Lincoln From Life Analysis

In 1968, during times of tension in the United States revolving around the Civil Rights Movements, Lerone Bennett, an African American voiced his views on Abraham Lincoln. Lerone Bennett voiced his opinions in an article published by Ebony Magazine called Lincoln, a White Supremacist. Lincoln, a White Supremacist is about Abraham Lincoln being a president of the white man. Furthermore, being written by an African American bought more attention to the article, because African Americans usually praised Lincoln. Although Lerone Bennett failed to prove how Abraham Lincoln’s childhood affected his view on African Americans and slavery, Bennett proved Lincoln’s desire to keep blacks and white segregated through colonizations and the reasoning of

     “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.

In Alexander Gardner’s Photographic Sketchbook of the Civil War, the haunting image “Harvest of Death” catches one’s eye with the seemingly endless field of corpses. The jarring facial expression on the figure in the foreground draws one into the narrative of the piece. However, our initial understanding of the image’s narrative is limited to what we can see and what we know of the circumstances surrounding it. While we know it was taken during the American Civil War, by simply looking at the photograph, we cannot know who is depicted. In black and white, it is difficult to even tell what side of the conflict these fallen soldiers fought for. We can interpret the image for our own readings, but we cannot tell what the artist intended us to see or what message he wanted to impart with it. These unknowns, however, are addressed in the related text associated with the image. These short passages can tell us a great deal about the photographer’s intentions and influence the way we read the image. Through the excerpt, we not only learn the intended meaning of the photography, but we also learn about Gardner’s political intentions and the key points he wanted his viewers to note within the image. Published as a pair, Gardner used his text to contextualize his images and inform the way we perceive them. This is clearly illustrated in “A Harvest of Death” and its accompanying passage.

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

I attended Fuddy Meers on Thursday, October 13th, 7:30pm at the Studio Theatre in the Temple Building. This play was written by David Lindsay-Abaire and performed here in Lincoln by the Johnny Carson School and directed by Dustin M. Mosko. Other people who played a part in this astounding play are Interim Director Harris Smith and Associate Director Sharon Teo-Gooding. When I first read about the play I was unsure if I would enjoy it but by the end of the play I thought it was one of the funniest, most entertaining plays I have watched in a long time. The characters were all great at their roles and I enjoyed seeing them each bring a different character to the play. This play was truly one of a kind and I cannot wait to discuss it more in detail.

After initially being held back by censors, a photo of three American corpses lying on the beach after a landing in the Pacific appeared in Life magazine.” (Photography and War. (n.d.)). For the first time in history, these colored photos provided the American people with what experiences in the war are really like.

Charles Beard, a noted historian said that the American Civil War was a conflict between industry and agriculture.

Before starting this project, I knew very little about photography, photographers, or exactly how much impact photographical images have had on our society. I have never taken a photography class, or researched too in depth about specific pictures or photographers. This project has allowed me to delve deeper into the world of photography in order to understand just how much influence pictures can have over society’s beliefs, emotions, and understandings’. I have have chosen two highly influential photographers, Diane Arbus and Dorothea Lange, who I have found to both resonate with me and perfectly capture human emotions in way that moves others.

“Four score and seven years ago....”, the beginning of a great speech, by a very spectacular man. When people think about President Lincoln, they think of freedom and pride. People always imagine that Lincoln was this very successful man, who was liked by everyone. However, the book Lincoln the Unknown portrays that the life of Abraham Lincoln, during and before his presidency was not all victory. This book entails many of the struggles and hardships he endured, and how he conquered them, or let them torment him.

2. Given this outstanding success, why did the internationalization thrust of the late 1980s and early 1990s fail?

As skeptical moderns, we often have trouble accepting drawings or paintings as historical records, but we tend to believe in photographs the way that we believe in mirrors; we simply accept them as the truth. Alexander Gardner's photograph Trossel's House, Battle-Field of Gettysburg, July, 1863 might therefore be viewed as evidence rather than commentary. Unlike some of Gardner's other "sketches," this picture includes no perfectly positioned rifles, no artistically angled river, no well-posed men in uniform—indeed, no people at all. The photograph's composition could barely be more prosaic; the horizon slashes the picture in half, and the subject, a white colonial-style house, sits smack in the center. Yet this straightforward, almost innocent

For that moment, George had thought Times Square’s streets belonged to him. They did not. Photographer Alfred Eisenstaedt owned them. Alfred became the most famous, Life magazine’s most reproduced, and one of history’s most popular photographers. The image of the sailor kissing a nurse on the day World War II ended proudly exemplified what a hard- fought victory looks like, also it savored what a long- sought peace feels like. Alfred was not the only photographer that captured this amazing shot. Navy Lieutenant Victor Jorgensen fired off one shot of the entwined couple at the same moment as Alfred

Gopnik's primary message in this essay is what Lincoln and Darwin have in common with us today. Modern society is based on scientific reasoning and democratic politics.

Although her work was unrecognized and overlooked until after she was deceased, Lee Miller was one of the most influential photographers throughout history. After a long career, which seemed unsuccessful at the time, Lee retired feeling defeated and uncompensated for her hard work. Her work finally received the recognition that it deserved after her son found her negatives while going through her things after her death. Her work greatly reflects upon the historic importance of her time period although going under noticed, as well as continuing to be an influence to our current time period. Her highly influential and historic work continues to grow in popularity and serve as a way to step back in time for anyone that wishes to see into the world that existed during World War II.

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.”