“CAPTURING THE PAsT”: AN ANTHROPOLOGICAL
... wore “proper” clothes and that researchers had serious problems persuading them to take off their clothes to photograph them in their “natural conditions” as they were later represented (cf. Peterson 2003 for a very similar account of photo Very similar representations of Aboriginal “timelessness” ...
... wore “proper” clothes and that researchers had serious problems persuading them to take off their clothes to photograph them in their “natural conditions” as they were later represented (cf. Peterson 2003 for a very similar account of photo Very similar representations of Aboriginal “timelessness” ...
Reviews A Life Full of Holes
... On first viewing, the image appears to be an eccentric map of an uncharted world. The filigree-like coastlines of these unfamiliar islands are realistically defined and clearly delineated, whilst the land mass – albeit in a reversal of traditional maps – is a clearblue aquamarine. Study the picture ...
... On first viewing, the image appears to be an eccentric map of an uncharted world. The filigree-like coastlines of these unfamiliar islands are realistically defined and clearly delineated, whilst the land mass – albeit in a reversal of traditional maps – is a clearblue aquamarine. Study the picture ...
Lyle Rexer, Positive into Negative, introduction to exhibition
... The advent of photography marked art’s divorce, when eye and hand, body and spirit, no longer communicated directly with one another. The somatic link between imagination and the world was likewise ruptured. The divorce bequeathed us an ocular age, a mechanical age, an age of transparency and survei ...
... The advent of photography marked art’s divorce, when eye and hand, body and spirit, no longer communicated directly with one another. The somatic link between imagination and the world was likewise ruptured. The divorce bequeathed us an ocular age, a mechanical age, an age of transparency and survei ...
The Family of Man
The Family of Man was an ambitious photography exhibition curated by Edward Steichen, the director of the Museum of Modern Art's (MOMA) Department of Photography. It was first shown in 1955 from January 24 to May 8 at the New York MOMA, then toured the world for eight years, making stops in thirty-seven countries on six continents. More than 9 million people viewed the exhibit.Jerry Mason (1914–1991) contemporaneously edited and published a complimentary book of the exhibition through Ridge Press, formed for the purpose in 1955 in partnership with Fred Sammis. The book was designed by Leo Lionni (May 5, 1910 – October 11, 1999) and reproduced in a variety of formats (most popularly a pocket-sized volume) in the 1950s, and reprinted in large format for its 40th anniversary, and in its various editions has sold more than four million copies. All 503 images from the exhibition were reproduced with an introduction by Carl Sandburg, the 1951 recipient of the Pulitzer Prize for Poetry, and Steichen’s brother-in-law.Sandburg's prologue reads, in part: ""The first cry of a baby in Chicago, or Zamboango, in Amsterdam or Rangoon, has the same pitch and key, each saying, ""I am! I have come through! I belong! I am a member of the Family. Many the babies and grownup here from photographs made in sixty-eight nations round our planet Earth. You travel and see what the camera saw. The wonder of human mind, heart wit and instinct is here. You might catch yourself saying, ‘I’m not a stranger here.’ "" According to Steichen, the exhibition represented the ""culmination of his career.""The physical collection is archived and displayed at Clervaux Castle in Luxembourg (Edward Steichen's home country; he was born there in 1879 in Bivange). It was first presented there in 1994 after restoration of the prints.[1] In 2003 the Family of Man photographic collection was added to UNESCO’s Memory of the World Register in recognition of its historical value.