The Photograph, Two Beds

The air is tainted with the fumes of cherry blossom, hairspray and “Scarlet” red nail polish. Pink and white paint add texture to the walls. Week old clothes begin to hide underneath the solitary wooden mahogany chair as new, fresh clothes take their place as head of the drawer. Pieces of pencil shavings cover the once pastel pink carpet while the white fan creaks once it hits a 180-degree angle. A battle between bright yellow and soft white light occurs when someone decides to take settle on the full- size bed.

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

When you step out of this room to the photography room on the right your feelings within the surrounding change once again. In the first room of the museum the tile is white and thus reflects light, creating yet more light in the surrounding area. The walls go from light and colorful shades to a medium tinted of gray creating a more plain mood within the room. In the side room full of photography the flooring changes from white large stone tiles to wood panel flooring. The opening to this second room is an opening the wall rather than another doorway but instead of the opening stretching all the way up to the ceiling, there is a thinner horizontal plank at the top that is an almost metallically aluminum color. The space is divided up

The gray, bland walls still hold my drawings from years ago. Blood scattered around the room adds some color the dull, grey walls and floor. The only source of light comes from a small, prison-like window. There’s no bed or anything. Just emptiness. In the far corner, a chain with blood dripping off it hangs.

lives is that dreams are just optical illusions that you create within yourself. In certain

The piece displays a cavernous interior with a series of dark arches that recede towards some flickering flames. These huge bricks and arches make the hall resemble a sort of dungeon or a sort of oven. The palette he used is limited to solely to shades of black, and brown. White paint is used to outline the crevices and edges of the bricks. The windows are dark black, and the ceiling is pitched black. The dimly lit piece seems to be an interior space solely lit by the series of small flames, and these flames are placed at a

This area was semi-rectangular in shape and may have been where “the bed” was located. Some small bed springs were found within this area, and a post mold was located in this area which permitted for a wood frame bed to have been nailed. The surface plots of artifact distrobutions delineate this area, except for personal artifacts. Within this particular area, there is a concentration of personal artifacts.It can be infer that these artifacts may have been stored under the frame, thus leaving a concentration of personal artifacts in this area after the cabin was abandoned. Although, it may not be proven that a bed was located in this area some of the artifacts that were found seem to suggest this. The delineation of this area shown in the distrobutions of different artifact deposits such as the abandonment deposit, glass deposit, and bone deposit seems to confirm that in this area some type of internal furnishings existed. At the same time, the concentration of personal items within this area seems to suggest that some personal artifacts may have been stored in this area. Therefore, even if this area was used as a sleeping area, it appears that some personal objects such as slate board, clothing and belt buckles were stored this in this area. In all, there is evidence which allows for the conjecture that this area may have been used for a sleeping

A closed door with its decorated frame stands next to it. Quinn uses photo manipulation to project a slide of one of the pictures left in the home. It is a vacation photo taken by a family who once lived in the house. In it, we see a lake with a reflection traveling towards brownish-black mountains topped with snow. Much of the wedding dress and the door are transparent, allowing the whole vacation photo to be visible. An antique light fixture accompanies a wide-open doorway on the right wall. The picture plane is confined to a relatively small space. It is mostly made up of straight lines, the majority of them being vertical or horizontal. The lines of the stair railing and the right and left walls create a directional force traveling from the foreground to the background. While observing the print, viewers will be able to notice a pattern of rectangles repeating throughout the image. There appears to be a monochromatic color scheme, based on the distribution of varying shades of white, along with the brown railing, ceiling wood, and stain in the lower corner of the right wall. This could also be considered a neutral color scheme.

I couldn’t help but stop, I was mesmerized at how elegant the hall was. It was a long passage, decorated with white tables, mirrors with white trim, white tile, white ceilings, and white lamps placed on every table giving off a ghostly, cold light. Open doors lined the walls. Inside, you could see white decorated rooms.

The construction of the picture space, impeccably correct from a mathematical point of view, is characterized, first, by the extreme shortness of the perspective distance which, if the room were drawn to natural scale, would amount to only about four feet; second, by the lowness of the horizon which is determined by the eye level of the seated Saint; third, by the eccentric position of the vanishing point which is little more than half a centimeter from the right margin. The shortness of the distance, combined with the lowness of the horizon strengthens the feeling of intimacy. However, the vanishing point prevents the small room from looking cramped and box-like because the north wall is not visible; it gives greater distinction to the play of light on the embrasures of the windows; and it suggests the experience of casually entering a private room rather than of facing an artificially arranged stage.

Upon arrival at the colonial estate, the narrator quickly notices a big, airy room that she has a strong distaste for. She mentions that it was a nursery first, then a playroom, and finally a gymnasium, but that the windows are barred. With how she is describing her surroundings it allows for one to notice attributes of postpartum depression if it is applied to later on. The room in which she has

Magnificent, heavenly light filters through the wispy clouds, signifying a new day. The thin clouds slowly drift apart, presenting a beautiful sky beneath. Speaking out to me, the sky seems to know every one of my thoughts, my dreams, my darkest fears. The sky is but a canvas of light, creating a new picture within seconds. Weaving a story through the delicate clouds, the picture grows beyond the expanse of sky. The colors splay before me, painfully beautiful and simple. Pink hues morph into vibrant purples as they blend with the beautiful blues. The glittering stretch of sea shines before my eyes. With every new wave, the light from above whispers promises of riches and sparkling diamonds. The light breeze that kisses the sea sends the twinkling light back into the air above.

As a mental event, the rêverie, to which the English "daydream" is merely an approximation, represents only a moderated relaxation of rational control, such as used to be cultivated chiefly by imaginative artists and their followers in developing their sensitivity to nature and beauty, in search of aesthetic stimulus or satisfaction. Our inadequate vocabulary for dealing with such phenomena nonetheless allows us to distinguish the realm of imagination, in which the rêverie explores with some degree of realism the meaning of emotional experience, together with any possible alternative forms which it might take, from the realm of mere

In the corner you can see the fairies and pixies fighting over the pizza i was eating yesterday which is infact my favourite food. The design of the rooms is very unique like everything has been put in a place for a reason. The oldest think i can remember here is the sofa which i bought 2 years ago. I remember when we first bought it, the smile on my face and the arguing between my dad and brother. "Go left, Go left" he would yell. Ahh good times. It used to be clean but the constant food i would eat on it could have changed that. Like most teenagers i have many posters on my walls mostly of role models that I admire, favourite teams and a few cute girls here and there. The most visible thing here is probably the red carpet that covers the bedroom as far as your eyes can see. In the corner of my bedroom is my desk which I normally do all of my homework and assignments, On top of it sat my computer which is always on. My previous desk somehow broke and

It looks as if it’s the same size as a football field. . As you step in, you immediately sink a couple of inches because of how plush the caramel colored carpet is. The long glamorous chandler hangs from the high vaulted ceilings. Immediately to your left is a marble sink, with silver pull out fixtures and deep sink bowls. On the sink there is an automatic soap dispenser on the right and an automatic hand dryer on the left. Both made of sterling silver. The burnt orange and brown colors on the wall are so bright, it looks like the sun is shinning directly above the room. The walls are covered with many paintings. Some of famous artists that color the walls are Vincent van Gogh, Claude Monet, and Pablo Picasso. Many of the others are from unknown starving artist. To the far right of the room there is a solid wood bar hutch that looks as tall as an oak tree. Any drink that you can think of, is there in that bar.