Gertrude Stein - Portraits and Repitition

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

This idea hinges on the conceptualization of artists using their art not just to tell a story, but also to act as a sight of personal and political rebellion. Though the idea of using art to make a political statement is nothing new, it becomes increasingly significant when the film’s historical context is addressed. The beginning of the film places the viewer in 1920’s Mexico a few years after the end of the Mexican Civil War. In a global context, this also places the viewer in a world recently rocked by the Bolshevik Revolution in Russia just as few years before.

Life writing is a genre that’s more equivocal than other genres. It has its own codes and conventions which help convey its own key ideas and messages. The arrangement of the codes and conventions help the audience recognize the connection between other life writing texts. One of the these is how perspective is used to convey the authors aspects of the real incident. This convention links to the one of the codes, language, where the composer uses languages to create personal accounts of a person’s life. All authors use language to express their experience. This verbalization is what links all life writing texts together.

Distinctively visual is not just about images but also the power of language that enables composers to transport us to their world, specifically to the place indicative of the time during which the text was written. Henry Lawson’s collection of short stories in particular ‘In a dry season’ and ‘The drover’s wife’ and my related text, Art Spigelman’s graphic novel ‘Maus’ bring their unique ideas to life shaping and challenging our perspective and understanding of various human experiences of pain, suffering ,courage, resilience and perseverance ultimately bringing personal and social issues to life.

The essay will make use of the works of photographic artists who engage in one of the two schools of photography, Pictorialism and Modernism. The artists that will be used for this essay are Paul Strand who has been selected for the Modernist development together with a Russian artistic photographer Alexander Rodchenko and As White remained rooted to Pictorialism, his stance on his methodology and set up in the 1920s and 1930s led to occurrence of the stirring up of quite a number of understudies to handle his visualization style which was fresh and innovative (White, Clarence H., Jr. and Peter C. Bunnell 1965). In the process of talking about the two schools of photography, Pictorialism and Modernism rather than focus on the clash and disagreements that occurred from Pictorialism and Modernism it is more suitable to examine the merits in both the method and styles used in the two schools of

Photography for Sontag is likewise a type of dreaminess. It gives intending to the occasion, and as Sontag argues, a captured minute is a favored minute that was decided for social reasons. Photography transforms a minute into an occasion, in light of the fact that an occasion is something that merits capturing, yet it philosophy which chooses what's justified regardless of the

My impressions of life have always been connected to movement expression. When I was a child, I used to dance Frevo (a Brazilian folk dance), and, since then, the dance has been part of me, and I have not been able to understand life in a different way. During my undergraduate course (BA in Arts Education – Performing Arts) in Brazil,

This painting provides an extreme high level of lighting, which was utilizes whites that give off the impression of a heavenly glow. The subject’s skin almost seems to radiate light in Boucher’s style of realism, which goes in on contrast to Picasso’s use of extremely muted light on the face of his subject. More so, Picasso tends to present Gertrude Stein in a room with very low lighting, which expands upon the dim nature of this painting. These paintings define the differing nature of lighting in the classical mode, which tends to show the differing styles of application that each painter utilized in differing historical periods. The use of extremely highly it settings was a common practice for Boucher in the 18th century, which defines the contrasting elements of muted light of modernism that Picasso utilizes in his portrait of Gertrude Stein.

She views the role of photography from two different angles or lenses: one as the pure documentary capture and the other as the “order of simulacra,” that generates the global consumer society, as Phillips (1982) puts it (p. 27). Evans captured his original subject in a straightforward way, reflecting only on the reality he perceives. As a photojournalist, he attempts to attain objectivity but fails because it is impossible for a portrait to completely omit the bias of the photographer. The fact that Evans compiled a book on the subject highlights the journalist’s honest lack of objectivity in his work. Evans meant to make a statement with his photographs every bit as much as Levine does.

Returning to Benjamin, he writes that, “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space” (Benjamin II) which corroborates the speaker of the poem’s stance that, “Meaning takes place in time” (Solie 38). Although Benjamin’s thoughts focus more on the ubiquity and lack of authenticity that occurs with mass image production and reproduction, “Bitumen” shares some of these concerns, tracing the development of modern proliferation of images from the first imagining techniques of Joseph-Nicéphore Niépce, to the “photochrome postcards” (32) of late 19th century, up to video- sharing websites. The speaker of “Bitumen” looks to construct a timeline of image mediation alongside the aestheticization of catastrophe. Even calamitous weather events, which “Bitumen” ties to the “unseasonable” (34) weather that results from global warming, becomes a sublime, photogenic spectacle with the ubiquity and quotidian character of modern image and film: “tornados on YouTube relieve us of our boredom” (“Bitumen” 33). The speaker of “Bitumen” argues that these mediations pacify rather than invigorate, and replace what should be fear and action with awe and

Because of this, words and images cannot be put together without a direct context to lead the reader; otherwise, a message would be interpreted incorrectly. Due to this, there was a crucial overlap which linked Mitchell’s work with any other photographic essay. I noticed throughout W.J.T Mitchell’s work the main theme of perspective to be emphasized. Most importantly, Mitchell, Mollison and many other photographers that depend on words and images find a way for each reader to develop a distinct idea, to understand what the writer is conveying, and to develop a relative idea to others in interpreting the image from all other perspectives.

The article Movement by Charlotte Jirousek was published in 1995. Jirousek states that there are four different types of movement that define it. He states that Literal Movement, motion pictures movement, Mobiles ( sculptures that move), and finally dance are all forms of movement. Literal movement is meant to characterize or illustrate symbols, a motion picture is the collection of single still photos on a film that is brought together to form a continuous motion, Mobiles which the movement of art partially in sculptures and finally dance which involves the movements of the body.

Still Life with Skull by Paul Cezanne was completed in 1898 during the Post-Impressionist era commonly known as the final period. The piece features a skull, fruits, and a piece of white cloth placed on a table. It takes the vanitas genre of art, done using oil on canvas measuring 65.4 cm by 54.3 cm which is exhibited at the Barnes Foundation, Merion, Pennsylvania, USA (Lindsay 1969, 23). This work represents a powerful and essential link between the materialistic artistic movement of Expressionism and the ephemeral features of Impressionism. The painting features a dark background with planes of color used in the foreground and on objects to create space and depth of perspective.

William Carlos Williams “Philomena Andronica” and Gertrude Stein’s “Identity, a poem” are both visually and tonally very different texts. However, Stein and Williams have both used similar approaches to literary form in their poems as can be seen in their non-traditional approach to meaning generation and rejection of grammatical convention. The poems also both show an interest in the notion of identity and it’s fluidity, although Stein employs repeated images in her investigation whilst Williams approach lies in his clever use of parenthesis and vignette form.

"Close all shutters and doors until no light enters the camera except through the lens, and opposite hold a piece of paper, which you move forward and backward until the scene appears in the sharpest detail. There on the paper you will see the whole view as it really is, with its distances, its colours and shadows and motion, the clouds, the water twinkling, the birds flying. By holding the paper steady you can trace the whole perspective with a pen, shade it and delicately colour it from nature."