Stephanie Becker

photographer/archivist/human being Website Twitter

[newyorker]

Meet Terrapattern, the first open-access search tool for satellite imagery.

[lpvshow]

Photographic Memory: The Album In The Age Of Photography

“Photographic Memory: The Album in the Age of Photography traces the rise of the album from the turn of the century to today, showcasing important examples in the history of the medium, as collected by the Library of Congress.

This book showcases the wonderful range of objects hand-made to memorialize, document, or educate, providing an immensely personal and idiosyncratic historical perspective. From an Alaskan expedition album of Edward Sheriff Curtis’s early work, to Walker Evans’s extended suite of images in study for Let Us Now Praise Famous Men, to a family album by Danny Lyon, this beautifully produced book provides an in-depth look at the history of photography through these largely unpublished objects.

The work of photographers and filmmakers such as F. Holland Day, Jim Goldberg, Dorothea Lange, Duane Michals, Leni Riefenstahl, and W. Eugene Smith sits alongside lesser-known, yet significant albums on subjects as varied as African American vaudeville, the 1915 Jerusalem locust plague, and the folkways of Spain. Photographic Memory is a comprehensive illustrated history of a form of presentation that became an art form in itself.

Verna Posever Curtis (editor) is a curator of photography in the Prints & Photographs Division of the Library of Congress. She has written and lectured extensively on 19th and 20th century photography, and penned the volumes Ambassadors of Progress: American Women Photographers in Paris, 1900–1901 and F. Holland Day: Selected Texts and Bibliography, among others.” - Aperture

Discussed in episode 3.19 with Jackie Roman

[mpdrolet]

From Rumors of Home

Steven Turville

[verticalfiles]

[sbeckerblogs]

Laughing at the fact that mydaguerreotypeboyfriend.tumblr.com is REAL.  This one is the earliest record of a self-portrait made using a photographic process.  It was done by Robert Cornelius in 1839, who was 17 years old at the time.  19th century proof that teenagers love selfies.  

[lenscratch]

© Sonya Lawyer 

[sbeckerblogs]

Back to school! I moved up to Rochester to pursue a graduate degree in photographic preservation and collections management. Rule number one is that we're not allowed to take pictures inside the GEH Archives :( (Trust me, they are beyond cool).

[new-aesthetic]

Autocomplete Archive 5W

A glimpse of what people look for, according to Google Autocomplete.

[smbhmag]

“When I started collecting photos of the people killed in Srebrenica, the task at first seemed like a clerical one. But then I started to look at the faces.”

Twenty years after Europe’s worst single atrocity since World War II, RFE/RL’s Dzenana Halimovic wanted to ensure that the victims – and not just the names – are remembered.

She started collecting photographs of the people who were killed – and now has more than 2,400 of them.

More here: http://www.rferl.org/fullinfographics/infographics/27114531.html

[fettesans]

Top, J. Frede, Fiction Landscape NO.012, 2015, found photographs. Via. Bottom, installation view Hans-Peter Feldmann, Horizon (2014), 33 found oil paintings, on view at Art Basel Unlimited, 2015. Via.

[oranbeg]

Indy 500 #1 2015

Trying to make several of these collages out of 4x6 drugstore prints taken by my uncle on outings to the Indianapolis 500 over several years–here’s my first one! The 500 is an auto race held annually at Indianapolis Motor Speedway in Speedway, Indiana, an enclave suburb of Indianapolis.

Ian Lewandowski Oranbeg takeover

[lenscratch]

Mapping the History of the Moon

© JK Lavin 

[oneyearofbooks]

Laia Abril, The Epilogue

Dewi Lewis, 2014

The Robinsons’ house. Chattanooga, Tennessee.

“People said : “you would not have done any different.” But yes, I would have.”

Cammy (12)

“There was a lot of pressure, specially where we lived and grew up; to not be fat.”

“She start losing weight before college, we all thought it was a positive thing, nobody actually knew what was really going on.”

Arrestation Report for Cammy to the easting disorder treatment center. September, 2000, Arizona.

[spacescorners]

#spacescorners #italocalvino via Instagram http://ift.tt/1PI0x62

[oneyearofbooks]

McNair Evans, Confessions for a son

2014, Owl & Tiger books. Edition of 750

[lenscratch]

Eleonora Ronconi 

[mlwalla-blog]

Zoe Crosher

fantasy backs & fronts cluster (2006)

    from ‘The Reconsidered Archive of Michelle du Bois’

[greatleapsideways-deactivated20]

“50 Jahre einer Frau (Portrait. 50 Years of a Woman, 1994), which assembles, in chronological order, three-hundred photographs ofan unnamed woman from childhood through to the age of 50. Feldmann lays a stranger’s life before our eyes and invites us to witness it. He shows the fragmented passage of time, its leaps and bounds from place to place and from event to event. The photographs fulfil our expectations (she gets married) and disappoint them (she has no children). They invite us to study hairstyles, fashions and interiors; they incite us to compare the poses characteristic of different periods of life, and to recognise the holiday destinations of this generation of central Europeans. Using Harald Weinrich’s words, in Porträt Feldmann ‘sees in the faces of other people he encounters daily the work of “time the artist”, slowly but also perceptibly making ad justments to their features’. Through their sheer quantity, the three-hundred portraits do achieve one thing: they provide a more effective portrait than any individual image could have done on its own. 

Throughout his 40 years as a collector, Hans-Peter Feldmann’s engagement with the photographic image and the way it represents our age suggests that he, to use André Malraux’s phrase, is effectively ‘writing’ a ‘history of what can be photographed’. The many books he has produced assemble a ‘social iconography’ extending from private visual mementos to press photographs to the title pages of Der Spiegel magazine. Malraux, Aby Warburg and Pierre Bourdieu introduced the notion of the ‘imaginary museum’, the ‘social uses of photography’ and the idea of a Mnemosyne Atlas: these could be proposed as the larger concepts behind Feldmann’s obsessive collecting of photographs.  Those three authors experimented with arrangements and combinations of photographs, accentuating the comparison between different genres. They worked with reproductions rather than original images, discussed the role of photography and above all proposed the transformation of the traditional museum and its well-preserved, decontextualised artefacts into a conceptual, iconographic institute, on the understanding that, as Rosalind Krauss has said, ‘the photograph archive is a source of knowledge which no museum could ever equal’. Following on from these ideas, Feldmann seeks to grasp all applications and themes of photography, including souvenirs, science, war, reportage, fashion, advertising, entertainment and art, as well as the unusual, the normal, the comic, the tragic, the dramatic, the beautiful and the ugly.”

— Ruth Horak “Hans-Peter Feldmann’s Pictures” in Afterall Journal, #17, Spring 2008. Images from Porträt and 100 Jahre (100 Years, 2001) by Hans-Peter Feldmann.