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A History of Women Photographers

A History Of Women Photographers

The essential illustrated history of women photographers, now updated and expanded to include women working in the twenty-first century.

From The Abbeville Press: “Women have had a special relationship with the camera since the advent of photographic technology in the mid-nineteenth century. Photographers celebrated women as their subjects, from intimate family portraits and fashion spreads to artistic photography and nude studies, including Man Ray’s Violon d’Ingres. Lesser known—and lesser studied—is the history of women photographers, who continue to make invaluable contributions to this flourishing art form.

A lengthy study with 416 pages and more than 300 illustrations, A History of Women Photographers is the only survey of women photographers working in the past three centuries, and it is impressively comprehensive. In this edition author Naomi Rosenblum expands the book’s coverage, including new photographers and fifteen new images. There are several important revisions throughout the text and to the appendix of photographer biographies. Rosenblum also provides a new Afterword, in which she evaluates the influence of rapidly changing digital technology on the field of photography and how women photographers stand in the twenty-first century. A History of Women Photographers is a momentous contribution to the study of photography—and an important addition to any shutterbug’s library.”

Naomi Rosenblum, an independent curator and scholar who has written many articles and lectured extensively on a wide range of subjects in photography, first published A World History of Photography in 1984 (it is now in its fourth edition and is a popular course textbook). This is the second revision of her 1994 book, A History of Women Photographers. She lives in Long Island City, New York.

more: Abbeville Press Books

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Posted by on March 15, 2015 in history of photography

 

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Women In Sonic Art

female:pressure” (a.k.a.) V I S I B I L I T Y  via Tumblr is an international network of over 1300 female artists from 64 countries in the wider fields of electronic music. This blog was inspired by Bjork’s Pitchfork article in January 2015 where she notes the lack of photographic documentation of women at work in the studio. Here we offer a visual catalogue of female producers, DJ’s, media artists and electronic music performers at work. These are not our press photos. This is a collective effort to demonstrate women and their use of technology in music and media production. Contributions welcome!

 

 

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Making Music from Migrants’ Items

“Efigy” by Richard Misrach

 

 

American photographer Richard Misrach and Mexican composer Guillermo Galindo are two artists who have come together to depict the migrant experience on the Mexican/US border. Richard has spent 15 years taking pictures of items left behind by migrants. Then he met Guillermo who was making music about the migrant experience. Richard now collects pieces he finds and sends them to Guillermo who turns them into instruments.

BBC World Service – Outlook, Making Music

 
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Posted by on March 12, 2015 in art and music, sound and vision

 

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“Don’t Try To Sell Me Your Fear”

Some Tracey Emin’s comments on feminism to mark “International Women’s Day 2015” 

(via: Phaidon Press) “…The press was cruel, because they didn’t just dislike my work; they disliked me, personally—my voice, the way I dress, the way I look, my attitude. I’m sure they wouldn’t have carried on that way if I were a man. I’m absolutely convinced of that.” In response to Christensen’s question:  You think that you were reviewed more critically because you’re a woman? Emin replies: “Yes,” adding, “When someone tells me I can’t do something, I say, “Yes, I can. Watch me.” And I think that can annoy some people. You know that double standard: when men shout, they’re ‘taking charge’ or ‘giving orders,’ but when women shout, they’re ‘screaming.’ It’s that kind of cliché.”

Tracy Emin

 

 
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Posted by on March 8, 2015 in art, history of popular culture

 

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25% of People Have A 4th Color Cone

Given the sudden interest for the color of dresses and vision, here some of the fascinating findings we did recently.

If you see fewer than 20 color nuances: you are a dichromat, like dogs, which means you have 2 types of cones only. You are likely to wear black, beige, and blue. 25% of the population is dichromat. If you see between 20 and 32 color nuances: you are a trichromat, you have 3 types of cones (in the purple/blue, green and red area). You enjoy different colors as you can appreciate them. 50% of the population is trichromat. You see between 33 and 39 colors: you are a tetrachromat, like bees, and have 4 types of cones (in the purple/blue, green, red plus yellow area). You are irritated by yellow, so this color will be nowhere to be found in your wardrobe. 25% of the population is tetrachromat. I see 33 but I love the color yellow, its just a hard color to find in men’s clothing.

Color Ramp

by: Prof. Diana Derval | LinkedIn

 
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Posted by on March 5, 2015 in sound and vision

 

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Ladies and Gentlemen, the Björk Show at MoMA Is Bad, Really Bad – artnet News

Bjork at MoMA

Ladies and Gentlemen, the Björk Show at MoMA Is Bad, Really Bad – artnet News.

“There has been an immense volcano building up under the Museum of Modern Art for some time, a well of rage from old-school art fans about its turn towards commerce and celebrity and tourism. The current Björk show, celebrating the Icelandic songstress as, in the words of curator Klaus Biesenbach in the catalogue, an “era-defining artist,” will very likely be occasion for an eruption. You may expect an immense Eyjafjallajökull-sized ash-plume of critical bile to appear over midtown any second now. Because, ladies and gentlemen, this show is bad.”

Disappointing but I have it from 1st hand accounts also.

 
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Posted by on March 4, 2015 in art and music

 

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Sarah Michelson: 4 | Whitney Museum of American Art

Sarah Michelson: 4 | Whitney Museum of American Art.

For the culmination of her Devotion series, a dance titled 4, choreographer Sarah Michelson worked with curator Jay Sanders and curatorial assistant Greta Hartenstein to create a dance floor composed of 220 original paintings. 

 
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Posted by on February 18, 2015 in art and dance, art and music, performance