Found family photographs from New York's Little Italy portray a vanished way of life In Tar Beach, photographer and Little Italy resident Susan Meiselas (born 1948) brings together found pictures that were made, kept and gathered by various families who handed them down from 1940 to the early 1970s. Reflections from the community offer perspectives of multiple generations, as local author Angel Marinaccio says: "If you had an accomplishment--communion, confirmation, wedding, graduation or birthday, you'd dress up in your best outfit and go to the rooftop to take pictures and celebrate with your family." The introduction to Tar Beachis written by renowned filmmaker Martin Scorsese, who grew up on the streets portrayed in this collection. He writes: "The roof was our escape hatch and it was our sanctuary. The endless crowds, the filth and the grime, the constant noise, the chaos, the claustrophobia, the non-stop motion of everything ... you would walk up that flight of stairs, open the door, and you were above it all. You could breathe. You could dream. You could be." Meiselas, along with two of her neighbors, Angel Marinaccio and Virginia Bynum, collected and curated these vernacular photographs and memories to convey the feeling of this special place and time in the daily lives of Italian immigrants as they made their way to becoming part of American culture.
From 1972 to 1975, Susan Meiselas spent her summers photographing and interviewing women who performed striptease for smalltown carnivals in New England, Pennsylvania and South Carolina. As she followed the girl shows from town to town, she portrayed the dancers on stage and off, photographing their public performances as well as their private lives. She also taped interviews with the dancers, their boyfriends, the show managers and paying customers. Meiselas' frank description of the lives of these women brought a hidden world to public attention. Produced during the early years of the women's movement, "Carnival Strippers" reflects the struggle for identity and self-esteem that characterized a complex era of change. This revised edition contains a new selection of Meiselas' black-and-white photographs together with the original interview excerpts. Additionally, an audio CD featuring a collage of participants' voices and a 1977 interview with the photographer are included. Essays by Sylvia Wolf and Deirdre English reflect on the importance of this body of work within the history of photography and the history of feminism.
From 1972 to 1975, Susan Meiselas spent her summers photographing and interviewing women who performed striptease for small town carnivals in New England, Pennsylvania, and South Carolina. As she followed the girl shows from town to town, she portrayed the dancers on stage and off, photographing their public performances as well as their private lives. She also taped interviews with the dancers, their boyfriends, the show managers, and paying customers. Meiselas' frank description of the lives of these women brought a hidden world to public attention. Produced during the early years of the women's movement Carnival Strippers reflects the struggle for identity and self-esteem that characterized a complex era of change. Originally published in 1976, this book is considered a pioneering publication for it's frank and honest look at women on the margins of society. Original editions of the book now sell for up to $900.00 on the rare book market.This revised edition contains a new selection of Meiselas' black-and-white photographs together with the original excerpts from the interviews. Additionally an Audio-CD with a collage of voices from many participants and a 1977 interview with the photographer is included. Essays by Sylvia Wolf and Deirdre English reflect on the importance of this body of work within both the history of photography and feminism.
A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? "For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war." One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience.
Photographers now have the ideal resource to build a solid foundation for success. The Art and Business of Photography takes an honest approach to the photography profession and is a guide to the artistic and business skills that are the foundation of a career in photography. Professional photographer and former ASMP president, Susan Carr, discusses the realities of the photography industry along with the struggles of expressing creativity and producing quality photography. Topics in this distinctive guide include the balance of being an artist and a business person, the basics of copyright, pricing skills, how to find future prospects, and the importance of craft and creativity. Firsthand experiences and sample photographs by top photographers--pursuing various photography subjects and different types of clients--serve to enhance the unique combination of art and business included in this book. This volume also covers the history of the profession and the current state of the industry. Anyone with a love for a photography and the creative process will benefit from this realistic yet inspiring approach to the photography industry. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
Packaging Terrorism investigates how American media haveidentified and covered international terrorism and violence sinceSeptember 11, 2001. Compares US coverage with that of British and Arab media Discusses the priorities, assumptions, political debates,deadline pressures and bottom-line considerations that willcontinue to influence coverage in the future Suggests how terrorism could be better covered by the mediagoing forwards
Is it real? What do I remember? How can you tell a story? Can lying be OK? What goes where? Why is it famous? What makes it problematic? Who do you think you are? Stealing or borrowing? Public or private? These ten questions launch a thought-provoking investigation into what is really going on when you look at a photograph. Peeling back the layers of everything from the earliest daguerreotypes to your latest selfie, you will discover where to find meaning in an image, and the ways in which the photographer, our current culture, and you yourself all collaborate in the creation of that meaning.
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