In the Vernacular: Photography of the Everyday

This is the catalogue of the exhibition "In the Vernacular" at Boston University Art Gallery

Performers Playing Themselves

An enquiry by Matthew Crippen into how we encounter actors as we perceive them by means of a movies, having encountered them within other movies beforehand. After discussing how we use photographs, he concludes that we cannot help but register the actors as actors as we encounter them enacting rôles. Echoing what filmmakers have said and done and adding to classic accounts of Cavell, Santayana and others, he concludes that the very nature of movies well-nigh invites performers to play themselves

In Time But Not Of Time: Jessica Eaton and Erin Shirreff\u27s Counterpoints of View

This study is situated within an ongoing investigation of photography\u27s ontology, objecthood, and materiality. Jessica Eaton, Erin Shirreff and their cohort continue a conceptual tradition of experimentation with photography\u27s singularity, plasticity and referential nature. The contemporary photographic is both the culmination of and contributor to our conceptions of time, space, and subjectivity. In the post-digital era it is the access point for new durational and phenomenological encounters, even as it extends backwards to reinvigorate past aesthetic approaches. Shirreff\u27s Signatures and Monograph series shift the familiar sensory qualities of the sculptural object onto the photographic, opening up its two-dimensional confines. In Cubes for Albers and Lewitt, Eaton applies analogue techniques to document a reality beyond our capacity of vision. This paper traverses a series of relationships of counterpoint in order to assess the impact of these works: photography and cinema, photography and sculpture, materiality and composition, viewer and object

TAKING IN: RAW

Taking In: RAW is a juried annual student run publication and exhibition that showcases the best of 2015 LUCAD undergraduate photography and video. For over ten years, creative minds have come together to produce not just a display of brilliant work, but a celebration. A celebration of the most extraordinary work LUCAD has to offer.https://digitalcommons.lesley.edu/taking_in/1011/thumbnail.jp

Experimental aspects of halographic interferometry

Q-switched ruby laser holography with optical equipment to compensate for spatial and temporal incoherence for contouring, aerodynamic visualization, and nondestructive testin

The Photogram Now and Then: An Investigation of Contemporary Photogram Practice

My senior thesis is an investigation of contemporary photograms. My thesis is not meant to be a comprehensive study of photograms but rather a look into how specific uses and treatments of it have evolved since its inception in the nineteenth century. A photogram is a photograph made without a camera. The paper begins with a look into nineteenth-century photogram practice to provide general information and context about photograms. The first chapter outlines when the photogram process was invented, who it invented it, how it was used, what its traditional steps were, and what the images looked like. A description of twentieth-century photograms is also included in the first chapter. I discuss the surrealist and dada images by Man Ray. The introductory chapter maps out how photograms have changed from the nineteenth to the twentieth century. The second chapter is about chance in the photogram process. How chance operates in photograms today differs from its role in modernist photograms, which leads to an analysis of how unforeseen elements and interactions exist in the work of contemporary artists Susan Derges and Mariah Robertson. The final chapter is on materialism and formalism. I analyze the way Marco Breuer and Walead Beshty adopt a unique approach that stresses the material capabilities of photograms. The conclusion introduces the photograms by collaborators Adam Broomberg and Oliver Chanarin, who, unlike the other four photogrammers, use the photogram to combat issues outside of photography. By examining the work of these contemporary artists in light of earlier photogram practices, I discuss the reasons for the renewal of interest in this early, primitive photographic process

Lenscraft: Jessica Eaton asks us to think about how we see

If Jessica Eaton has some trepidation about her success, it is with good reason. Studio time has been at a premium over the past two years, a period that has signalled a watershed moment in the 35-year-old photographer's career. Since graduating with a BFA from the Emily Carr Institute of Art and Design in 2006, the Regina-born artist has gone on to show her work in exhibitions across North America, including the Québec Triennial 2011, Toronto's CONTACT Photography Festival and a solo show at New York's Higher Pictures gallery. But, in the last year, the demand for her photographs and her time has increased dramatically. This spring, for instance, Eaton was in France for the 27th International Festival of Fashion \& Photography in Hyères, where she took home the prestigious Photography Jury Grand Prize for her Cubes for Albers and Lewitt series (2010- ongoing). The summer saw her fly to Vancouver to install her work in Presentation House Gallery's critically acclaimed survey of Canadian photographers, "Phantasmagoria," then head to Toronto to participate in the "New Meditations" exhibition at Daniel Faria Gallery, and finally go on to LA to visit M+B, her newest dealer and the venue for one of her upcoming solo shows. In September, Eaton opened another solo show at Toronto's Clint Roenisch gallery before taking part in the main exhibition of Korea's Daegu Photo Biennale, curated by photo historian Charlotte Cotton and aptly titled "Photography is Magic!" As a way to try to get a handle on the elusive qualities of her photographs, most writing about Eaton's work inevitably turns to an explanation of her process. While the effects she achieves at first seem the product of Photoshop, they are in fact created within the mechanism of the camera, using large-format, four-by-five- or eight-by-ten-inch analogue film. The cfaal series is the result of several basic manipulations of the photographic process, such as multiple exposures and the use of lens filters. To achieve the nested cubes, for instance, Eaton uses one negative to photograph several cubes in succession. Some are painted a dark black, which reflects the least amount of light and therefore leaves space on the negative, while others are painted in shades of grey or even in a bright white, reflecting the greatest amount of light and maxing out the negative's ability to register images. By carefully tracking her exposures, Eaton builds up her compositions, testing the film's potential to hold information (in this case, light). She calls it a "strategy game" of trying to keep track of how previous exposures will be affected (or obliterated) by a future one. The premise is simple, but it yields a remarkable range of results. Eaton need only to invert a cube between exposures to shift the entire spatial arrangement, turning the familiar squares into overlapping diamonds, trapezoids and parallelograms. Eaton's finished objects seem restrained, even cool, in their careful execution, but in her studio, explaining her working methods and walking me through her discoveries, the artist is warm and talkative, handing me polarized lenses and 3-D glasses, plastic prisms and custom-made steel plates: the simple materials of her practice, with which she seems to work magic. She often sketches her ideas using computer software, then tests her experiments in-camera. The result entails dozens of "failed" images for every successful photograph that ends up printed and hanging on a gallery wall. Though Eaton is a self-described perfectionist, she is most excited by her accidental discoveries: the experiments that "go wrong," but in the process reveal something new about photography, light and vision that she could not have otherwise seen. She describes these images as "photographs I wasn't able to see before they existed.

I like to think you can still hear me

My work performs the act of mourning. In this body of photographs, I resurrect the items previously owned by my great-grandmother as I explore the new reality those who are living face after losing a loved one. I am curious about how we grieve and remember moments from the past. Asking myself the question, when we no longer can physically hold onto our loved ones, what are the ways that we can still find moments of connection? I use the ambiguity offered by the lumen print process to illuminate the trace of the past in the presence. I examine and utilize these objects the same way many found solace and mourned through spirit photography. This body of work consists of objects that my family has kept after my great-grandmother’s death to create lumen prints. After an entire day of exposure, the lumen print is the only evidence of the thing itself, which becomes a metaphorical representation of what once was