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'Snapshot Chronicles' is a visual exploration of the creative outpouring made possible by the camera.
"The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, and many began experimenting with the camera as a means of capturing images as studies for final works and of observing the world and the people in it. Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Riviere, Felix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depicting interiors, city streets, nudes, and portraits, these photographs were kept private and never exhibited. As a result, most have never been published. Juxtaposing personal photographs with the related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective on early photography and on the synthesis of painting and photography at the end of the 19th century"--
From the sod houses of South Dakota to the skyscrapers of New York City, these personal photographs form the first people's photo history of America.
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.
A sweeping exploration of why and how we look at ourselves through art
This volume offers a multifaceted investigation of intersections among visual and memorial forms in modern art, politics, and society. The question of the relationships among images and memory is particularly relevant to contemporary society, at a time when visually-based technologies are increasingly employed in both grand and modest efforts to preserve the past amid rapid social change. The chapters in this book provide valuable insights concerning not only how memories may be seen (or sighted) in visual form but also how visual forms constitute noteworthy material sites of memory. The collection addresses this central theme with a wealth of interdisciplinary and international approaches, featuring conventional scholarly as well as artistic works from such disciplines as rhetoric and communication, art and art history, architecture, landscape studies, and more, by contributors from around the globe.
'Forget Me Not' explores the relationship between photography and memory and shows how ordinary people have sought to strengthen the emotional appeal of photographs, primarily by embellishing them to create strange and often beautiful hybrid objects.
What do we mean by ‘visual evidence’? How should we interpret visual texts, and what can they tell us? Why is ‘visual literacy’ so important and what benefits does it offer? Visual evidence encompasses a diverse range of media, from painting, cartoons and photography, to film, television and documentary. The central argument of this book is that visual evidence is a key to understanding both history and the present day and should not be relegated to a supporting role as merely illustrating the written word. The book shows students, scholars and researchers how to read the visual media to elicit meaning. As primary sources, visual texts can be studied not only for what is directly depicted in the painting or film but also for what it tells us about the people, cultures and societies that made them. Each chapter features fascinating case studies and examples which situate theory in real life. A major appeal of the book is the wealth of illustrations and photographs of visual texts which are included throughout. The authors make detailed reference to these examples to illustrate the theory surrounding visual evidence. An intriguing case study of an unknown girl’s photo album is just one of many examples offered, showing how we can analyze and learn from the visual text. This comprehensive and insightful edited collection brings together international media and cultural theorists, historians and art historians to demonstrate the value of visual evidence not only to media and cultural studies, but also to history, the general humanities and the social sciences.
The Good Life was a publication that was sent out on a semi-regular basis to a small group of friends/colleagues/subscribers beginning in November 1993 and concluding in September 2002. This book is a compilation of those issues. The subject material is varied and diverse---the bulk of it is a recounting of real life experiences, both mundane and dramatic, frequently analyzed from sociological, philosophical, psychological and humanistic perspectives. It also includes commentary on sociological issues, as well as topical commentary on the events of the day: the O.J. Simpson trial, the death of Princess Diana, and September 11, 2001. Sports topics of the day are discussed, and a smattering of poetry is also included, as well as reader commentary. It is an open-minded and multi-faceted book unlike any other you have read or will read.
When the revolutionary technology of photography erupted in American culture in 1839, it swiftly became, in the day's parlance, a "mania." This richly illustrated book positions vernacular photography at the center of the study of nineteenth-century American religious life. As an empirical tool, photography captured many of the signal scenes of American life, from the gold rush to the bloody battlefields of the Civil War. But photographs did not simply display neutral records of people, places, and things; rather, commonplace photographs became inscribed with spiritual meaning, disclosing, not merely signifying, a power that lay beyond. Rachel McBride Lindsey demonstrates that what people beheld when they looked at a photograph had as much to do with what lay outside the frame--theological expectations, for example--as with what the camera had recorded. Whether studio portraits tucked into Bibles, postmortem portraits with locks of hair attached, "spirit" photography, stereographs of the Holy Land, or magic lanterns used in biblical instruction, photographs were curated, beheld, displayed, and valued as physical artifacts that functioned both as relics and as icons of religious practice. Lindsey's interpretation of "vernacular" as an analytic introduces a way to consider anew the cultural, social, and material reach of religion. A multimedia collaboration with MAVCOR—Center for the Study of Material & Visual Cultures of Religion—at Yale University.