Using The Ual Libraries For Research

You are required to discuss a work by a 20th or 21st century artist, photographer, designer, architect, film-maker, philosopher or writer and show how this work reflects, contradicts or extends theories of and attitudes to visual culture current at the time of its making.

After viewing these six pictures, I consider that it is almost impossible to feel sad or depressed when looking at Elliott Erwitt work. Finally, the essay will be finished by mentioning a quote of him that I believe perfectly represents what photography is about and how it reaches out to most people: "It's about reacting to what you see, hopefully without preconception. You can find pictures anywhere. It's simply a matter of noticing things and organizing them. You just have to care about what's around you and have a concern with humanity and the human comedy.

"Never Just Pictures" by Susan Bordo, is about how today's society looks at different types of media to get an idea of what they should look like. In this essay, the author tries to get the readers to take a closer look at today's

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

I was fortuned to have had parents who had a respect for all kinds of art and approached life with an open mind. Thus being furthered blessed to grow up near a metropolis which possesses a major art museum and galleries showcasing new talent, filling young eyes with wonderment. An art appreciation study early own in life would have been beneficial but alas, I burn with shame as one who falls in the class of “I know what I like” when asked about art. I am all agog for semester’s end to be better equipped to articulate on why I am moved by a particular piece. After listening to the first week lecture and reading the first two chapters of the course text, it was difficult to narrow the subject of my essay to one subject. But, Chapter Ones quotes

Required Text: Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996.

While Postman points out the literal meaning of photography is “writing with light”; the two are from completely different universes when it comes to public discourse (p. 71). Unlike typography, photography cannot offer assertions, make propositions and offers no commentary. As long as it is not an altered photograph, it has no choice but to be true (p. 73). Thus, the photograph is only able to capture a moment in time and does not have the ability to comment on that moment. Our author contends, where language presents the world as an idea, the photographs only option is to show the world as an object (p. 72). Whereas in language, the correct context requires consideration of what is said before and after, in photography there is no before and after, only the snapshot of time. Therefore, by its very nature photography is context-free (p. 73). As photography immersed itself in the American culture author, Daniel Boorstin called this “the graphic revolution.” Postman is unequivocal on the point that the traditional forms of information, news, and even reality itself received an impairment by this new focus on images. For examples, he cites billboards, posters and advertisements. He points to magazines Life, Look and several newspapers. The picture was the focal point, and the writing was forced to take a less dominate roll and sometimes done away with altogether (p.

Universal College chose me,because of the courses they had down as popular major; I will contribute to the college by bettering my knowledge in science and weather; by bettering my knowledge I can better the schools warning system; participating in soccer, and interactive(hands-on) clubs to get to know science;I will further my career and hope to keep striving for my doctoral, thus I will then will be completed at Universal College with degrees in weather and science.Furthermore,contributing to Universal College for me, means getting to eventually start my own weather and science club. I plan on using the knowledge learned in my academic courses to create clubs for weather to show how the severe weather warning systems work, and how to possibly better them. Club creation will then lead to bettering the knowledge of my fellow students when it comes to science and weather of the atmosphere earth has been situated

And for the other half of the assignment, in this part I choose contemporary photographer Sheila Pree Bright. The reason I selected Sheila Pree Bright is largely her work, which not only was amazing but also portraying wide ranges of contemporary society and its flaws. Moreover, she seems to found a way to show what Generation Y’s view on society look like as if it were a documentary kind of like the photos of Dorothea Lange. Therefore, the next paragraph I will talk about, her works and what are my thoughts on them.

‘A picture says a thousand words’ this analogy often refers to photographs with immense amount of detail and meaning that it doesn’t need words or any description to exemplify its context. A photograph in particular engages an indicative role into promoting an issue that’s typical of the time. A photograph that highlights copious meaning is evident in Lawrence Beitler’s ‘Lynching of young blacks’. A role of a photograph is to provoke emotions and empathise within the subject of the picture. To do so, famous photographs often accommodate numerous conventions including the historical context, symbolic codes and technical codes. These codes and conventions operate simultaneously to epitomise the significance behind a

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.

In addition, Rosler pointed out that a documentary photo has two paths. The images in the first “immediate” moment captured to be testimony evidences to support or argue against social practice. The second “aesthetic-historical” moment characterized as having less defined boundaries to evaluate a photograph, which means the traditional subjective judgments of an image have fell below its well-formedness and aesthetic pleasure it brings to the public.

I chose this article for the sole reason that I am a photographer so when I read that we could choose the topic of our paper I wanted to find out how photography and sociology can relate more to each other and what types of articles there are on the library website that I can read to get more of and understanding for how sociology and photography go hand in hand with each other. Therefore, obviously, the main topic is Sociology in Photography and how to build solidarity with subjects and the audience. I also found this to be an interesting topic because just last night I went to the Carnegie Museum of Natural History where I got to hear 6 of 11 women photographers from National Geographic speak about their work and they talked a lot about like understanding their subjects and how to build solidarity with their subjects before they photographed them and how to find a way to show the subject to the audience. It was a really wonderful experience to not only look at their works but to also hear them speak and I think that this journal I choose really relates to that which is another good reason I choose it. The research questions being answered within this article are ‘how to build solidarity with your subject’, ‘how to build solidarity with your audience’, ‘how to connect local and global issues with audience’ and ‘how to build an audience network.’

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

In reading through Management Basics for Information Professionals by Evans and Ward, one of the theories of management that stood out to me was the “administrative approach” (2007). Henry Fayol was one of the main proponents of this approach, though there were many others as well. Fayol “divided organizational activities into five major groups” and also identified 14 principles of management and believed that “management is a skill one can learn, rather than a talent received at birth” (Evans & Ward, 2007). In the context of my personal experience I found that it might be interesting to compare my experiences as a student employee in the UC Berkeley library to some of the more applicable aspects of Fayol's principles of management. I