Clarence John Laughlin Research Paper

Born to parents who had a strong dedication to their faith, Granville Oral Roberts was born near Ada, Oklahoma. His father preached the gospel and established Pentecostal Holiness Churches, and his mother prayed for the sick and led people to Christ. The family was poor, and his father was a farmer while he pastored a church. While Roberts was in his mother’s womb, she dedicated him to the Lord. He was born with a severe stutter, but she continually told him that he would be healed and speak to multitudes.

     “Let Us Now Praise Famous Men,” was written by James Agee and Walker Evans. The story is about three white families of tenant farmers in rural Alabama. The photographs in the beginning have no captions or quotations. They are just images of three tenant farming families, their houses, and possessions. “The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative.” (87) The story and the photographs contain relationships between them; in the essay I am going to inform you about the interpretations of the relationships between the readings of James Agee and some of the pictures by Walker Evans.

During 1892, Lewis Hines graduated from high school and worked in an upholstery factory and in the next several years Hine worked several jobs while he was studying stenography, drawing, and sculpture. Hine eventually earned a Master’s degree in education from the University of Chicago. Hine’s first passion was not photography rather it was teaching. His first job was as a teacher at the Ethical Culture School in New York City. Hine’s had a friend named Frank Manny who was the one that convinced Lewis Hine to become the school photographer at the Ethical Culture School, where he gained technical skills (Hine, 11). Lewis Hine started off with a ten-dollar box camera and soon after set up a dark room at school that lead him to start an after school camera club, where he learned about art photography along the students (Freedman, 9). According to the book “Crusade for the Children,” by 1908 Hine spent several years as an amateur, photographing immigrants, Bowery inhabitants, and Lower Eastside hovel children. Soon after Hine quit teaching because he was interested in portraying the difficulty of the poor (Trattner, 105). Hine spent some time working for The survey magazine but later was hired by the National Child Labor Committee by 1906 Hine started work on a freelance basis (105). According to the book “Kids at work,” by 1908, by the time he left the Ethical Culture School,

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Vernon Wayne Howell was born in August 17, 1959 in Houston Texas. His mother was an unwead tennagaer when she had Howell. In his early childhood he claims he was abused by his mother's partner. When he was eighteen he dropped out of high school to pursue a career as a rock star. When he was in his twenties he caused his family to get kicked out of their church, the Seventh Day Advent, because he was questioning the way the leaders interpreted the Seven Seals of the bible. Soon after being kicked out of the church he found the Branch Davidians and joined the religious group. Once in the group he changed his name to David Koresh.

Caesar Rodney, the first of the delegation from Delaware, was a native of that state, and was born about the year 1730. His birth-place was Dover. The family, from which he was descended, was of ancient date, and is honorably spoken of in the history of early times. We read of Sir Walter De Rodeney, of Sir George De Rodeney, and Sir Henry De Rodeney, with several others of the same name, even earlier than the year 1234. Sir Richard De Rodeney accompanied the gallant Richard Coeur de Lion in his crusade to the Holy Land, where he fell, while fighting at the siege of Acre.

Not simply a great photographer and ethnographer but a man with enough compassion and foresight to recognize that here was a once proud and free people whose traditions and culture were quickly disappearing via assimilation into a conquering white man’s society. His passion and drive to capture those traditions is reflected in this quote:

I chose the poem “Facing It” to discuss. The first image I got was in the second line when he says hiding inside the black granite. I think that image is important because it lets you know that the person is not human. you can imagine somebody hiding inside something, somebody that is not alive maybe a ghost. Also when the poet says, “I turn this way the stone lets me go, I turned that way I’m inside the Vietnam Veterans Memorial again…” you can imagine the person as a ghost. without this key image you would not know or understand that it is a veteran who has died and is a ghost looking at his own memorial. “I touch the name and Andrew Johnson, I see the booby traps white Flash…”, this image is very important it let you know that he was a

Abstract: This essay reflects on the relationship of photographs, history, and memory based on a found and mutilated photo album. Photographs provide opportunities for disrupting and restructuring history with their attraction to memory; they privilege the subjective, creative power of the personal explanation and provide an emotional and even ideological grounding for memory. Photographs as manifestations of memory assist in the process of understanding the present.

Although this is a very simple photo, it had a profound affect on me when I saw it. Those simple words, along with that visual, spoke loudly. When viewing this photo, I experienced purely negative emotions.

Roy DeCarava was born in 1919 in New York and became a famous photographer whose subjects focused mostly on urban African Americans and their daily lives. Harlem was where he took most of his photographs. He originally started out painting and first began using a camera to document images he would later use in his painting, but over time began to rely on the camera more until that became his medium for art. Throughout his life, DeCavara was forced to deal with racial discrimination, which in part led him to begin photographing African Americans and their experiences in 20th century America. In the 1940’s DeCarava began shooting a series photographs in Harlem, which later were included in his first solo show in 1950. In 1952, Decarava was awarded Guggenheim Fellowship, and was the first African American photographer to receive this grant. In 1955 he founded A Photographer’s Gallery, which was implemented to gain public interest in photography, and eventually closed due to poor sales. He also started a workshop in 1963 specifically for African American photographers. Though he was an acclaimed artist his career as a freelance photographer was never completely stable so he looked for other jobs throughout his life. He became a contract photographer for Sports Illustrated, became an associate professor at Hunter College and eventually became a full time and distinguished professor there. In 1996, the Museum of Modern Art a retrospective of DeCavara’s works that travelled to many

My first reaction to the photo was, why is there only one person that is red and why is he not interacting with everyone else? There are many people in the photo, but the red person is standing there all by himself looking kind of confused on what is going on around him. If I came up with a title for this photo it would be “Standing Alone.” I would give it that title because even though there are many people around, someone can still feel left out and all by themselves. I think the author’s purpose for taking this photo was to show that not everyone will fit in with other people in the world, and there will become a time in life that you feel all alone. I feel this picture has a bigger meaning than many will realize, and at first it might be

When this picture was taken, I was in the most difficult part of my fifteen year journey to happiness. At the time, I was in constant fear of the future. This was due to the fact that I was, and still am, one of those people that desires a less than traditional life path. At the time, I felt like my only option was the predictable “go to college and have kids and retire at age 65 in order to enjoy life for a few years and then die without doing anything significant” route. That terrified me. I knew that taking that road would not make me happy, yet I felt locked into it both by my own fear and society’s influence. The inevitability of existential anguish at the end of my life felt like an inescapable prophecy.

Henry Peach Robinson, born on July 9th, 1830, was a British photographer and prominent author on photography. Known as “the King of Photographic Picture Making,” he began his life’s work as a painter but would become one of the most influential photographers of the late 19th century. He was a prolific advocate for photography as an art form and is well known for his role in “pictorialism,” which, according to Encyclopedia Britannica, is “an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality.”