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Silver Gift Articles
- A particular item or object, typically one of a specified type
- A piece of writing included with others in a newspaper, magazine, or other publication
- (article) one of a class of artifacts; "an article of clothing"
- A separate clause or paragraph of a legal document or agreement, typically one outlining a single rule or regulation
- (article) nonfictional prose forming an independent part of a publication
- (article) bind by a contract; especially for a training period
- made from or largely consisting of silver; "silver bracelets"
- Coat or plate with silver
- coat with a layer of silver or a silver amalgam; "silver the necklace"
- a soft white precious univalent metallic element having the highest electrical and thermal conductivity of any metal; occurs in argentite and in free form; used in coins and jewelry and tableware and photography
- Provide (mirror glass) with a backing of a silver-colored material in order to make it reflective
- (esp. of the moon) Give a silvery appearance to
- endow: give qualities or abilities to
- An act of giving something as a present
- A very easy task or unmissable opportunity
- something acquired without compensation
- A thing given willingly to someone without payment; a present
- give: give as a present; make a gift of; "What will you give her for her birthday?"
Edward Weston, “Diego Rivera, Mexico,” 1924, gelatin silver print, gift of the friends of the museum, Jordan Schnitzer Museum of Art
Edward Weston was born in Illinois in 1886. He got his first camera at the age of 16. In 1903 Weston first had his photographs exhibited at the Chicago Art Institute. Weston came to California to work as a surveyor in 1906. He briefly left California to attend the Illinois College of Photography, but came back to California in 1908. He became a founding member of the Camera Pictorialists of Los Angeles. He married Flora Chandler in 1909 and they eventually had four sons. Weston had his own portrait studio and began to have articles published in magazines such as his article entitled "Weston's Methods" on unconventional portraiture appeared in Photo-Miniature in 1917. In 1922, Weston met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O'Keefe and renounced Pictorialism. This began a period of transition and trips to Mexico, often with Tina Modotti and one of his sons. Weston began photographing shells, vegetables and nudes in 1927. Weston was a Charter member of the "Group f/64" that was started in 1932. In 1935 he initiated the "Edward Weston Print of the Month Club" offering photographs at $10 each to help support himself. In 1937 he was the first photographer to be awarded a Genheim fellowship. In 1940 the book California and the West was published with text by Charis Wilson, his assistant and at one point wife, photographs by Edward Weston. Weston began experiencing symptoms of Parkinson's disease in 1946 and made his last photographs at Point Lobos two years later. In 1955 Weston selected several of what he called "Project Prints" and began having his sons Brett and Cole and Dody Warren print them under his supervision. Edward Weston died in 1958.
The image is full of contrasting diagonals. Rivera and the shadows go one direction while the brim of his hat and images in the painting behind him go another. The tone of the image is dark over all with the light areas emphasizing Rivera’s face by creating a contrasting outline around his head and hat and shining on his face itself. Rivera seems to be in deep concentration and somewhat lost as his eyes disappear into the shadows. The composition over all is very flat.
ARTICLE 3 - UDHR
Everyone has the right to life, liberty and security of person.
Whilst researching genocide I discovered a common element through the site of images of bodies piled up like inhuman dummies... they just never looked real. Whether this was the case or my mind not allowing me to recognise these individuals as people I don't know. However, what I do know is this... the sense of helplessness and sadness on seeing these images leaves me with a very real feeling of powerlessness.
The lack of identity of the human being when piled in a heap like trash is analogised by these almost life size sketched mannequins. The soft bodied bendy mannequin to the left of the board conveys for me my inner feelings of this feeling of powerlessness and of being overwhelmed by such cruelty.
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