LaurieAnnie's photos with the keyword: photograph

Title: Déaxitchish / Pretty Eagle from 1880 Crow Peace Delegation Artist: Wendy Red Star (Apsáalooke/Crow, born Billings, Montana, 1981) Date: 2014 Medium: Inkjet print of artist-manipulated digitally reproduced photograph Dimensions: Sheet: 24 in. × 16 7/16 in. (61 × 41.8 cm) Classification: Prints Credit Line: Purchase, Nancy Dunn Revocable Trust Gift and John B. Turner Fund, in memory of Loren G. Lipson M.D., 2019 Accession Number: 2019.335 Text from: www.metmuseum.org/art/collection/search/830003

Title: Déaxitchish / Pretty Eagle from 1880 Crow Peace Delegation Artist: Wendy Red Star (Apsáalooke/Crow, born Billings, Montana, 1981) Date: 2014 Medium: Inkjet print of artist-manipulated digitally reproduced photograph Dimensions: Sheet: 24 in. × 16 7/16 in. (61 × 41.8 cm) Classification: Prints Credit Line: Purchase, Nancy Dunn Revocable Trust Gift and John B. Turner Fund, in memory of Loren G. Lipson M.D., 2019 Accession Number: 2019.335 Text from: www.metmuseum.org/art/collection/search/830003

Title: Déaxitchish / Pretty Eagle from 1880 Crow Peace Delegation Artist: Wendy Red Star (Apsáalooke/Crow, born Billings, Montana, 1981) Date: 2014 Medium: Inkjet print of artist-manipulated digitally reproduced photograph Dimensions: Sheet: 24 in. × 16 7/16 in. (61 × 41.8 cm) Classification: Prints Credit Line: Purchase, Nancy Dunn Revocable Trust Gift and John B. Turner Fund, in memory of Loren G. Lipson M.D., 2019 Accession Number: 2019.335 Text from: www.metmuseum.org/art/collection/search/830003

Title: Déaxitchish / Pretty Eagle from 1880 Crow Peace Delegation Artist: Wendy Red Star (Apsáalooke/Crow, born Billings, Montana, 1981) Date: 2014 Medium: Inkjet print of artist-manipulated digitally reproduced photograph Dimensions: Sheet: 24 in. × 16 7/16 in. (61 × 41.8 cm) Classification: Prints Credit Line: Purchase, Nancy Dunn Revocable Trust Gift and John B. Turner Fund, in memory of Loren G. Lipson M.D., 2019 Accession Number: 2019.335 Text from: www.metmuseum.org/art/collection/search/830003

Photograph of the House of the Drinking Contest, house dating to the early 3rd century CE Photograph taken during the Antioch excavations conducted between 1932 and 1939.

Identical Twins James Van Der Zee (American, Lenox, Massachusetts 1886–1983 New York) Date: 1924 Medium: Gelatin silver print Dimensions: 18.7 x 23.8 cm (7 3/8 x 9 3/8 in.) Classification: Photographs Credit Line: Gift of James Van DerZee Institute, 1970 Accession Number: 1970.539.2 Description: During the 1920s and 1930s, Van Der Zee enjoyed a reputation as Harlem's preeminent portrait photographer, catering to everyone from proud parents, shopkeepers, and newlyweds to such luminaries as Marcus Garvey, Bill Robinson, and Adam Clayton Powell, Sr. Van Der Zee's career spanned more than seventy years, but his work first achieved widespread recognition only in 1969, when it was included in the Metropolitan Museum's controversial exhibition, "Harlem on My Mind." Text from: www.metmuseum.org/collection/the-collection-online/search/259623

Artist: Unknown Artist, Japanese School Descriptive Title: [Japanese Women Cloaked in American and Japanese Flags] Date: ca. 1900 Medium: Gelatin silver print Dimensions: Image: 27.7 x 11.1 cm (10 7/8 x 4 3/8 in.) Credit Line: Gift of Sue Cassidy Clark, in honor of Dr. Barbara Brennen Ford, 2006 Accession Number: 2006.525.2 Classification: Photograph Additional Details: Applied color Text from: www.metmuseum.org/Works_of_Art/collection_database/photog... and In April 1853, a fleet of US Navy ships led by Commodore Matthew Perry sailed into Edo Bay (now Tokyo) and insisted that the emperor abandon his isolationist ways and open his country’s harbors to foreign trade. Although the first camera appeared in Japan as early as 1848, the opening of its harbors five years later brought foreign photographers interested in a new market, and locals soon began to open their own businesses to cater to the growing tourist trade. By the end of the century, photography in Japan was a hugely popular commercial enterprise with a fierce trade in both imagery and photographic equipment. This portrait of two Japanese women illustrates the eagerness of the Japanese to maintain a diplomatic relationship with the United States, an influential superpower, during this period. Text from the Metropolitan Museum of Art label.

Cindy Sherman (American, born 1954) Untitled # 216, 1989 Chromogenic color print Gift of Werner and Elaine Dannheisser, 1996 Sherman photographs herself parodying female stereotypes- here she poses as the Virgin Mary with the Baby Jesus. Her stoic posture and demurely downcast eyes, her blue mantle, and the lace backdrop all imitate the conventions of northern Renaissance painting, yet the plastic breast awkwardly affixed to her chest and her creased robes betray the artificiality of the photograph. Sherman has explained, "I was getting disgusted with the attitude of art being so religious or sacred." She wanted to make something, "that anyone off the street could appreciate. ...I wanted to imitate something out of the culture, and also make fun of the culture as I was doing it." Text from the MoMA gallery label.

Cindy Sherman (American, born 1954) Untitled # 216, 1989 Chromogenic color print Gift of Werner and Elaine Dannheisser, 1996 Sherman photographs herself parodying female stereotypes- here she poses as the Virgin Mary with the Baby Jesus. Her stoic posture and demurely downcast eyes, her blue mantle, and the lace backdrop all imitate the conventions of northern Renaissance painting, yet the plastic breast awkwardly affixed to her chest and her creased robes betray the artificiality of the photograph. Sherman has explained, "I was getting disgusted with the attitude of art being so religious or sacred." She wanted to make something, "that anyone off the street could appreciate. ...I wanted to imitate something out of the culture, and also make fun of the culture as I was doing it." Text from the MoMA gallery label.