Andy Warhol: Polaroids & Portraits

Enigmatic Andy Warhol claimed he had “no real point to make” in producing art. Yet, his silkscreens, sculptures, paintings, and photographs reveal the artist’s profound interest in the way art intersected with fields like advertising, fashion, film, mass culture, and underground music. In his experimentations with photography and portraiture, Warhol was fascinated with representations of both the individual and the masses and used the Polaroid portrait to illustrate the fine lines between art and popular culture, celebrity and anonymity. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1010/thumbnail.jp

Recent Acquisitions, 2007-2017: Selections from the Gettysburg College Fine Arts Collection

This exhibition reflects the breadth of Gettysburg College’s significant art collection and acknowledges the generosity of its donors. Major acquisitions have been made possible by The Michael J. Birkner \u2772 and Robin Wagner Art and Photography Acquisition Fund, which was established in 2013 to enhance the Gettysburg College curriculum, to offer curatorial opportunities for students, and to provide first-hand access to significant works of art. Purchases made possible by this endowment include works by prominent, internationally renowned artists Kara Walker, Wafaa Bilal, John Biggers, and Michael Scoggins. Other recent donations include important works by Andy Warhol, Glenn Ligon, Leonard Baskin, Raphael Soyer, Marion Greenwood, William Clutz, William Mason Brown, Sally Gall, and Jules Cheret’s Les Maîtres de l\u27Affiche lithographs. The Fine Arts Collection at Gettysburg College is comprised of over 500 museum-quality works, in addition to over 2000 Asian art objects that are featured routinely in Schmucker Art Gallery exhibitions and studied in Gettysburg College courses. The College has acquired over 200 fine art works in the past ten years, and this exhibition marks the first occasion to celebrate and view the scope of the collection. Some of the objects have been featured in recent exhibitions, while others, including large-scale color silkscreens by Andy Warhol and a rare print by MacArthur “Genius” Award recipient Carrie Mae Weems, have not yet been exhibited.https://cupola.gettysburg.edu/artcatalogs/1024/thumbnail.jp

The Figure in Art: Selections from the Gettysburg College Collection

The Figure in Art: Selections from the Gettysburg College Collection is the second annual exhibition curated by students enrolled in the Art History Methods class. This exhibition is an exciting academic endeavor and provides an incredible opportunity for engaged learning, research, and curatorial experience. The eleven student curators are Diane Brennan, Rebecca Duffy, Kristy Garcia, Megan Haugh, Dakota Homsey, Molly Lindberg, Kathya Lopez, Kelly Maguire, Kylie McBride, Carolyn McBrady and Erica Schaumberg. Their research presents a multifaceted view of the representation of figures in various art forms from different periods and cultures.https://cupola.gettysburg.edu/artcatalogs/1017/thumbnail.jp

Surely fades away: Polaroid photography and the contradictions of cultural value

Photography has always had a precarious relation to cultural value: as Walter Benjamin put it, those who argued for photography as an art were bringing it to a tribunal it was in the process of overthrowing. This article examines the case of Polaroid, a company and technology that, after Kodak and prior to digital, contributed most to the mass- amateurization of photography, and therefore, one might expect, to its cultural devaluation. It considers the specific properties of the technology, the often skeptical reception Polaroid cameras and film received from the professional photographic press, and Polaroid’s own strategies of self-presentation, and finds that in each case a contradictory picture emerges. Like fast food, the Polaroid image is defined by its speed of appearance – the proximity of its production and consumption – and is accordingly devalued; and yet at the same time it produces a single, unique print. The professional photographic press, self- appointed arbiters of photographic value, were often rapturous about the technical breakthroughs achieved by Polaroid, but dismissive of the potential non-amateur applications and anxious about the implications for the ‘expert’ photographer of a camera that replaced the expert’s functions. For obvious marketing reasons, Polaroid itself was always keen to emphasize what the experts scorned in its products (simplicity of operation), and yet, equally, consistently positioned itself at the ‘‘luxury’’ end of the camera market and carried out an ambitious cultural program that emphasized the ‘‘aesthetic’’ potential of Polaroid photography. The article concludes that this highly ambivalent status of Polaroid technology in relation to cultural value means that it shares basic features with kitsch, a fact that has been exploited by, among others, William Wegman, and has been amplified by the current decline and imminent disappearance of Polaroid photograph

Procurement specification color graphic camera system

The performance and design requirements for a Color Graphic Camera System are presented. The system is a functional part of the Earth Observation Department Laboratory System (EODLS) and will be interfaced with Image Analysis Stations. It will convert the output of a raster scan computer color terminal into permanent, high resolution photographic prints and transparencies. Images usually displayed will be remotely sensed LANDSAT imager scenes

The Nature of Inventive Activities : Evidence from a Data-Set of R&D Awards

This paper presents an exploratory study on the characteristics of inventive activities as captured on the basis of the analysis of a data-set of R&D awards. Our data source is the "R&D 100 Awards" competition organized by the journal Research and Development. Since 1963, the magazine (which at that time was called Industrial Research) has been awarding this prize to 100 most technologically significant new products available for sale or licensing in the year preceding the judgment. The jury is composed of university professors, industrial researchers and consultants with a certified level of competence in the specific areas they are called to asses. The main criteria for assessment are: i) technological significance (i.e., whether the product can be considered a major breakthrough), ii) competitive significance (i.e., how the product compares to rival solutions available on the market). Throughout the years, key breakthroughs inventions such as Polacolor film (1963), the flashcube (1965), the automated teller machine (1973), the halogen lamp (1974), the fax machine (1975), the liquid crystal display (1980), the printer (1986), the Kodak Photo CD (1991), the Nicoderm antismoking patch (1992), Taxol anticancer drug (1993), lab on a chip (1996), and HDTV (1998) have received the prize. We use these data to study the shifts in the distribution of innovative activities across countries, sectors and types of institutions and the changes in the sources of inventive activities over time. Our preliminary findings show: i) the emergence of a challenge to US technological leadership from other rival nations such as Japan and Germany, ii) the critical role of scientific instrumentation as a powerful source of technological breakthroughs, iii) a change in the institutional arrangements where innovative activities take place, from individual corporations, to partnerships increasingly involving public research organizations and universities, iv) a large chunk of inventive activities undertaken without patent protection.

Manned spacecraft advanced digital television compression study. Volume 1 - Text Final report

Manned spacecraft advanced digital television compression stud

Mustang Daily, March 31, 1994

Student newspaper of California Polytechnic State University, San Luis Obispo, CA.https://digitalcommons.calpoly.edu/studentnewspaper/5688/thumbnail.jp