scholarly journals “This Prodigious Frightful Fall”: An Exploration of Tourist Images of Niagara Falls in Stereography and on Instagram

2021 ◽  
Author(s):  
Victoria Grace Abel
Keyword(s):  
New York ◽  
Social Media ◽  
Literature Survey ◽  
Early History ◽  
History Of Photography ◽  
Niagara Falls ◽  
History Of

This thesis explores the development of tourist photography through stereography and Instagram utilizing Niagara Falls stereographs from three collections ranging in date from 1850-1905 and Instagram images geotagged to Prospect Point, Niagara Falls, New York, all posted in the same twenty-four hours from August 6-7, 2016. First, a literature survey explores the history of photography at Niagara Falls, the circulation of tourist imagery, and social media and the networked image. It then moves on to an early history of photography at Niagara Falls with an emphasis on stereographs. It continues into a brief history of social media and an explanation of the inner workings of Instagram. Finally, it concludes with comparisons of aesthetic choices, access, and circulation in stereographs and Instagram, all using the case study images. This thesis argues that Instagram follows the same photographic tradition as stereographs and serves many of the same purposes in tourist photography

scholarly journals “This Prodigious Frightful Fall”: An Exploration of Tourist Images of Niagara Falls in Stereography and on Instagram

2021 ◽  
Author(s):  
Victoria Grace Abel
Keyword(s):  
New York ◽  
Social Media ◽  
Literature Survey ◽  
Early History ◽  
History Of Photography ◽  
Niagara Falls ◽  
History Of

This thesis explores the development of tourist photography through stereography and Instagram utilizing Niagara Falls stereographs from three collections ranging in date from 1850-1905 and Instagram images geotagged to Prospect Point, Niagara Falls, New York, all posted in the same twenty-four hours from August 6-7, 2016. First, a literature survey explores the history of photography at Niagara Falls, the circulation of tourist imagery, and social media and the networked image. It then moves on to an early history of photography at Niagara Falls with an emphasis on stereographs. It continues into a brief history of social media and an explanation of the inner workings of Instagram. Finally, it concludes with comparisons of aesthetic choices, access, and circulation in stereographs and Instagram, all using the case study images. This thesis argues that Instagram follows the same photographic tradition as stereographs and serves many of the same purposes in tourist photography

“The Principal Russian Church in America”: from the History of Saint Nicholas Russian Orthodox Cathedral in the City of New York

Istoriya ◽  
2021 ◽  
Vol 12 (11 (109)) ◽  
pp. 0
Author(s):  
Vladimir Pechatnov
Keyword(s):  
United States ◽  
New York ◽  
The United States ◽  
Russian Orthodox ◽  
History Of ◽  
Ministry Of Finance ◽  
The Russian Empire ◽  
Foreign Ministry ◽  
The City

Based on previously unearthed documents from the Russia’s State Historical Archive and the Archive of Foreign Policy of the Russian Empire the article explores the history of the first Russian Orthodox parish in New York City and construction of Saint-Nickolas Russian Orthodox Cathedral in the city. It was a protracted and complicated interagency process that involved Russian Orthodox mission in the United States, Russia’s Foreign Ministry and its missions in the United States, the Holy Governing Synod, Russia’s Ministry of Finance and the State Council. The principal actors were the bishops Nicholas (Ziorov) and especially Tikhon (Bellavin), Ober-Prosecutor of the Holy Governing Synod Konstantine Pobedonostsev and Reverend Alexander Khotovitsky. This case study of the Cathedral history reveals an interaction of ecclesiastical and civil authorities in which private and civic initiative was combined with strict bureaucratic rules and procedures.

scholarly journals Collecting locally : Walker Evans's photographs of Alabama in Alabama institutions

2021 ◽  
Author(s):  
Mallory Lapointe Taylor
Keyword(s):  
United States ◽  
Cultural Context ◽  
American South ◽  
The United States ◽  
History Of Photography ◽  
The Arts ◽  
Walker Evans ◽  
History Of ◽  
The American South

Within the United States, the American South can be perceived as its own entity. From the arts to Southern cuisine, the South commands attention with its own history, myths and culture. Within the history of photography, Walker Evans's photographs of Alabama are arguably some of the most culturally significant images taken of the state and its residents. This thesis investigates how photographs of Alabama are collected in the same locality. By examining the collecting practices of four Alabama institutions in regards to photographs in general, and Walker Evans specifically, this case study will expand on the question of how photographs, in a Southern cultural context, work to create a sense of place and attachment to local geography.

The Museum of Primitive Art, 1940–1982

Entitled ◽  
2019 ◽  
pp. 41-69
Author(s):  
Jennifer C. Lena
Keyword(s):  
New York ◽  
Small Group ◽  
Detailed Analysis ◽  
Metropolitan Museum ◽  
Ideal Case ◽  
Metropolitan Museum Of Art ◽  
Art Collection ◽  
History Of ◽  
The Creation

This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

Arts Wire: The Nonprofit Arts Online

2016 ◽  
Author(s):  
Judy Malloy
Keyword(s):  
New York ◽  
Social Media ◽  
Interactive Art ◽  
Community History ◽  
The Arts ◽  
Online Laboratory ◽  
Internet Presence ◽  
History Of ◽  
Arts Administrators ◽  
Nonprofit Arts

Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).

Benjamin Waterhouse Hawkins and the early history of three-dimensional paleontological art

2021 ◽  
Author(s):  
Robert M. Peck ◽  
Stephen M. Rowland
Keyword(s):  
New York ◽  
Three Dimensional ◽  
Early History ◽  
Public Display ◽  
Central Park ◽  
Political Machine ◽  
Tammany Hall ◽  
The World ◽  
History Of ◽  
Lecture Tour

ABSTRACT Benjamin Waterhouse Hawkins (1807–1894) was a British scientific illustrator and sculptor who illustrated many British exploration reports in the 1830s and 1840s. In the early 1850s, Hawkins was commissioned to create life-size, concrete sculptures of Iguanodon, ichthyosaurs, and other extinct animals for a permanent exhibition in south London. They were the first large sculptures of extinct vertebrates ever made, and they are still on view today. Inspired by his success in England, Hawkins launched a lecture tour and working trip to North America in 1868. Soon after his arrival, he was commissioned to “undertake the resuscitation of a group of animals of the former periods of the American continent” for public display in New York City. Had it been built, this would have been the first paleontological museum in the world. As part of this ambitious project, with the assistance of the American paleontologist Joseph Leidy, Hawkins cast the bones of a recently discovered Hadrosaurus specimen and used them to construct the first articulated dinosaur skeleton ever put on display in a museum. It was unveiled at the Academy of Natural Sciences of Philadelphia in November 1868. Hawkins worked tirelessly on New York’s proposed “Paleozoic Museum” for two years, until his funding was cut by William “Boss” Tweed, the corrupt leader of the Tammany Hall political machine, who grew hostile to the project and abolished the Central Park Commission that had made it possible. When Hawkins defiantly continued to work, without funding, Tweed dispatched a gang of thugs to break into his studio and smash all of the sculptures and molds. Although Hawkins would create several copies of his articulated Hadrosaurus skeleton for other institutions, the prospect of building a grand museum of paleontology in America was forever destroyed by Tweed’s actions.

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