Crimea By Roger Fenon: The Valley Of The Shadow Of Death

This particular artwork is an appropriation of the rather majestic painting ‘North- East view from the northern top of Mount Kosciusko’ by Eugene von Guerard, produced in 1863. Tillers has re-contextualised the work and given it added value for the present time. ‘Mt Analogue’ explores ideas of authorship and originality through his use of appropriation. He has

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

John Szarkowski is an American photographer and curator, whose opinions on a photograph’s narrative and direction are highly valued. In his time he analyzed many works of art, and produced many different interpretations, one being the ideals of mirrors and windows.

In COTLB, it also develops into the soldiers charging into the gunfire of the enemy however the soldiers are in a much worse situation. This is reinforced by the quote “Cannon to the right of them, Cannon to the left of them, Cannon in front of them” This quote shows that the soldiers are surrounded by the enemy and there is no escape, which shows there is little chance of survival. This links to the question and Bayonet Charge because the soldier is also charging at the enemy under fire however here, they are trapped. The repetition of the word “Cannon” describes the true horror of the situation and how scary war really is. It, again, links to Bayonet Charge because the soldier was petrified and frozen looking back at what he was doing which shows us that the reality of war is really scary. It then goes to say “Volley’d and thunder’d” this quote shows that the cannons were powerful and threatening. The verb describes the noises that the cannons made and since these are strong verbs it shows us that the cannons also are very powerful which we can

Moreover, during an extensive struggle on the Morris island, a lot of numbers of torpedoes were being used by the rebels in defense of Fort Wagner. In one of the huge explosions, a corporal of the 3rd colored troops was thrown about 25 yards. “the dead soldier landed entirely naked, with arm resting on the plunger of another torpedo.”

Both of the photographers are concerned with questions about our collective responsibility in shaping the environments we live in, which reflects in their work. Although they have similar thoughts and ideas, How do they both create a unique style and maintain relevance, status and professionalism in their genre?

The paper will explore Abelardo Morell’s life, photographic career, and discusses how the Camera falls into his career. Also, this paper will include an art critic review of his artworks. Abelardo Morell is a renowned Cuban-born photographer in the field of Contemporary photography, known for his invention working methods, including the use of a Camera Obscura that represented by Edwynn Houk Gallery in New York City. He took the Camera Obscura out of the past and bring it toward the future. This paper hopes to give a reader an understanding of Abelardo Morell and Camera Obscura.

Initially as the story progresses, imagery is a commonly used literary device used by O’Brien to draw the reader in to the story. For instance, in the text it states, “Ted Lavender, who was scared, carried tranquilizers until he was shot in the head outside the village of Than Khe in mid april” (O’Brien 2). This was a sentence from an excerpt describing what each soldier was required to carry and what some soldiers carried for personal reasons. This quote emphasizes how the soldiers would carry anything they could to have an belief that they had some form of security, though ultimately this security was a false from the embrace of death. Another example of this is “Almost everyone humped photographs” (3). Photographs provide comfort to soldiers going through an extremely stressful scenario. However, photographs in this context are a symbol of memories, and desires. Lieutenant Jimmy Cross’ pictures of Martha were his way of expressing his love for her.

The Russian invasion of Crimea in 2014 “Was the Russian invasion of Crimea in 2014 justified?” Introduction The topic for this extended essay is the Russian invasion of Crimea in 2014. The thesis question of this essay is “Was the Russian invasion of Crimea in 2014 justified?”. Crimea is an autonomous republic located in southern Ukraine.

Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).

He argues that this desire to see the stories of war comes from the same place as the desire to watch an apocalyptic movie. The description of these war pictures very much resembles one of a movie: “as if a struggle for good against evil might be being played out before the camera, with elements of heroism, bravery, betrayal, and cowardice, and with winners and losers” (Ritchen, 2). To see war is to see the closest thing to a movie in real life. This is supplemented by the desire to share the photos that resides in the photographer. Ritchen argues that there is a promise made when a photograph of such atrocities is taken: that it will be shared and given its best chance of reaching the eyes of someone who can change this, or someone who can prevent it. This gives evidence to the point that the author is not arguing, on the surface, a surprising choice; but this does, in its own way, give the author a greater credibility. By acknowledging the ‘other’ side, he humanizes them and changes the essay from simply arguing a point to an article that explores the idea of this debate and culminates to a decision. When we are being told to believe something, those that give a healthy dose of skepticism see red flags go up; but when we are led through the author’s ideas and how he comes to that stand, we can come to the same conclusion naturally. This also gives the idea that

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

The clothing of the soldier looks civilian, but he seems to have all the equipment for war. By taking a closer look at the photo, the feeling of the bullet going through the soldier’s head seems realistic. The composition of the photo have included the motion of the soldier falling back with pain and death. In analysis of the photo, there were several reasons that made it so impactful for the world and the history of war photography. First of all, the close up of the soldier being killed reflected on the bloody side of war. In addition, the picture emphasizes on people have lost their live pursuing for what they believe. Throughout Robert Capa’s career, his intention as a war photographer was never in the interest on how the advancement of weapon or artillery. His work and his intention has always been on people and how war has affect people in multiple ways. As a young kid serving days in the Hungarian jail, he knows how it feels to be oppressed by the dictatorship and living without what a purpose. War is the solution to regain freedom, but it is also a method to take away freedom. People are always the winners and the losers of

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

The crisis in Ukraine and Crimea’s recent accession to Russia are events that clearly highlight the underlying sources of conflict in global politics. While Russia sees its actions in Crimea as a “reunification” and the respect for the right of self-determination, the West views it as a threat to European security and a violation of territorial integrity. Crimea has been a debatable topic from the time it came under the control of the Russian Empire in 1783 during the reign of Catherine the Great. The justification then was similar to the reasoning being used by Vladimir Putin today. Catherine declared that she was protecting ethnic Russians in the region from the Ottoman Empire, much as Putin is claiming to protect Russians from Ukrainian