Victorian "hidden mother" photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, or otherwise (often ineffectively) ...obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growing sentimental ideals of middle-class motherhood, and the ways that carework and its cultural (in)visibilities varied widely by gender, race, and class in the period. Arguing that the mother figures' persistent presence (not hiddenness) is fundamental to these photographs, this essay makes a case for reading them as revealing intimacies and documenting tenderness rather than evincing erasures.
Post-mortem photography was a transcendental element in the 19th century, which not only democratized portraiture, but also helped in the bereavement process. The comeback of post-mortem photography ...as a psychological tool helping parents of deceased children to cope with death was only a matter of time. The role and importance of memento-moris has to be taken into account in order to make significant changes in the grieving process, but all of the aspects of this kind of photography need to be considered. The artistic, therapeutic, and ethical dimensions of post-mortem photography in the 21st century has its rules, and those rules need to be followed. The article constitutes only a part of the research devoted to the bereavement process from a sociological perspective.
Lewis carroll Smith, Lindsay
2015., 2016, 2015-10-15, Volume:
55060
eBook
Though he's known now primarily as the author of Alice's Adventures in Wonderland, in his lifetime Lewis Carroll was interested at least as much in photography as in writing. This book offers a close ...look at Carroll's engagement with the medium, both as a creator and a collector of photographs. Lindsay Smith takes readers to the glass studio above Carroll's college rooms at Oxford, where he created many of his striking portraits, and she also follows him into the field-on excursions to the theater in London, to the seaside at Eastbourne, and even to Russia. Smith also details Carroll's enthusiastic work as a collector, in which role he arranged portrait sittings for photographers whose work he admired. Beautifully illustrated with a generous selection of Carroll's work and that of other photographers of the period, this book gives fans of Carroll's writing a new way to understand his creative genius.
Winky Lewis and Susan Conley, a photographer and a writer in Portland, tried an experiment. At the start of every week for a year, Winky sent Susan a photograph: of their children, of the street ...where they live as neighbors, and of other green places in Maine. By the end of each week Susan sent a tiny story back that spoke to the photograph. Stop Here, This Is The Place tells the story of a year in which children's arms and legs get longer, and traces of babyhood fade--a year that feels interminable to a ten-year-old looking forward and fleeting to that ten-year-old's mother, who can always stop here, go back, and remember.
"One consideration of Australia's historic agri/urban boundaries is the proximity they had to the otherness of ""the bush"" and the subsequent influence bushland otherness had on the national psyche. ...The ongoing creep of agri/urban imperatives is causing a decline of bushland, hence affecting the opportunities to be informed (creatively and philosophically) by such more-than-human places.
This paper considers the challenges to such socio-ecological insights now that access to bushland otherness is less ready-to-hand.
In arguing that the bush is a creative gateway of national and Global significance, the paper acknowledges that such otherness informed the continent's original inhabitants. The paper makes no claim to traditional knowing. Rather, the standpoint of the paper results from twenty years of calling a hut in a bush hamlet, home. There, the sights, sounds and textures of the encroaching, the remnant and the endangered continue to influence my storytelling.
In telling this story, I draw on my regular trips to two rural cities (Albury and Wagga Wagga) and compare the current more-than-human influences available in those cities with those surrounding my bushland hamlet."
Superhero Photo Shoot Clabough, Raven
The New American (Belmont, Mass.),
11/2017, Volume:
33, Issue:
21
Journal Article, Magazine Article
According to Rossi's webpage, doctors advised Kinckle's mother to abort him, but she did not. According to Rossi, Sofie is a "real fighter," just like Wonder Woman. According to Rossi, Simon is tough ...and deals with his condition like a grown-up.
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