Artist Statement from ArtSlant.com:
David DiMichele's current body of work, Pseudo Documentation, is a series of large-scale photographs depicting grandiose installations in fantasy exhibition spaces. DiMichele creates this work by first building scale models of exhibition spaces, and producing original artworks in drawing, painting and sculpture mediums, which are sited in the spaces and then photographed to create the final works. The Pseudo Documentation photographs are inspired by DiMichele's background as an installation artist, love of abstract forms and passion for monumental museum and gallery architecture.
All images belong to David Dimichele and can be found here along with further information about his works:
My name is Lauren Hohman. I am the Staff Recruiter for camp Southwoods, a private residential camp in the Adirondack Mountains of New York. We are seeking an experienced, creative, outgoing, and fun-loving photographer to join us for this summer.
Our instructor positions and internships offer a wonderful opportunity for those looking to build their portfolio and are excited to share their knowledge of photography with children. The children that they will be working with are ages 7-14. All applicants should have some experience teaching or working with children.
Benefits include but are certainly NOT limited to:
* Competitive camp salary
* Room and board
* Travel Stipend
* College Credits through Internships
* Meeting new friends from all over the world
* Spending a summer in the Adirondack Mountains
* A chance to build portfolio
* Developing as an instructor
* And of course, making a positive difference in the lives of children!!!
If you could please pass this email to those whom you think might be interested. I look forward to hearing from you.
Thank you for your time and consideration in this matter.
Program Director/Staff Coordinator914-214-8780
The Impossible Project, also known as the people who brought instant photography back, donated a lot of instant film to photographer Autumn De Wilde for her ambitious project of shooting 2500 polaroids for The Decemberists' The King is Dead record. These are a selection of the polaroids set to the song Down By The Water from their album.
This last image is stereoscopic, which is just so cool!
Check out her site: http://yowayowacamera.com/
Associate Professor of History, Science & Society, and Feminist, Gender and Sexuality Studies
Thursday, March 17, 2011
4:30 p.m., King 323
My paper “The Art and Visual Politics of the Tichborne Claimant Case in Victorian London” is part of a longer study I am completing about the history of visual evidence, legal testimony, and the formation of public opinion about contested identities in nineteenth-century Britain. Drawing on examples from hundreds of photographs, engravings, and other visual materials that circulated around the time of the high-profile trial, I plan to discuss how the physical movement of photographs and other visual materials through time and space shaped the meaning of the case from the beginning. The case offers revealing clues to mid-nineteenth century attitudes both about photographs as documentary evidence and about the law as a photographic arena in the years before the Bertillon method and other visual forensic techniques were introduced.
Jennifer Tucker received her BA in Human Biology (Neuropsychology of Vision, Perception, and Memory) from Stanford University, her master’s in History and Philosophy of Science from the University of Cambridge, and her Ph.D. in the History of Science, Medicine, and Technology from Johns Hopkins University. She currently is Associate Professor of History at Wesleyan University and a member of the core faculty of the Science in Society Program and the Feminist, Gender, and Sexuality Studies Program (Chair, 2008-2009). Her research interests include the history of science and technology, Victorian visual culture, photographic truth and evidence, early science film history and spectatorship, gender and science, and the links between art and the popularization of science in the British Empire. She is the author of Nature Exposed: Photography as Eyewitness in Victorian Science (Johns Hopkins University, 2005) and the editor of a recent special theme issue of History and Theory on “Photography and Historical Interpretation” (Dec. 2009). She has published on scientific ballooning, visual history and the archive, photographic evidence in Victorian law, and the relationship between gender and genre in nineteenth-century European scientific illustration. Her research and teaching have been supported by a National Endowment for the Humanities Fellowship, Carol A. Baker Memorial Prize for Excellence in Interdisciplinary Teaching and Research, Social Science Research Council and American Council of Learned Societies Grant, Andrew W. Mellon Foundation Summer Research Stipend, Clark Art Institute Visiting Research Fellowship, Smithsonian Institution Research Fellowship, National Science Foundation Grant, Johns Hopkins University Dean’s Award for Excellence in Teaching, and a British Marshall Scholarship. In 2009-2010, she was in residence as a Hixon-Riggs Visiting Professor of History and Science/Technology Studies at Harvey Mudd College in Claremont, California. Recent events she has organized include “Eye of History: The Camera as Witness” and “Science a Moving Image”. Her current project, “The Art and Visual Politics of the Tichborne Claimant Affair,” excavates hundreds of photographs, engravings, and other visual materials that circulated around the time of the high-profile trial in order to show how the physical movement of photographs and other visual materials through time and space shaped the meaning of the case from the beginning. The case offers revealing clues to mid-nineteenth century attitudes both about photographs as documentary evidence and about the law as a photographic arena in the years before the Bertillon method and other visual forensic techniques were introduced. She is also conducting research on the significance of the British Association for the Advancement of Science from 1850 to 1930 in the history of photography and cinema, particularly documentary film.