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PHO701 Oral Presentation

Final oral presentation for PHO701 Positions and Practice module, 2019.

Michael Padilla. German Bight cohort


Bibliography:

  • TRANCA, ALEXANDRA. 2016. ‘From Pompeii to Paris: Ghostly Cityscapes and the Ruins of Modernity in Théophile Gautier and Eugène Atget’. Word & Image 32(3), [online], 251–63. Available at: http://www.tandfonline.com/doi/abs/10.1080/02666286.2016.1159897.
  • MAILLARD, FABIENNE. 2015. ‘Pierre Verger et Le « Tour Du Monde » de 1934 Pour Paris-Soir’. Études Photographiques 32, [online]. Available at: http://search.proquest.com/docview/1701509572/.
  • PULTZ, JOHN. 1996. ‘Harry Callahan’. Art Journal 55(4), [online], 103–5. Available at: http://search.proquest.com/docview/223319247/.
  • WINANT, CARMEN and WINANT, CARMEN. 2012. ‘Harry Callahan at 100.’ Aperture (206), [online], 18–18. Available at: http://search.proquest.com/docview/1320384612/.
  • ENRIGHT, ROBERT and WALSH, MEEKA. 2013. ‘Possibly, Everything: An Interview with Robert Frank’. Border Crossings 32(1), [online], 22–37. Available at: http://search.proquest.com/docview/1367939842/.
  • ‘Photography from the Inside Out: Robert Frank’s Memorial Images’. 2017. Criticism 59(1), 27–48.
  • DURAND, RÉGIS. “LEWIS BALTZ l’art Nous Enseigne La Beauté. (French).” Art-Press, no. 396, Jan. 2013, pp. 32–36. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aft&AN=84519566&site=ehost-live.
  • SCHUMAN, AARON. 2006. ‘Lewis Baltz: The Tract Houses/ The Prototype Works / The New Industrial Parks Near Irvine, California’. Aperture (183), 77-8.
  • DURAND, RÉGIS, BALTZ, LEWIS and DURAND, RÉGIS. 2013. ‘Lewis Baltz: L’art Nous Enseigne La beauté./Lewis Baltz: Beauty Is Learned (the Teacher Is Art).’ Art Press (396), [online], 32–8. Available at: http://search.proquest.com/docview/1323208392/.
  • VERHAGEN, ERIK. 2019. ‘Lewis Baltz’. Art Press (468), [online]. Available at: http://search.proquest.com/docview/2263313793/.
  • HUBER, DANIEL. 2017. ‘Another Walker Evans’. Miranda 15(15).
  • LANGFORD, MARTHA. 2008. ‘Strange Bedfellows: Appropriations of the Vernacular by Photographic Artists’. Photography and Culture 1(1), [online], 73–93. Available at: http://www.tandfonline.com/doi/abs/10.2752/175145108784861400.
  • HAWKER, ROSEMARY. 2013. ‘Repopulating the Street: Contemporary Photography and Urban Experience’. History of Photography 37(3), [online], 341–52. Available at: http://www.tandfonline.com/doi/abs/10.1080/03087298.2013.798521.
  • ARDEN, ROY. 1998. ‘Vernacular Photography and Realism: Having Built His Own Photographic Record of Vancouver on the Stylistic Foundations of Atget and Walker Evans, Roy Arden Makes a Case for the Resurrected Work of a Yukon Photographer’. Canadian Art 15(4), [online], 38–43. Available at: http://search.proquest.com/docview/216881407/.
  • The MoMA. Art Terms. NYC. Available at: https://www.moma.org/collection/terms/181.

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