviators. Since almost all of the snapshots are photographs taken of men by other men, this book offers a unique view into the social construction, performance, and repair of American masculinity. Mechling guides the reader from the snapshots to ideas about the everyday lives of male soldiers to ideas about the lives of men in groups to ideas about American culture. In his introduction Mechling offers his thoughts about how to undertake the interdisciplinary study of American culture; he draws from history, folklore, anthropology, sociology, rhetoric, psychology, gender and sexuality studies, ethnic studies, popular culture studies, and visual studies to reveal the intricacies of how men use their folk practices in an all-male group to manage the paradoxes of their friendship and comradeship under sometimes stressful conditions. Soldier Snapshots begins with a brief history of war photography and establishes the nature of vernacular photography: the snapshot. This is followed by a jargon-free discussion of the key ideas about masculinity and the vernacular practices of men in groups, exploring male friendship, the important role of play in men’s relationships, and the ways “animal buddies” adopted by male friendship groups actually tell us even more about male friendship and issues of trust. In the final section Mechling’s careful analysis reveals how the men employ different folk practices—including rough-and-tumble playfighting, building human pyramids, bathing naked in public, cross-dressing, hazing, and gallows humor—in order to manage their relationships. Regardless of the man’s sexual orientation and sexual identity, the strong heterosexual norm in the military means that the men must find ways to understand and even enact or perform their feelings of bonding while still defining those feelings and acts as heterosexual.
Author : Richard H. Saunders Publisher : University Press of New England Page : 258 pages File Size : 55,6 Mb Release : 2016-09-06 Category : Art ISBN : 9781611688931
Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits - whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.
Author : John Ibson Publisher : University of Chicago Press Page : 279 pages File Size : 50,9 Mb Release : 2018-11-01 Category : History ISBN : 9780226576688
On the battlefields of World War II, with their fellow soldiers as the only shield between life and death, a generation of American men found themselves connecting with each other in new and profound ways. Back home after the war, however, these intimacies faced both scorn and vicious homophobia. The Mourning After makes sense of this cruel irony, telling the story of the unmeasured toll exacted upon generations of male friendships. John Ibson draws evidence from the contrasting views of male closeness depicted in WWII-era fiction by Gore Vidal and John Horne Burns, as well as from such wide-ranging sources as psychiatry texts, child development books, the memoirs of veterans’ children, and a slew of vernacular snapshots of happy male couples. In this sweeping reinterpretation of the postwar years, Ibson argues that a prolonged mourning for tenderness lost lay at the core of midcentury American masculinity, leaving far too many men with an unspoken ache that continued long after the fighting stopped, forever damaging their relationships with their wives, their children, and each other.
One of the most gifted American writers of the twentieth century—and the author of the acclaimed Rabbit series—delivers the intimate, generous, insightful, and beautifully written collection he was compiling when he died. This collection of miscellaneous prose opens with a self-portrait of the writer in winter, a Prospero who, though he fears his most dazzling performances are behind him, reveals himself in every sentence to be in deep conversation with the sources of his magic. It concludes with a moving meditation on a modern world robbed of imagination—a world without religion, without art—and on the difficulties of faith in a disbelieving age. In between are previously uncollected stories and poems, a pageant of scenes from seventeenth-century Massachusetts, five late “golf dreams,” and several of Updike's commentaries on his own work. At the heart of the book are his matchless reviews—of John Cheever, Ann Patchett, Toni Morrison, William Maxwell, John le Carré, and essays on Aimee Semple McPherson, Max Factor, and Albert Einstein, among others. Also included are two decades of art criticism—on Chardin, El Greco, Blake, Turner, Van Gogh, Max Ernest, and more. Updike’s criticism is gossip of the highest order, delivered in an intimate and generous voice.
As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium
The definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation. Covering the major events, practitioners, works, and social effects of photographic practice, Robert Hirsch provides a concise and discerning chronological account of Western photography. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative process. The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media. Highly illustrated with full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work.
The study of photography has never been more important. A look at today's digital world reveals that a greater number of photographs are being taken each day than at any other moment in history. Countless photographs are disseminated instantly online and more and more photographic images are earning prominent positions and garnering record prices in the rarefied realm of top art galleries. Reflecting this dramatic increase in all things photographic, A Companion to Photography presents a comprehensive collection of original essays that explore a variety of key areas of current debate around the state of photography in the twenty-first century. Essays are grouped and organized in themed sections including photographic interpretation, markets, popular photography, documents, and fine art and provide comprehensive coverage of the subject. Representing a diversity of approaches, essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas. A Companion to Photography offers scholars and professional photographers alike an essential and up-to-date resource that brings the study of contemporary photography into clear focus.
Craig Heron is one of Canada’s leading labour historians. Drawing together fifteen of Heron’s new and previously published essays on working-class life in Canada, Working Lives covers a wide range of issues, including politics, culture, gender, wage-earning, and union organization. A timely contribution to the evolving field of labour studies in Canada, this cohesive collection of essays analyzes the daily experiences of people working across Canada over more than two hundred years. Honest in its depictions of the historical complexities of daily life, Working Lives raises issues in the writing of Canadian working-class history, especially "working-class realism" and how it is eventually inscribed into Canada’s public history. Thoughtfully reflecting on the ways in which workers interact with the past, Heron discusses the important role historians and museums play in remembering the adversity and milestones experienced by Canada’s working class.
National Museums by Simon Knell,Peter Aronsson,Arne Bugge Amundsen Pdf
National Museums is the first book to explore the national museum as a cultural institution in a range of contrasting national contexts. Composed of new studies of countries that rarely make a showing in the English-language studies of museums, this book reveals how these national museums have been used to create a sense of national self, place the nation in the arts, deal with the consequences of political change, remake difficult pasts, and confront those issues of nationalism, ethnicity and multiculturalism which have come to the fore in national politics in recent decades. National Museums combines research from both leading and new researchers in the fields of history, museum studies, cultural studies, sociology, history of art, media studies, science and technology studies, and anthropology. It is an interrogation of the origins, purpose, organisation, politics, narratives and philosophies of national museums.
Collections Vol 14 N2 by Juilee Decker,Collections Pdf
This focus issue of the journal examines case studies from the field of photographic preservation and collections management. Guest Editor, Olivia Arnone, provides a history and context for the eponymous program based at the George Eastman Museum in Rochester, NY. Six amply-illustrated articles addressing this area of research follow.