Word: photographics
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With just one subject for the front of every paper in the nation, photographers struggled to find a unique shot—any angle that was dramatic and different. The New York Times ran a photo of a man captured in a frame jumping from the burning tower. No captions necessary; the Times had won, with a different photograph that captured the enormity of the tragedy and set the paper apart from every other front page published in America...
Today’s sports page features an unfortunate photograph of UConn’s third goal. Rest assured that nobody in Crimson wants to see another moment like that again...
Keïta’s rectangular portraits offer intimate, insightful glances into their subjects. A 1952-55 photograph, “Untitled,” taken of a middle-aged man wearing dark glasses and a bow-tie depicts an affecting sense of gravity. The dignified, serious gaze of the sitter shows a quiet, restrained pride. Another Keïta portrait, also untitled and taken in 1959, shows a similarly grave young girl, her arms swung casually over a straight-backed chair. The girl’s elaborate white dress and beads provide a stark contrast to her frank...
...portrait that shows a small girl wearing only a new white skirt. And in the 1968 “Amis des espagnoles”, “Friends of the Spanish,” four male teenagers don sombreros, over-sized sunglasses and smirks to create a photograph oozing with campy, self-conscious cool...
...strongest points of this exhibition is unfortunately hidden at the back of the show. 14 smaller postcards and photographs from the early twentieth-century—by both European and African photographers—offer a contextualization for Kïeta and Sidibé’s photographs. One of the most striking postcards is internally labeled “Young Arab Woman from Timbuktu,” showing a photograph of two topless women reclining in the pose of an odalisque. The photograph was taken by Francois-Edmund Fortier in 1905, and is quite obviously an example...