Rocio Graham's When I Think Of Home

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

In the poem “To Paint a Water Lily” by Ted Hughes, the speaker conveys his attitude toward nature as perplexing, complex, and deceiving. He also expresses his opinion of the artist and the difficulties brought on by him trying to paint and recreate not only the picture of a water lily and its natural scene, but also capture the intense environment that is both peaceful and full of constant activity. The author achieves this through literary techniques such as: imagery and juxtaposition.

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).

The documentary What Remains follows photographer Sally Mann’s life over a span of five years as she balances being a mother, wife and photographer. In the film viewers are able to get an intimate glimpse of Mann’s creative process as she captures various images of her loved ones, landscapes, and even a new series that explores death. In this paper I will discuss Mann’s work detailing the criticism it receives as well as how my experience as a novice photographer parallels hers.

The two still lives, Bowl of Cherries by Giovanna Garzoni, and Vanitas Self-Portrait by Clara Peeters are both artwork from the fiftieth century. They speak volumes about what life was like for each artist, and depict a seemingly average day through their artistic recreations. However, Peeters and Garzoni lived very different lives, and followed different paths through their journey as female artists. A still-life with a convenient subject matter meant something unique to each artist, allowing them to create these seemly different, yet surprisingly similar pieces.

Born in 1961 in rural London and raised in Australia Adam Fuss is a prolific photographer with a keen eye for nature. His interest first begun through the documentation of the natural environment using photography as his medium. However, it wasn’t long until Fuss began using less contemporary photographic methods to document his unique view on the world. Leaving the camera behind entirely he takes a contemporary approach on the earliest techniques known to photography – from daguerreotype to the photogram. The photogram “Love” is a life-sized colour contact print using light sensitive photographic paper with the “contents” acting as a barrier between the light source and the paper. In this image the “contents” are two slaughtered rabbits which

One of the reasons I enjoyed this exhibit so much is because several pieces involved the viewer. There were two artworks of similar style that I was immediately drawn to, which I later noticed were by the same artist. Adam Fuss is the creator of these colorless photographs and though they share similar physical characteristics they have different meanings. “Untitled” (2002) was an image of a skull and “Home and the World” (2010) showed an image of a mattress. From a distance, I saw what looked like shiny aluminum surrounded by a picture frame. As I got closer I could see an image almost jumping out towards me, but only when the light was hitting it at a certain angle. I could also see my reflection in this mirror-like creation. This type of art is called a daguerreotype and is one of the earliest forms

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,

Alison Bechdel’s “Fun Home” uses both content and illustrations to describe the creator's life. The writing has numerous conceivable translations, yet the photos have a more particular reason. Roland Barthes proposes translations of delineation in electracy have harsh implications, particularly for the creator (Ulmer). For instance, as the Chapter 4 outline, the author utilizes a photo of her dad, as a youngster,

Intro Text: Society, As Told Through Still Life is an exhibit of works that aim to portray different facets of life through the use of objects. Since the conception of photography in the 1830s, the use of people and the landscapes in which people reside are often used to depict human life. However, the use of found objects in still life are seen in certain themes, such as the vanitas, a Dutch genre of painting that embodies the use of objects to showcase death and the inevitability of change. This exhibit features work that uses still life to convey motifs ever-present in human existence. These motifs range from ideas that mimic the familiar and perennial vanitas genre, to ideas of contemporary phantoms that plague people today. Objects that

Nature has long been called the canvas of God. Ink and color crafted by the hand of man are a poor substitute to mirror the beauty of nature but a photograph can do the job much better, if not exactly alike. Andy Lee, a well established creative director, film-maker, photographer, painter and self proclaimed manic doodler has captured the silent beauty of nature on his photograph series titled ‘Patagonia Dreaming 1’.

The Sunshine Eaters, curated by Lisa Deanne Smith, can be defined as a thematic exhibition that works are selected and arranged around a theme with basic information provided, such as title and identification. The main goal, clearly addressed in the introductory panel, is to present different ways in which artists and designers approach to the land, plants, flowers, and trees as alternative pathways to conjure hope when living in a world with crises of meaning and values. Each work exemplifies a state of crisis: 1) a turning point; 2) an unstable condition that requires changes being made; 3) an emotional or circumstantial upheaval in one's private life. By offering three different definitions, the exhibition attempts to encourage visitors

William Eggleston is a contemporary American photographer recognized for his contribution to color photography and for having had his works present in a series of significant art galleries. One of the characteristic concepts about Eggleston is that he managed to focus on relatively common concepts and provided the world with a new and intriguing view by showing them from a whole new perspective. Eggleston does not attempt to photograph exceptional concepts, as he actually turns ordinary objects into exceptional photographs. His work practically makes it possible for viewers to see the importance of objects and people that are not actually important.

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.

Still life paintings are a way of elevating ordinary everyday objects to a place of prominence that tell a story of the society and culture of that time; showing that everything around us, no matter how ordinary, can be seen as beautiful. Painted with watercolors in the year 1985, End Times is a still life painting by artist Michael Beck. In true trompe-l’oeil fashion, the painting needs to be examined up close to be able to tell that it is not a photograph. The objects placed together in this piece are not necessarily objects that one would consider for a work of art. They are items that one would find in most households, but the artist placed them together in a composition, deeming them worthy enough for such artistic expression. In End Times, unlike traditional still life paintings, the artist has placed the items on a wooden floor instead of a table top. The composition is balanced with vases on one side, boxes and a plant on the other and a tall wood and rattan stool in the middle with a few items on the top of the stool. There are four vases of varying heights and widths placed on the foreground on the right of the composition. The largest vase which frames the right of the picture is yellow and white has the look of a ceramic milk jug that has some dried reeds coming out of the top. Next to this vase we see a small brown ceramic vase with more of a geometric tribal design on it, placed directly behind this vase is a tall and slender caramel colored vase. The fourth