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Word: photographs (lookup in dictionary) (lookup stats)
Dates: during 2000-2009
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Usage:

...Levit's untitled depictions of 1940s urban New York has a small child-probably a baby boomer-at the epicenter; her mother is tucked into the periphery and a car speeds towards the child, who runs to her mother. The salient objects of the photograph are machines, cars, buildings, concrete, asphalt, and, in increasing numbers, people. The space presents itself ominously and uninvitingly. The child seems afraid, uncomfortable, not at home. In such a way, Levit appears to be depicting a sort of psychological dysphoria in terms of the physical space her subjects occupy...

Author: By D. ROBERT Okada and Z. SAMUEL Podolsky, CRIMSON STAFF WRITERSS | Title: How the Other Half Lives: Photos with a Mission | 9/28/2001 | See Source »

Hearts of Atlantis opens with a slightly confused image: Through the lens of Bobby’s camera, we see a large, multi-faced crystal sphere. The faces of the crystal bend the light that passes through them in dazzling ways, distorting our view of reality and of the photograph lying behind the sphere. Through the lit orb, perception is filtered and altered, and Hearts in Atlantis, more than anything else is a story of filtered and altered perception...

Author: By Allie R. Murray, CRIMSON STAFF WRITER | Title: With A Warm 'Song' In Our Hearts | 9/28/2001 | See Source »

...high expectations...which were fulfilled. This powerful and poignant tale, as multifaceted as the crystal sphere from the opening credits, is rendered beautifully in the more than capable hands of Scott Hicks. An example of Hicks’ impressive and insightful direction involves his use of glass, mirrors and photographs as motifs to indicate the distance between object, observer and the accuracy of perception. Bobby drifts into his past while gazing through a glass windowpane in his childhood bedroom. On the other hand, photographs, although the camera itself provides distance for Bobby, seem to indicate an exactitude of perception. Bobby?...

Author: By Allie R. Murray, CRIMSON STAFF WRITER | Title: With A Warm 'Song' In Our Hearts | 9/28/2001 | See Source »

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...

Author: By Nicole B. Usher, | Title: Breaking the News | 9/24/2001 | See Source »

...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...

Author: By Christina B. Rosenberger, CRIMSON STAFF WRITER | Title: You Look Beautiful Like That | 9/20/2001 | See Source »

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