Daniel Boorstin's The Image

For this essay the works of Robert Draper, author of “Why Photos Matter,” and Fred Ritchen, author of “Photography Changes the Way News is Reported,” will be analyzed. Though both deal with the topic of photography, their take on the matter is very different. While Ritchen is a photographer who writes on “what professional photographers will be doing in the future,” Draper is a writer for the National Geographic writing on how the photographers of the magazine share “a hunger for the unknown.” Both writers, however, write on the topic of photographers having a deeper understanding of their subjects, Ritchen due to research and practice, and Draper because the photographers “sit [with] their subjects, just listening to them.” In both essays the need for a deeper understanding of the

Elvis Presley’ musical career has many differences from Frank Sinatra’s, while they still share some similarities such as their fan base and their middle lower social status. The differences between them are affected by many factors such as the development of technology, social environment and so on.

The photograph is a very powerful medium. The French painter Paul Delaroche exclaimed upon seeing an early photograph “from now on, painting is dead!” (Sayre, 2000). Many critics did not take photography seriously as a legitimate art form until the 20th century. With the

The remainder of this essay will looks at how Elvis, through his music career, had a major impact on culture. This new culture that was to emerge in both the USA and indeed the world would shape a new generation of both young and old. His influence on black and white American culture caused a lot of racist riots because of the mingling of black and white people. The popularity of Elvis also led to a transgressive position with respect to racial and sexual boundaries. White cover versions of hits by black musicians often outsold the originals, it seemed Americans wanted black music without black people in it. A southern background combined with a performing style largely associated with African Americans had led to what Tan Magazine called, “bitter criticism by those who felt Elvis stole a good thing”. A black southerner in the late 1980s even captured that sentiment “to talk to Presley about blacks was like talking to Hitler about Jews”.

Lynn Huynh Final Paper 1: How did the development of photography alter the course of art history? What observable changes did it make to art? How does the argument over whether photography is art or science fit into art history during the 20th century? The development of photography altered the course of art history in many ways, it revolutionized artistic styles and critical thinking about the function and role of art.

When photography began to gain not only popularity, but accessibility, it became a topic of discussion on its place in art. Whether if it should be considered a fine art or whether its place lied in documentation. However, even with documentation, a broad assumption was that there could be an immediate trust. Gardner’s Home of a Rebel Sharpshooter proved that was not always the case, that although documenting the truth of the brutality of the Civil War. The addition of the shotgun that added the idea of fighting until the last minute was actually fabricated creating a disillusion. That photography is meant to depict a standstill truth subject, but viewers of photography can forget that it is still an artwork. That a photo is an image set and

Fame is a condition that allows an individual to be known by many people, especially on account of notable achievements. Fame allows an individual to have super powers in a way because “famous individuals are usually exempt from the rules that govern others” (Smalley & McIntosh, 386). Emily Dickinson has described fame precisely by labeling it as a ‘fickle food’, meaning, it is constantly shifting (Smalley & McIntosh, 385). In today’s media based society, fame is constantly shifting from one person to another quickly. Therefore, the constant shifting of fame puts many celebrities in vulnerable positions after the loss of fame. The article by Smalley and McIntosh explores how the

Artists, especially photographers, have utilized photography books for decades, but as we enter the twenty-first century the demand for them has escalated tremendously. Photo-books have integrated into our everyday lives in ways one might not even notice, as a society we are flooded with books in the form of zines, print on demands, and ready-mades filled with photography. In this essay, the transgression of photo books and their influence on contemporary artists will be a discussed, as well as the influence of social media and its contribution to the art world, and understanding how these books relate to the art world and why we should care.

My speech today is on not just a man, but a man who owns tens of millions of recordings, nine Grammy’s and two Academy Awards, some 60 films, worldwide tours, television specials, and hundreds of millions of dollars raised for charities. In sheer productivity, few popular artists could touch the hem of his tuxedo jacket. In pure, smoldering style, he was unexcelled. His rueful, macho star power ensured that the music and lyrics of the swing era would resonate throughout the later years of the 20th Century - despite a near-endless string of horror stories about his vulgarity, hot temper and alleged ties to organized crime. Frank Sinatra was alluring and powerful not despite his contradictions, but because of them. He was bigger than life,

The technological advancement at the beginning of the XIX century posed a great threat to traditional forms of art and philosophy, which were becoming outdated in the new economic, social, and political environment. Particularly, the invention of photography had reduced traditional painting as an obsolete culture of the past. Artists no longer held the monopoly over the creation of the visual testimony of their time. Until industrialisation, artists were invested with the social responsibility of recording and transmitting their contemporary culture to future generations. Photography was now the preferred medium for documentation, having resolved — or so

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.”

Benjamin’s death in 1940 at the age of 48, is rumored to be a suicide when the Naza’s took office, but is still a mystery. His ideas and concepts however, would live on for decades to come. Much of what he wrote about when discussing art came essentially after the development of photography and film. In his work, “Art in the Age of Mechanical Reproduction,” Benjamin addresses his perception of the changes in art and the aesthetic experience congruent with societal changes. He writes with concern of how the great artworks are viewed after the introduction of photography and film. His idea of mechanical reproduction changed the art world as society knew it, particularly in how the public views artwork and the value of that work as more and more people are able to own, view and discuss it. This paper will specifically look at aspects of Benjamin’s groundbreaking essay and how educators can relate his ideas to the practices in their art classrooms.

“Vision is the art of seeing the invisible” ( Jonathon Swift). We have been indulging in the arts and have used art as a way to express and interact with the people surrounding us. To the carved images on rocks, and to the cartoons shown on the TV, the evolution of Graphic Design has shown us the importance of typography, photographers, illustrators etc. have on our society. When paper, ink, and pencils didn’t exist, our ancestors would carve their warnings, messages, and emotions on rocks and walls. Our ancestors don’t realize that such small acts such as these was the beginning of a huge movement, that wouldn’t be recognized until thousands years later. During the 16th century, China was able to establish a technique called woodblock printing or, the application of ink on raised curved surface, that allowed multiple text and images to be made quickly. China’s wide extension of printing slowly reached the middle east and caused Europe to start producing woodblock broadsides and printed books. The first printing press was constructed by Johannes Gutenberg, which was the first metal movable type to create a large amount of printed books. In the Old days books were very rare, expensive and were very valuable. The creation of the Printing press allowed books to be done faster, cheaper and it allowed books to be more accessible to the public. Graphic Design or “the art or skill of combining text and pictures in

Amongst new developments, photographic technology became a standard for realistic images, and thirty years down the road, it would become the most accurate way to capture a scene. The largest potential threat photography posed to the painters of the modern era, was that the camera was becoming more common and accessible to the public, who did not need years of instruction and discipline to operate. This new technology, that could capture scenes with unmatched detail from sculpture, paint, or drawing, forced the artists to change

The works of Lev Manovich and Dr. Simon Cook use a revisionist approach to examine the past century and a half of visual forms. In his “Late Victorian Reasoning and a Modern History of Vision,” Dr. Cook attempts to prove a link between the late-Victorian visual forms and the “new vision” (including Modernist art) that Manovich observed in the early half of the twentieth century. In his work, Lev Manovich traces the relationship from “new vision” to the computer and new media, claiming a direct connection between the two. Although it is