From Aug. 1 to 30, the Stanford Department of Art & Art History sponsored work by Bay Area photography teachers Seth Dickerman, Dionne Lee, Aspen Mays and Lewis Watts in the McMurtry Building’s Coulter Art Gallery.
There is no photograph that is not a failure. To take a photo of something (and not another thing) belies an implicit ethical relationship to that thing; to be seen is to be loved. The implicit goal of the photograph is to depict a portion of reality in exacting detail, to reproduce the world as…
Every day, each of us faces a choice in how to think about our lives: do we manipulate the truth to make things seem better than they would otherwise, or do we live in light of complete honesty about our experiences, no matter the cost? Both options are compelling. On one hand, we feel a…
My best friend’s house is exactly how you would expect a household of four artists’ children to be—littered in magazine clippings, replete with stacks of thrifted photo books and with not a single bare wall. Therefore, I wasn’t all that surprised to find two random DSLRs sitting in the corner of her room. I knew…
Tailored after Humans of New York, each story and accompanying photograph in Unspoken Narratives highlights the perspective of a featured individual.
I could visualize Andy Warhol: sun-bleached hair, dark eyes set in circular glasses and an unsmiling, slightly agape mouth. Growing up in one of the artsiest neighborhoods in Miami, I knew that he was a pop art superstar. On the weekdays after school, if I stopped by the Wynwood Walls or dropped into a gallery,…
Even during his lifetime, the artist Andy Warhol was associated with an astute adage. “In the future,” he proclaimed, “everyone will be famous for 15 minutes.” He soon became so tired of saying the line that he changed it to “in 15 minutes, everyone will be famous.” Warhol’s truisms, however, do not seem to…
At first glance, the new photography exhibit at the Herbert Hoover Memorial Exhibit Pavilion seems simple. White space is used consistently throughout the exhibit, the empty walls displaying only a few black and white photographs each. Two short films are projected in a makeshift theater tucked away in the corners of the Pavilion, and four wooden tables in the center of the room display photographs, letters, books, music scores and newspaper clippings, all dating back to the Vietnam War era.
This simplicity is the true beauty of the exhibit “We Shot the War: ‘Overseas Weekly’ in Vietnam.” The phrase “a picture is worth a thousand words” seems to be the central focus of this exhibit, each brutally human photograph speaking for itself. While walking through the exhibit, one can see that these pictures do not aim to show the violence of the war, but rather to highlight the lives of soldiers and citizens alike.
