Junior Nude Beauty Contest Photo [CRACKED]
BARRY LATEGAN was born in South Africa, in 1935. He began working for Vogue in 1968, where he excelled as a beauty photographer in the 1970s. In recent years, he has directed commercials for television, and he currently lives in London.
Junior Nude Beauty Contest Photo
MARIO TESTINO was born in Lima, Peru, in 1954. He moved to London in 1976 and he began taking photographs. After spending 1982-1985 in New York, Testino returned to Europe, where he divides his time between London and Paris. He is currently working on a book that includes portraits, nudes, and fashion.
Eudora Welty's collection entitled Photographs displays the author's keen eye for detail and her ability to convey important messages through visual images as well as written texts. One particular image demonstrates Welty's sophisticated understanding of advertising as she acts as a model spoofing the fashion and beauty industry. In the photo, she holds a toothbrush up to her face. In front of her, several products are displayed, among them Sunbrite Cleanser, black shoe polish, and Campbell's Pea Soup. The lettering across the bottom reads "Helena Arden," a combination of two well-known beauty companies, Helena Rubinstein and Elizabeth Arden (Photographs xxi). Asked about this photograph in the introductory interview for the collection, Welty replied, "we were satirizing the advertising game. In the thirties you could laugh at advertising. It was all fun. A lot of it came out of our admiration of the smart world, our longing for the artistic scene we were keeping up with: the theatre, art, and music. We'd all been to New York!" (xxi).
Another image, entitled "Window shopping," shows a young African American woman, dressed in her Saturday-go-to-town best, looking contemplatively into a store window, chin in hand (16). Possibly she is calculating how many hours she will have to work to earn the price of something she sees in the window Separated by a large plate glass window from the items shown inside, the woman looks into a private space denied to her without money, a very precious commodity in Mississippi during the Depression. The image displays the importance of fashion in the careful dress of the young black woman and emphasizes the woman's role as a hopeful consumer. These two photographs illustrate the influence of the beauty and fashion industries, even in 1930s Mississippi. Welty examines this influence throughout her photography, displaying beauty as a commodity. She similarly explores this theme throughout her fiction. Her short stories "Hello and Goodbye," "Livvie," and "The Petrified Man," along with her photographs, reveal a marketplace where beauty is bought and sold in exchange for power.
No agenda was imposed on the contemporary artists, who use specimens from the museum and the interior of the building as their subjects. Some explore the collections by composing images where the compelling pathology or abstract beauty of the subject seems to speak for itself; others are self-consciously whimsical--William Wegman's dog exploring bones or cocking his leg to extend Joseph Towne's model (c. 1850) of an ankle and foot showing typhus. Although Thomas Mutter's Museum was set up in 1856 to provide an up-to-date teaching collection for anatomy and pathology, medical museums have also always attracted the curious who come to shudder, muse on mortality, or giggle. In this respect, their near relations include raree shows and the cabinet of curiosities as well as the clinic. The photographers listed at the back of the book reviewed are not students of anatomy, doctors, or artists learning their trade but essayists given freedom to isolate or combine the specimens of anatomy and pathology to explore that curiosity. For the viewer the experience is often one of ambiguity, even uneasiness, caused possibly by the tension between careful formal composition and anonymity, on the one hand, and the hesitant recognition of violently disintegrated or distorted body parts as subjects on the other hand.
Many of the photographs from the museum archives are carefully posed, too. But their live subjects, under instruction to display some fearsome pathology for the doctor or his photographic technician, stare into the camera as if requiring the viewer to recognize a kinship of affliction. They are most often dressed in their street clothes, though the black subject of a triple amputation in Birmingham, Alabama, sits naked, posed on a block with a sylvan background. Some few like William Cotter, reamputated in 1872 at the right hip for osteomyelitis consequent on his original amputation for a musket ball injury at Petersburg in 1864, have names and histories; most are unidentified. The aesthetic of these historic images is one controlled by canons of medical education and objectivity yet not entirely depersonalized and speaking more readily to a particular historic context. These archival photographs are definitely the junior partner in this book but are far from eclipsed by the more technically Xamboyant modern work.
What makes someone a "household name"? Is it talent, beauty, connections, or simply shrewd marketing? While fame, fortune, and celebrity may seem like modern phenomena, the cult of personality was equally prominent in Renaissance Florence. As is the case today, money played a key role in the arts. This course focuses on the ways in which the Medici family, through their social, financial, and spiritual support, transformed the city of Florence from an Italian commune with limited natural resources into the center of the European culture. And in doing so, transformed the notion of the artist from that of mere craftsman to superstar. Additional topics of discussion include the influence of the capitalist economics on artistic production, domestic art perceptions of the nude figure in religious paintings, the relationship between art and science, and the writings of Machiavelli. (5 units)
Exploration of and preparation for primarily academic postgraduate options in studio art. Includes portfolio and presentation development; artist statements and résumé writing; photographing artwork; and field trips to studios of artists, designers, and graduate schools. Required for studio art majors. Must be taken in junior year. Formerly ARTS 196A. (5 units) 350c69d7ab