The career of Gainesville-based photographic artist Jerry Uelsmann has stretched over more than half a century. His unique style has influenced other artists and photographers while still appealing to the general public. This retrospective work will feature the largest number of Uelsmann images ever collected in a single volume, drawn from nearly his entire career (1959 up to the present).
Each of the eight chapters takes a period of up to forty years and examines the medium through the lenses of art, science, social science, travel, war, fashion, the mass media and individual practitioners.-Back Cover.
"With a flatbed scanner and a rich library of found images, Maggie Taylor creates breathtaking, thought-provoking digital art. In these vibrant montages, often called fabricated photography, there are as many layers of symbolism and meaning as there are pieces of visual information. This retrospective of Taylor's work covers 1998-2012, showcasing 120 full-color images and including an essay by noted photography critic A. D. Coleman."--Publisher's description.
"It is a long-held truism that 'the camera does not lie'. Yet, as Mia Fineman argues in this illuminating volume, that statement contains its own share of untruth. While modern technological innovations, such as Adobe's Photoshop software, have accustomed viewers to more obvious levels of image manipulation, the practice of "doctoring" photographs has in fact existed since the medium was invented. In "Faking It", Fineman demonstrates that today's digitally manipulated images are part of a continuum that begins with the earliest years of photography, encompassing methods as diverse as overpainting, multiple exposure, negative retouching, combination printing, and photomontage. Among the book's revelations are previously unknown and never before published images that document the acts of manipulation behind two canonical works of modern photography: one blatantly fantastical (Yves Klein's "Leap into the Void" of 1960); the other a purportedly unadulterated record of a real place in time (Paul Strand's "City Hall Park" of 1915). Featuring 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, "Faking It" provides an essential counterhistory of photography as an inspired blend of fabricated truths and artful falsehoods."--Publisher's website.
This book is a visual and written exploration of the constructed photograph as created in the last decades of the 20th century and the first decades of the 21st century. It documents a collection built by Frazier King, that was exhibited by FotoFest International in the Collector's Eye II Exhibition. An essay by Mr. King's essay reflects on 76 images of a variety of constructed photographs included in the collection. The narrative explores how Mr. King's own work with this type of image has resulted in a collection of constructed photographs and explains the varied nature of this category of image. The reader gets a personal and inside glimpse of the dynamics of photographic reviews such as FotoFest Meeting Place and how artists, collectors and curators interact in this venue and the relationships they form. In addition to an essay by Mr. King this volume includes an essay by Wendy Watriss, co-founder and Senior Artistic Advisor of FotoFest, on the significance of collecting and the role of the collector. The third essay is by Madeline Yale Preston, an independent curator based in London, who addresses the role of the collector as curator and the historical evolution and importance of the constructed photograph.
A century ago, John Dewey remarked that when home changes radically, school must change as well. With home, family, and gender roles dramatically altered in recent years, we are faced with a difficult problem: in the lives of more and more American children, no one is home. The Schoolhome proposes a solution. Drawing selectively from reform movements of the past and relating them to the unique needs of today's parents and children, Jane Martin presents a philosophy of education that is responsive to America's changed and changing realities. As more and more parents enter the workforce, the historic role of the domestic sphere in the education and development of children is drastically reduced. Consequently, Martin advocates removing the barriers between the school and the home--making school a metaphorical "home," a safe and nuturant environment that provides children with the experience of affection and connection otherwise missing or inconsistent in their lives. In this proposition, the traditional schoolhouse where children are drilled in the three Rs is transformed into a "schoolhome" where learning is animated by an ethic of social awareness. At a time when many school reformers are calling for a return to basics and lobbying for skills education and quick-fix initiatives, Martin urges us to reconsider the distinctive legacies of Dewey and Montessori and to conceive of a school that integrates the values of the home with those of social responsibility. With cultural diversity and gender equality among its explicit goals, the schoolhome expands upon Dewey's edict to educate the "whole child," seeking instead to educate all children in the culture's whole heritage. Martin eloquently challenges reformers to reclaim the founding fathers' vision of the nation as a domestic realm, and to imagine a learning environment whose curriculum and classroom practice reflect not merely an economic but a moral investment in the future of our children. More than a summons to action, this remarkable book is a call to rethink the assumptions we bring to the educational enterprise, and so, to act wisely.
