"Our God Tscorenci was our Father and created the sun, which is like a mirror. He sees us from up on high and makes photographs of our reflection. When we die the photograph disappears. Many have been lost."
—Kenchori, an Asháninka from Peruvian Amazonia, when asked to tell a story concerning cameras (From W. Baker, Backward: An Essay on Indians, Time, and Photography).
Historically photographs say less about the Navajo than about photographers of Navajos. In Navajo and Photography James Faris calls attention to the inability of photographs of Navajo by non-Navajo to communicate either the lived experiences of native people or their history. Beginning with the earliest photographs of Navajos in captivity at Bosque Redondo and including the most recent glossy picture books and calendars, Faris’s survey points out assumptions that have always governed photographic representation of the Navajo people. Full of the work of photographers such as Edward S. Curtis and Laura Gilpin, as well as photographs by many less-well known figures, readers will find Navajo and Photography an enlightening juxtaposition of cultures.
Nevada’s iconic artform comes to life.
Sheila Swan and Peter Laufer take readers on a journey, not only along the Las Vegas Strip, but down quiet, two-lane rural roads punctuated occasionally by a neon sign—those glistening beacons that represent civilization in our vast Great Basin. The photographers’ stunning work captures the argon violets, krypton purples, helium golds, and xenon blues that glow amidst the nighttime desert sky.
The book makes clear that neon is not just a medium for casino advertising. The colorful images of cowboys and cowgirls, animals, desert landscapes, and countless other creative designs all illuminate an aspect of Americana—the neon sign—that helps define Nevada and its businesses, from bars and casinos to hardware stores, restaurants, motels, and theaters that line the streets of the Silver State’s cities and towns, and those rural areas that are barely a blip on the map. With a compelling blend of striking full-color photographs and fascinating historical commentary, the book celebrates an artform that wholly embraces the state’s unique personality.
First published in 1994, this newly updated and expanded edition of Neon Nevada explores the resurgence of this artform during the last decade, which has resulted in an appreciation of Nevada neon that is not likely to fade. Swan and Laufer’s project, this survey of neon, casts the new edition as a defining source for neon scholars and attracts neon aficionados to what can only be defined as a medium as distinctive and interesting as Nevada itself.
"In The New Woman International, editors Elizabeth Otto and Vanessa Rocco have gathered a group of intellectually stimulating and provocative essays that present the emergence, both tentative and triumphant, of this new global icon and her increasingly multicultural image. Written largely by historians of art and film, these essays emphasize visual analysis of the photographic and film media that carried the new woman's influential message."
---Norma Broude, American University
"The New Woman International focuses on the New Woman not simply as an image to be analyzed but also as a producer of images and text. This groundbreaking anthology represents a theoretically sophisticated set of essays that thoroughly examine the phenomenon of the New Woman in previously unexplored ways."
---Sarah E. Chinn, Hunter College, CUNY
Images of flappers, garçonnes, Modern Girls, neue Frauen, and trampky---all embodiments of the dashing New Woman---symbolized an expanded public role for women from the suffragist era through the dawn of 1960s feminism. Chronicling nearly a century of global challenges to gender norms, The New Woman International: Representations in Photography and Film from the 1870s through the 1960s is the first book to examine modern femininity's ongoing relationship with the nineteenth and twentieth centuries' most influential new media: photography and film. This volume examines the ways in which novel ideas about women's roles in society and politics were disseminated through these technological media, and it probes the significance of radical changes in female fashion, appearance, and sexual identity. Additionally, these original essays explore the manner in which New Women artists used photography and film to respond creatively to gendered stereotypes and to reconceive of ways of being a woman in a rapidly modernizing world.
The New Woman International brings together different generations of scholars and curators who are experts in gender, photography, literature, mass media, and film to analyze the New Woman from her inception in the later nineteenth century through her full development in the interwar period, and the expansion of her forms in subsequent decades. Arranged both chronologically and thematically, these essays show how controversial female ideals figured in discourses including those on gender norms, race, technology, sexuality, female agency, science, media representation, modernism, commercial culture, internationalism, colonialism, and transnational modernity. In exploring these topics through images that range from montages to newspapers' halftone prints to film stills, this book investigates the terms of gendered representation as a process in which women were as much agents as allegories. Inaugurating a new chapter in the scholarship of representation and New Womanhood and spanning North America, Western and Eastern Europe, Asia, and the colonial contexts of Africa and the Pacific, this volume reveals the ways in which a feminine ideal circled the globe to be translated into numerous visual languages.
With a foreword from the eminent feminist art historian Linda Nochlin, this collection includes contributions by Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis, Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela, Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan, Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and Lisa Jaye Young.
DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library
In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.
Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life.
A small revolution is remaking the world. The only problem is, we can’t see it. This book uses dazzling images and evocative descriptions to reveal the virtually invisible realities and possibilities of nanoscience. An introduction to the science and technology of small things, No Small Matter explains science on the nanoscale.
Authors Felice C. Frankel and George M. Whitesides offer an overview of recent scientific advances that have given us our ever-shrinking microtechnology—for instance, an information processor connected by wires only 1,000 atoms wide. They describe the new methods used to study nanostructures, suggest ways of understanding their often bizarre behavior, and outline their uses in technology. This book explains the various means of making nanostructures and speculates about their importance for critical developments in information processing, computation, biomedicine, and other areas.
No Small Matter considers both the benefits and the risks of nano/microtechnology—from the potential of quantum computers and single-molecule genomic sequencers to the concerns about self-replicating nanosystems. By making the practical and probable realities of nanoscience as comprehensible and clear as possible, the book provides a unique vision of work at the very boundaries of modern science.
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