<?xml version='1.0' encoding='ISO-8859-1'?><rss version="0.91"><channel><title>Directorios Universia: Fotografía - Artes en Museos y exposiciones</title><link>http://www1.universia.net/catalogaxxi/C10055PPCLII1/S12586/P12567NN1/INDEX.HTML</link><description>FOTOGRAFÍA EN MUSEOS Y EXPOSICIONES</description><language><![CDATA[es ]]></language><pubDate><![CDATA[25/11/2009 12:36:21]]></pubDate><image><url>http://www1.universia.net/catalogaxxi/img/cabecera/universia1.gif</url><title>Directorios Universia</title> <link>http://www1.universia.net/CatalogaXXI</link></image><item><title><![CDATA[A Civil War Soldier in the Wild Cat Regiment : selections from the Tilton C. Reynolds Papers]]></title><description><![CDATA[Library of Congress.<BR>
«...documents the Civil War experience of Captain Tilton C. Reynolds, a member of the 105th Regiment of Pennsylvania Volunteers. Comprising 164 library items, or 359 digital images, this online presentation includes correspondence, photographs, and other materials dating between 1861 and 1865.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160340/index.html]]></link></item><item><title><![CDATA[A Durable Memento: Portraits by Augustus Washington, African American Daguerreotypist]]></title><description><![CDATA[National Portrait Gallery. Smithsonian Institution.<BR>
«Augustus Washington (1820/21-1875) is one of only a handful of African American daguerreotypists whose work has been identified and collected, and whose career has been documented.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135708/index.html]]></link></item><item><title><![CDATA[A History of Photography from its beginnings till the 1920s ]]></title><description><![CDATA[By Dr. Robert Leggat.<BR>
«This is not designed to be a course on the history of photography such as a resource to dip into. In addition to pen-portraits of many of the most important photographers of the period, it contains information on some of the most significant processes used during the early days of photography.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135908/index.html]]></link></item><item><title><![CDATA[A Romanov Album]]></title><description><![CDATA[Russian Archives Online.<BR>
«As the ruling dynasty of Russia, they expanded the boundaries of the country to encompass an empire, but the Romanov's were eventually brought down by a people's revolution. In the twilight of their reign, the last tsar, Nicholas II, and his family share their thoughts through diary entries and personal photographs accompanied by a narrative and family history.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160474/index.html]]></link></item><item><title><![CDATA[Abbas]]></title><description><![CDATA[Magnum Photos.<BR>
«Born a photographer, Abbas, an Iranian transplanted in Paris, has dedicated his work to the political and social coverage of the developing South. Since 1970, his major work, published in world magazines, includes wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, South Africa with an essay on apartheid.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135797/index.html]]></link></item><item><title><![CDATA[Aboriginal Faces of Saskatchewan: A Photo Gallery ]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«This site highlights Aboriginal people in Saskatchewan who have used their talent and skills in their pursuit of personal excellence. The First Nation and Metis persons included on this site share their stories, experiences, hardships, and accomplishments in their effort to achieve their goals.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136323/index.html]]></link></item><item><title><![CDATA[About Life: The Photographs of Dorothea Lange]]></title><description><![CDATA[John Paul Getty Museum.<BR>
«Dorothea Lange (American, 1895?1965) is one of the few female photographers whose name is widely known. She is most recognized for her social documentary work during the Great Depression of the 1930s.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160072/index.html]]></link></item><item><title><![CDATA[Access to the Presidency]]></title><description><![CDATA[By Diana Walker. 1998.<BR>
The Digital Journalist.<BR>
«There have been a half dozen White House photographers I really admire: Dirck Halstead, Diana Walker, Dave Kennerly, Daryl Heikes and George Thames. Obviously, it's a huge advantage at the White House if your first name begins with the letter "D."»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160867/index.html]]></link></item><item><title><![CDATA[Adams, Ansel]]></title><description><![CDATA[The Ansel Adams Gallery.<BR>
«If Adams&#8217;s love of nature was nurtured in the Golden Gate, his life was, in his words, &#8220;colored and modulated by the great earth gesture&#8221; of the Yosemite Sierra (Adams, Yosemite and the Sierra Nevada, p. xiv). He spent substantial time there every year from 1916 until his death. From his first visit, Adams was transfixed and transformed.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135906/index.html]]></link></item><item><title><![CDATA[Afghan Child Labor]]></title><description><![CDATA[By Chien-Min Chung. 2002.<BR>
The Digital Journalist.<BR>
«Born in Taiwan and raised in the United States, Chien-min Chung discovered photography in college at the University of Florida. To pursue his new passion, Chung transferred to NYU and received his degree in photography. &#8220;New York was great for studying the technical side of photography, and museums like the International Center for Photography and all the different photo bookstores had a big impact on me,&#8221; says Chung of his time in New York. &#8220;I remember camping out in stores and looking at books by photographers I admired such as Salgado and Eugene Smith, and I still do the same thing when I&#8217;m back in New York.&#8221;»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160797/index.html]]></link></item><item><title><![CDATA[Age of Lost Innocence: Photographs of Childhood Realities and Adult Fears During the Depression]]></title><description><![CDATA[Jennifer Pricola, American Studies, University of Virginia.<BR>
«Although official numbers mislead, reliable estimates suggest that in 1933, about one-third of the Unites States' workforce found itself unemployed, and the average family income had fallen nearly forty percent since 1929 (Elder 1920). By December, 102,000 dependent and neglected children were placed in foster care and an additional 140,000 in orphanages (Morton 438). Thousands of others were forced into early labor to help support their struggling families. Many dropped out of school. Some lacked clothes to keep them warm on the walk there while others headed to the work fields instead.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160365/index.html]]></link></item><item><title><![CDATA[Aging in America]]></title><description><![CDATA[By Ed Kashi. December 2003.<BR>
The Digital Journalist.<BR>
«If the book is illuminating about the future of old age in America, an interview with the photographer that produced it was equally illuminating about the future of photojournalism in America. Kashi is an intense but humorous man with a remarkable degree of focused energy that bursts from him.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160779/index.html]]></link></item><item><title><![CDATA[Alberta Airphoto Collection]]></title><description><![CDATA[The Alberta Heritage Digitization Project. University of Calgary.<BR>
Canada's Digital Collections. Government of  Canada.<BR>
«The Alberta Airphoto collection consists of 30,000 copyright cleared airphotos of primarily urban areas in Alberta, flown at different times since 1924. These airphotos provide information on changes in the geography and landscape of the areas included and can be traced on flight line maps for comparison purposes over time.»

]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136332/index.html]]></link></item><item><title><![CDATA[Alberta Between the Wars, 1919 -1939: The Photographs of William J. Oliver]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«William J. Oliver was a prominent photographer and filmmaker who had a studio in Calgary and a ranch near Millarville, Alberta. He was born July 28, 1887, in England and spent the early part of his life there. Oliver won his first camera in a contest, and photography soon consumed his free time.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136333/index.html]]></link></item><item><title><![CDATA[Album Fotografico Museo del Dipartimento di Fisica ]]></title><description><![CDATA[Università "La Sapienza" Roma.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E138599/index.html]]></link></item><item><title><![CDATA[Albumen]]></title><description><![CDATA[Albumen photographs: history, science and conservation.<BR>
«Presenting the art and science of albumen printing, this site brings together 19th Century technical instruction, contemporary research, an online forum for conservation treatment and a wealth of images. This unique resource is dedicated to those who value the application of technology to the creative process of image making.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E161044/index.html]]></link></item><item><title><![CDATA[Alfonso]]></title><description><![CDATA[Diario El mundo.<BR>
«Alfonso Sánchez García saboreó desde sus inicios, casi adolescentes, una merecida fama de excelente reportero. A los 11 años, en 1891, la grave enfermedad de su padre le obligó a concatenar un trabajo con otro hasta que desembocó en el estudio del prestigioso retratista Amador en el 95. Dos años después ya había publicado jugosas exclusivas como la imágen del cuerpo incorrupto de San Isidro Labrador. El libro recién publicado sobre su extensa obra recopilada por Publio López Mondejar le devuelve a la actualidad.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E129170/index.html]]></link></item><item><title><![CDATA[Alinari Photographic Archives]]></title><description><![CDATA[Fratelli Alinari.<BR>
«The archives are the heart of the Fratelli Alinari firm. It is here that the immense patrimony of portraits and documentary material pertaining to the art, history, folklore, landscape, industry and society of Italy, Europe and the rest of the world, from the second half of the nineteenth century to the present, is housed.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160180/index.html]]></link></item><item><title><![CDATA[Álvarez Bravo, Manuel]]></title><description><![CDATA[The Museum of Modern Art, MOMA.<BR>
«With a career that spans nearly eighty years, Manuel Alvarez Bravo (b. 1902) has long been recognized as one of the foremost figures in the history of photography and one of the great Mexican artists of the twentieth century. This exhibition, the most comprehensive ever devoted to his career, is a full retrospective that includes 185 photographs, many of which have never before been published or exhibited.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135919/index.html]]></link></item><item><title><![CDATA[Amateur Photographic Association]]></title><description><![CDATA[George Eastman House.<BR>
«The Amateur Photographic Association (A.P.A.) was formed in England in May, 1861. As an exchange club, each year members provided the Association with negatives for printing in exchange for prints from other members.  Subscribers who simply wished to purchase photographs were also welcomed as members.<BR>
148 albumen photographs by 55 photographers.<BR>

<A HREF="http://www.geh.org/fm/english-amateur/htmlsrc/intro.html" TARGET="TOP">Introduction</A>]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152429/index.html]]></link></item><item><title><![CDATA[America from the Great Depression to World War II: Color Photographs from the FSA-OWI, 1939-1945]]></title><description><![CDATA[Prints and Photographs Division, Library of Congress.<BR>
«The color photographs of the Farm Security Administration-Office of War Information Collection include scenes of rural and small-town life, migrant labor, and the effects of the Great Depression. A significant number of the color photographs concern the mobilization effort for World War II and portray aircraft manufacturing, military training, and the nation's railroads. The 1,600 color photographs produced by the FSA and OWI photographers are less well known and far less extensive than the 164,000 black-and-white photographs in the collection.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152423/index.html]]></link></item><item><title><![CDATA[America 24/7: Extraordinary Images of One American Week]]></title><description><![CDATA[November 2003.<BR>
The Digital Journalist.<BR>
«Over the course of a seven-day period, May 12-18, 2003, more than 25,000 professional and amateur photographers, including 36 Pulitzer Prize winners, were issued an unusual challenge: Go out and create a visual time capsule. Make extraordinary images of everyday American life.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160780/index.html]]></link></item><item><title><![CDATA[American Edge]]></title><description><![CDATA[By Steve Schapiro. 2000.<BR>
The Digital Journalist.<BR>
«Steve was a disciple of W. Eugene Smith, and shared Smith's passion for black and white documentary work. He had already set a mission for himself, to chronicle the "icons" of American Life.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160824/index.html]]></link></item><item><title><![CDATA[American Enviromental Photographs 1891-1936]]></title><description><![CDATA[Images from The University of Chicago Library.<BR>
«This collection consists of approximately 4,500 photographs documenting natural environments, ecologies, and plant communities in the United States at the end of the nineteenth and the beginning of the twentieth century. Produced between 1891 and 1936 by a group of American botanists generally regarded as one of the most influential in the development of modern ecological studies, these photographs provide an overview of important representative natural landscapes across the nation. They demonstrate the character of a wide range of American topography, its forestation, aridity, shifting coastal dune complexes, and watercourses. Comparison of early photographs with later views highlights changes resulting from natural alterations of the landscape, disturbances from industry and development, and effective natural resource usage. The photographs were taken by Henry Chandler Cowles (1869-1939), George Damon Fuller (1869-1961), and other Chicago ecologists on field trips across the North American continent.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160024/index.html]]></link></item><item><title><![CDATA[American Environmental Photographs, 1891-1936: Images from the University of Chicago Library]]></title><description><![CDATA[Library of Congress.<BR>
«This collection consists of approximately 4,500 photographs documenting natural environments, ecologies, and plant communities in the United States at the end of the nineteenth and the beginning of the twentieth century. Produced between 1891 and 1936 by a group of American botanists generally regarded as one of the most influential in the development of modern ecological studies, these photographs provide an overview of important representative natural landscapes across the nation. They demonstrate the character of a wide range of American topography, its forestation, aridity, shifting coastal dune complexes, and watercourses. Comparison of early photographs with later views highlights changes resulting from natural alterations of the landscape, disturbances from industry and development, and effective natural resource usage. The photographs were taken by Henry Chandler Cowles (1869-1939), George Damon Fuller (1869-1961), and other Chicago ecologists on field trips across the North American continent.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160285/index.html]]></link></item><item><title><![CDATA[American Indians of the Pacific Northwest]]></title><description><![CDATA[Library of Congress.<BR>
«This digital collection integrates over 2,300 photographs and 7,700 pages of text relating to the American Indians in two cultural areas of the Pacific Northwest, the Northwest Coast and Plateau. These resources illustrate many aspects of life and work, including housing, clothing, crafts, transportation, education, and employment. The materials are drawn from the extensive collections of the University of Washington Libraries, the Northwest Museum of Arts & Culture (formerly the Cheney Cowles Museum/Eastern Washington State Historical Society), and the Museum of History and Industry in Seattle.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160308/index.html]]></link></item><item><title><![CDATA[American Landscape and Architectural Design, 1850-1920: a Study Collection from the Harvard Graduate School of Design]]></title><description><![CDATA[Library of Congress.<BR>
«This collection of approximately 2,800 lantern slides represents an historical view of American buildings and landscapes built during the period 1850-1920. It represents the work of Harvard faculty, such as Frederick Law Olmsted Jr., Bremer W. Pond, and James Sturgis Pray, as well as that of prominent landscape architects throughout the country. The collection offers views of cities, specific buildings, parks, estates and gardens, including a complete history of Boston's Park System. In addition to photographs, views of locations around the country include plans, maps, and models. Hundreds of private estates from all over the United States are represented in the collection through contemporary views of their houses and gardens (including features such as formal gardens, terraces, and arbors).»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160249/index.html]]></link></item><item><title><![CDATA[American Museum of Photography]]></title><description><![CDATA[Virtual museum.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160184/index.html]]></link></item><item><title><![CDATA[American Pictures]]></title><description><![CDATA[By Jeff Dunas. 2001.<BR>
The Digital Journalist.<BR>
«At a time when many photographers are scrambling after assignments and worrying about where the next job will come from, Jeff Dunas stands out as a shining example of how a photographer can continue to build success upon success by following his or her inner voices.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160816/index.html]]></link></item><item><title><![CDATA[American Stories]]></title><description><![CDATA[By Eli Reed. 2000.<BR>
The Digital Journalist.<BR>
«Growing up in Perth Amboy, NJ, the first picture he took was of his mother - he was nine years old. She died a year later, and that photograph became an anchor for him. When he was in high school, he took Judo classes, which he credits for his ability to calm down in difficult situations. He graduated from art school in the mid-sixties, and watched in wonder as such photographers as Larry Burrows, W. Eugene Smith and Bill Eppridge were defining the era. "It just seemed like these guys with their cameras knew what was going to happen next."»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160833/index.html]]></link></item><item><title><![CDATA[America's First Look into the Camera: Daguerreotype Portraits and Views, 1839-1864]]></title><description><![CDATA[Library of Congress.<BR>
«The Library's daguerreotype collection consists of more than 725 photographs dating from 1839 to 1864. Portrait daguerreotypes produced by the Mathew Brady studio make up the major portion of the collection. The collection also includes early architectural views by John Plumbe, several Philadelphia street scenes, early portraits by pioneering daguerreotypist Robert Cornelius, studio portraits by black photographers James P. Ball and Francis Grice, and copies of painted portraits.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160267/index.html]]></link></item><item><title><![CDATA[Ami Vitale: Getting Beyond the Headlines]]></title><description><![CDATA[January 2003.<BR>
The Digital Journalist.<BR>
«Photojournalist Ami Vitale is on the road less traveled. Often unpaved, and at times dangerous, that road has taken her in the last three years, to places of surreal beauty and civil unrest. It has also taken her to places where there is extreme poverty and horrible destruction of life and property, and to villages where there is no running water or electricity, places she describes as &#8220;worlds apart.&#8221; But it is not the differences that have drawn Vitale to them; it is the commonality of human emotions and life experiences that have irrevocably bonded her with the people she has photographed in them.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160790/index.html]]></link></item><item><title><![CDATA[An Evening With Marilyn]]></title><description><![CDATA[By Douglas Kirkland. October 2002.<BR>
The Digital Journalist.<BR>
«Douglas Kirkland moves gracefully around his lovely house in the Hollywood Hills and his charm reminds me of Robert Redford in The Great Gatsby. He speaks quietly, in short sentences, as he and his beautiful French wife show their friends his latest &#8220;Iris&#8221; prints. He is quiet but you feel his intensity, as he discusses the evolution of the film industry and its latest delusions.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160794/index.html]]></link></item><item><title><![CDATA[An Eye for the World]]></title><description><![CDATA[Photographs by Shotaro Shimomura.<BR>
«Shotaro Shimomura XXI (1883-1944) was Chairman of The Daimaru Inc., a department store chain that traces its roots to a single store opened in Kyoto in 1717. Mr. Shimomura was named President of the company in 1907 and toured Europe and the United States the following year to study the management of department stores. He took these photographs on a subsequent trip around the world in 1934 and 1935, prior to establishing a subsidiary trading company.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160196/index.html]]></link></item><item><title><![CDATA[Ancient Marks. The Sacred Origins of Tattoos and Body Marking]]></title><description><![CDATA[By Chris Rainier. November 2004.<BR>
The Digital Journalist.<BR>
«He is telling the story of tattooing, scarification and other forms of body marking around the world. He's doing this with photographs, and from a recent interview with him it is clear that he passionately believes in the transforming power of communication.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160761/index.html]]></link></item><item><title><![CDATA[Animal Locomotion. Eadweard Muybridge, Grandfather of the Motion Picture]]></title><description><![CDATA[The Minneapolis Institute of Arts.<br>
«Eadweard Muybridge (1830&#8211;1904) wished to catalogue every aspect of human and animal locomotion with his camera. He photographed hundreds of subjects engaged in actions both mundane and arcane: nude figures walking and lifting children, athletes boxing and fencing, and animals hurdling, kicking, or slowly ambling along. He was the first photographer to visually dissect these activities, creating images that delighted and mystified the public in the late 19th century.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135749/index.html]]></link></item><item><title><![CDATA[Ansel Adams: Beneath the Surface]]></title><description><![CDATA[University of California, Riverside / California Museum of Photography.<BR>
«Ansel Adams: Beneath the Surface showcases a world of scientific and academic inquiry far removed from the heroic and sublime landscapes; a world of astonishing experiments, prodigious apparatus, and fascinating photographic inquiry.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E161122/index.html]]></link></item><item><title><![CDATA[Anxious Libraries: Photography and the Fate of Reading]]></title><description><![CDATA[Photographic Resource Center (PRC) at Boston University.<BR>
«A special documentation of the PRC exhibition examining the fate of reading in a digital age. Made possible through a grant from the Elizabeth Firestone Graham Foundation. Designed by the Photographic Resource Center and Millennium Productions.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160146/index.html]]></link></item><item><title><![CDATA[Architecture and Interior Design for 20th Century America: Photographs by Samuel Gottscho and William Schleisner, 1935-1955]]></title><description><![CDATA[Library of Congress.<BR>
«The Gottscho-Schleisner Collection is comprised of over 29,000 images primarily of architectural subjects, including interiors and exteriors of homes, stores, offices, factories, historic buildings, and other structures. Subjects are concentrated chiefly in the northeastern United States, especially the New York City area, and Florida. Included are the homes of notable Americans, such as Raymond Loewy, and of several U.S. presidents, as well as color images of the 1939-40 New York World's Fair. Many of the photographs were commissioned by architects, designers, owners and architectural publications, and document important achievements in American 20th-century architecture and interior design.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160247/index.html]]></link></item><item><title><![CDATA[Archives virtuelles des 100 ans de Shawinigan]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136379/index.html]]></link></item><item><title><![CDATA[Archivio fotografico ]]></title><description><![CDATA[Cineteca di Bologna.<BR>
«L'archivio fotografico raccoglie oltre un milione di immagini fotografiche che la Cineteca conserva, preserva dal degrado e mette a disposizione del pubblico. Comprende due sezioni: la Sezione Cinema e la Sezione Bologna.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160610/index.html]]></link></item><item><title><![CDATA[Arnold, Eve]]></title><description><![CDATA[Magnum Photos.<BR>
«Eve Arnold was born in Philadelphia, Pennsylvania of immigrant Russian parents. She began photographing while working at a photo-finishing plant in New York City in 1946, then studied photography (for 6 weeks) with Alexei Brodovitch at New York City's New School for Social Research in 1948.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135798/index.html]]></link></item><item><title><![CDATA[Arnold Newman]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«Arnold Newman, in portraying artists, writers, actors, composers, politicians in his unique style&#8212;placing the subject in a carefully composed setting to capture the essence of their work and personality&#8212;has become one of the world's most renowned portrait photographers.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160200/index.html]]></link></item><item><title><![CDATA[Arnold Newman Photo Gallery]]></title><description><![CDATA[December 2003.<BR>
The Digital Journalist.<BR>
«There was a boy born in Manhattan in 1918. His family moved to New Jersey where his father started a new dry goods business. While in college in 1934 at the University of Miami, he began making photographs with his friend Ben Rose. Thereupon he became famous overnight. That's the story. Students always ask some variation of "How can I be famous and sell my photographs for thousands of dollars?" Questions such as these do not go down well with Arnold Newman.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160778/index.html]]></link></item><item><title><![CDATA[Arte Argentino]]></title><description><![CDATA[«Grabado, pintura, escultura, danzas, fotografia, arte digital,artes alternativas.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E129855/index.html]]></link></item><item><title><![CDATA[At Ease]]></title><description><![CDATA[American Photography Museum.<BR>
«Take a fresh look at some of the earliest photographs: AT EASE is a selection of American portrait daguerreotypes from around 1850 with wonderfully relaxed, cordial attitudes.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160197/index.html]]></link></item><item><title><![CDATA[At home in Vanuatu. Tradition in the Western Pacific]]></title><description><![CDATA[California Academy of Sciences.<BR>
«David Becker has lived on a sailboat in the Western Pacific for more than 20 years. He is currently based in New Caledonia, just south of Vanuatu. He specializes in cultural photography, working with museums and other cultural institutions, primarily in Melanesia.<BR>
Sailing through Papua New Guinea for eight months in 1986, Becker saw how rapidly traditional cultures were being changed by contact with the outside world. With friends, he founded The Society for the Recording of Vanishing Cultures, and has since devoted his life to this work.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E129236/index.html]]></link></item><item><title><![CDATA[Atget, Eugène]]></title><description><![CDATA[George Eastman House.<BR>
«Eugène Atget was born in 1857 near Bordeaux. After working as an actor in regional theaters, he settled in Paris in 1890, taking up photography in 1898. He photographed Paris, working on commissions from various city departments as well as the Carnavalet Museum. The Surrealists appreciated his work, most notably Man Ray, who arranged for Atget&#8217;s work to be published in La Revolutions Surrealiste in 1926. The photographer Berenice Abbott purchased Atget&#8217;s collection after his death in 1927.»<BR>
494 photographs]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152430/index.html]]></link></item><item><title><![CDATA[Auto Races Represented in the Nathan Lazarnick Collection]]></title><description><![CDATA[George Eastman House.<BR>
606 Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152688/index.html]]></link></item><item><title><![CDATA[Avedon at Work in the American West]]></title><description><![CDATA[June 2004.<BR>
The Digital Journalist.<BR>
«Richard Avedon was fifty-five years old in October of 1978 and at the top of his game. He had spent his life photographing people of power, people of accomplishment and women of great beauty: Presidents Eisenhower, Kennedy, Ford and Carter. Samuel Beckett, Bob Dylan, Marella Agnelli. The Mission Council in Saigon. The Chicago Seven. Four major exhibitions in eight years had now culminated in a retrospective of his fashion work at The Metropolitan Museum of Art. "An Avedon portrait" had become a standard phrase in the art world's vernacular.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160769/index.html]]></link></item><item><title><![CDATA[Baltz, Lewis]]></title><description><![CDATA[George Eastman House.<BR>
108 Selected Images
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152431/index.html]]></link></item><item><title><![CDATA[Bankhart, George]]></title><description><![CDATA[George Eastman House.<BR> 
40 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152432/index.html]]></link></item><item><title><![CDATA[Bar Am, Micha]]></title><description><![CDATA[Magnum Photos.<BR>
«Micha Bar-Am, who has been a Magnum correspondent since 1968, was born in Berlin and resides in Ramat Gan, Israel.<BR>
Growing up in Haifa Bar-Am was a kibbutz member and worked at several jobs before he started as a photographer in the 1956 Sinai War. For the following eight years he was a photographer for the Israeli Army magazine Bamahane. In 1959 and 1960 he was awarded the Robert Capa Award. He became a freelance photographer as of 1966.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135799/index.html]]></link></item><item><title><![CDATA[Barbey, Bruno]]></title><description><![CDATA[Magnum Photos.<BR>
«Born in Morocco, Bruno Barbey studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland (1959-60). From 1961 to 1964 he photographed the Italians as protagonists of a small 'theatrical world', with the aim of capturing photographically the spirit of a nation.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135800/index.html]]></link></item><item><title><![CDATA[Barnard, George N.  (1819-1902): Stereo Views]]></title><description><![CDATA[George Eastman House.<BR> 
26 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153558/index.html]]></link></item><item><title><![CDATA[Baron, Paul]]></title><description><![CDATA[George Eastman House.<BR> 
30 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152433/index.html]]></link></item><item><title><![CDATA[Barrow, Thomas F.]]></title><description><![CDATA[George Eastman House.<BR> 
«Thomas Barrow's work displays a designer's concern for materials and process while addressing issues that are "fundamentally intellectual, challenging the viewer to interpret the multiple references to contemporary culture, art history, and literature."»<BR>
65 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152434/index.html]]></link></item><item><title><![CDATA[Bartolomé Ros: a través de un objetivo]]></title><description><![CDATA[Centro Virtual Cervantes.<BR>
«Bartolomé Ros, el fotógrafo que llenó de Marruecos las páginas de las mejores revistas españolas en los años 20 y 30, vuelve a África de la mano del Instituto Cervantes. Un acierto que agradecerán cuantas personas se acerquen a contemplar las fotografías que forman esta exposición.<BR>
Fue este país, abierto a Europa durante el siglo XIX, objeto de deseo y curiosidad para escritores y artistas, en una visión bastante alejada de la realidad, las más de las veces, y que dio en llamarse orientalismo. La fotografía, nacida por aquellas fechas, iba a ser ayuda esencial para apartarse de estereotipos, convirtiéndose en apoyo imprescindible del africanismo, corriente que sustituyó a la anterior.»

]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E126847/index.html]]></link></item><item><title><![CDATA[Battlefields]]></title><description><![CDATA[By Christopher Morris. 2001.<BR>
The Digital Journalist.<BR>
«The essence of American photojournalism, as it is taught in American universities and academies like The International Center of Photography in New York, has its basics in photography as "historical testimony." In this view, the picture of an event, of a social change, a historical or casual step of our becoming, is meant to witness and forge our visual imaginary of history. For this reason it is loaded with an ethical responsibility often difficult to bear and to manage by those who chose to be "photographers concerned in delivering history." This is the reason why only few "war photographers" manage to fulfill this utopia in their career.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160818/index.html]]></link></item><item><title><![CDATA[Bedford, Francis (1816-1894): Stereo Views]]></title><description><![CDATA[George Eastman House.<BR> 
79 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153559/index.html]]></link></item><item><title><![CDATA[Bell, William]]></title><description><![CDATA[George Eastman House.<BR> 
44 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152435/index.html]]></link></item><item><title><![CDATA[Bellezas de Barcelona [Visual] : relación fotografiada de sus principales monumentos, edificios, calles, paseos y todo lo mejor que encierra la antigua capital del principado ]]></title><description><![CDATA[Biblioteca Virtual Miguel de Cervantes.<BR>
Universidad de Alicante.<BR>
Edició digital basada en l'edició de Barcelona, Vives, 1874.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E159447/index.html]]></link></item><item><title><![CDATA[Bellocq, E. J.]]></title><description><![CDATA[Profoto.com<BR>
«Nobody knows much about E. J. Bellocq, an unexceptional commercial photographer who lived in New Orleans shortly after the turn of the century. He took a lot of pictures of boats to pay the rent. He was an odd, indrawn, misshapen man, hydrocephalic and a dwarf.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135923/index.html]]></link></item><item><title><![CDATA[Benedicte Wrensted: An Idaho Photographer in Focus]]></title><description><![CDATA[National Museum of Natural History. Smithsonian Institution.<BR>
«The remarkable photography of Benedicte Wrensted (1859-1949) lay in obscurity for decades until brought to light by the detective work of Smithsonian anthropologist Joanna Cohan Scherer. In 1984, while researching photographs for the Smithsonian's Handbook of North American Indians, Scherer found a collection of glass plate negatives at the National Archives and Records Administration (NARA) in Washington, DC. Labeled only as "Portraits of Indians from Southeastern Idaho Reservations, 1897," the images were so compelling that Scherer had prints made for the Handbook - a 20 volume encyclopedia summarizing the anthropology and history of Indians and Eskimos of North America north of Mesoamerica.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E130914/index.html]]></link></item><item><title><![CDATA[Berlin]]></title><description><![CDATA[By Roger Hutchings. June 2003.<BR>
The Digital Journalist.<BR>
«It is not easy to depict a city without falling into the celebration of its monuments, the description of the touristic and picturesque, the representation of the obvious and the portrayal of banal photographic sequences.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160789/index.html]]></link></item><item><title><![CDATA[Berry, Ian]]></title><description><![CDATA[Magnum Photos.<BR>
«Ian Berry made his reputation as a photojournalist with his reporting from South Africa where he worked for the Daily Mail and later Drum magazine. He was the only photographer to document the massacre at Sharpeville, his photographs subsequently used in the trial proving the victim's innocence.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135801/index.html]]></link></item><item><title><![CDATA[Bill Wittliff: Lonesome Dove]]></title><description><![CDATA[Photographs Do Not Bend Gallery.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160134/index.html]]></link></item><item><title><![CDATA[Bischof, Werner]]></title><description><![CDATA[Magnum Photos.<BR>
«Werner Bischof studied photography with Hans Finsler in his native Zürich at the School for Arts and Crafts (1932 -1936), then opened a photography and advertising studio which he ran until his military service in 1939. As of 1942, he was a freelancer for Du magazine, and got international recognition after publication of his 1945 reportage on war's devastation.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135802/index.html]]></link></item><item><title><![CDATA[Blues Highway]]></title><description><![CDATA[By Bill Steber. 1999.<BR>
The Digital Journalist.<BR>
«These photographs are my attempt to document the living legacy of this rich cultural tradition. The Blues is our country's most important musical art form for it has shaped every musical form developed in it's wake, including gospel, jazz, rock and roll, bluegrass and modern country. It's echoes still resound in the sweaty juke joints and dusty cotton fields along Highway 61.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160864/index.html]]></link></item><item><title><![CDATA[Boat Peoples of Indochina]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«The Boat Peoples of Indochina is a testimony to the power of imagery and the role of photography in how we see and think about war. While the name Kim Phuc is unfamiliar, the photograph of the girl who was flayed by napalm in the Vietnam War has seared itself into the consciousness of millions. It was these images of thousands in refugee camps and of survivors being plucked from the South China Sea that convinced governments around the world to accommodate the mass movements of Indochinese refugees. In this regard, Canada has set a world standard in its humanitarian acceptance of refugees.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136396/index.html]]></link></item><item><title><![CDATA[Bob Lerner: A Good Look]]></title><description><![CDATA[March 2003.<BR>
The Digital Journalist.<BR>
«Robert Sherman Lerner was born in 1926 in Milwaukee, Wisconsin--without a camera in hand. He was just 10 when he discovered his father's old Kodak Autograph, and 13 when he won his first photo contest for his photographs of Boy Scouts camping in the north woods of Wisconsin. Perhaps more telling than the camping photographs, however, is his snapshot of a house after a snowstorm. Haunting in its illumination, the dwelling seems braced for nature's assault as frigid shadows flank its foundation. Shot in his teens, the image conveys a strong feeling of isolation, reminiscent of the houses painted by Edward Hopper.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160774/index.html]]></link></item><item><title><![CDATA[Bollywood Dreams]]></title><description><![CDATA[By Jonathan Torgovnik. 2003.<BR>
The Digital Journalist.<BR>
«It is the biggest in the world. It turns out far more films than Hollywood, and in fact, most of the rest of the world combined (with the possible exception of China.) The movies are filled with romance, lust, action, and of course thousands of dancing maidens (generally being drenched by massive hoses.)»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160788/index.html]]></link></item><item><title><![CDATA[Bourne, Samuel]]></title><description><![CDATA[George Eastman House.<BR> 
44 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152436/index.html]]></link></item><item><title><![CDATA[Brad Todd - Mobilegaze]]></title><description><![CDATA[]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E161954/index.html]]></link></item><item><title><![CDATA[Brady, Mathew - negatives ]]></title><description><![CDATA[George Eastman House.<BR> 
44 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152437/index.html]]></link></item><item><title><![CDATA[Brady, Mathew - Stereo Views ]]></title><description><![CDATA[George Eastman House.<BR> 
70 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152438/index.html]]></link></item><item><title><![CDATA[Brandt, Bill]]></title><description><![CDATA[«One of the grand masters of 20th-century photography, Brandt's contribution to the photography of the nude remains the reference point for generations of photographers, collectors and art directors.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135924/index.html]]></link></item><item><title><![CDATA[Braun, Adolphe (1812-1877): Stereo Views]]></title><description><![CDATA[George Eastman House.<BR> 
123 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153561/index.html]]></link></item><item><title><![CDATA[British Masters of the Albumen Print: A Selection of Mid-Nineteenth-Century Victorian Photography]]></title><description><![CDATA[Albumen.<BR>
Robert A. Sobieszek.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E161049/index.html]]></link></item><item><title><![CDATA[Brogi, Giacomo (1822-1881): Stereo Views]]></title><description><![CDATA[George Eastman House.<BR> 
66 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153562/index.html]]></link></item><item><title><![CDATA[Brown, W. Henry (1844-1886): Stereo Views]]></title><description><![CDATA[George Eastman House.<BR> 
13 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153563/index.html]]></link></item><item><title><![CDATA[Bruguière, Francis]]></title><description><![CDATA[George Eastman House.<BR>
«Francis Bruguière was born in San Francisco to a wealthy banking family and was privately educated. In 1905 he travelled to New York where he met and became friends with Frank Eugene and Alfred Stieglitz. Eugene encouraged Bruguière to investigate the aesthetic possibilities of photography, and Stieglitz accepted him as a member of the Photo-Secession, though Bruguière remained on the fringes of the movement.»<BR> 
Index to 105 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152439/index.html]]></link></item><item><title><![CDATA[Burri, René]]></title><description><![CDATA[Magnum Photos.<BR>
«Born in Zürich, René Burri studied composition, color and design at the School for Arts and Crafts in his hometown. Later on as he became a photographer, he also pursued his earlier interests in series of diary-like collages and by integrating writing, painting and photography.<BR>
From 1953-55 he worked as a documentary filmmaker and started using a Leica while he was in the military service. In 1955 he made contact with Magnum through Werner Bischof, and his first reportage on deaf-mute children was published in Life and other European magazines.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135803/index.html]]></link></item><item><title><![CDATA[Callahan, Harry]]></title><description><![CDATA[George Eastman House.<BR>
«Harry Callahan was born and raised in Detroit, Michigan. He purchased 
his first camera in 1938 and joined the camera club at Chrysler Motors, 
where he worked.  Strongly influenced by a 1941 lecture and workshop 
given by Ansel Adams, Callahan traded his enlarger for an 8 x 10 view 
camera.  In 1946 Callahan was hired by László Moholy-Nagy to teach 
photography at the Institute of Design in Chicago.  He taught at the 
Institute until 1961, at which time he left for the Rhode Island School 
of Design, where he taught until his retirement in 1977.»<BR>
91 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152440/index.html]]></link></item><item><title><![CDATA[Cameras: the Technology of Photographic Imaging]]></title><description><![CDATA[Museum of the History of Science, Oxford.<BR>
«The Museum of the History of Science has a small but fine collection of cameras, early photographic lenses and accessories, and darkroom equipment. In all there are about eight hundred items covering a wide spectrum of photographic history, from a lens of 1839 of the type used by Louis Jacques Mandé Daguerre to an example of a 1960s Russian 'FED 4' camera and beyond. Rare cameras with specialist uses - such as the Sutton panoramic camera of circa 1861 with its characteristic bulbous glass-and-water lens - are amongst those represented as well as mass-produced models such as the Kodak Instamatic of 1966, one of the first cartridge-film cameras.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E138614/index.html]]></link></item><item><title><![CDATA[Cameron, Julia Margaret]]></title><description><![CDATA[George Eastman House.<BR>
«Julia Margaret Cameron was born in Calcutta, India on June 11, 1815, the fourth of ten children, seven celebrated daughters of whom survived to adulthood. Well educated and creatively inclined, she embraced the literary and visual arts, merging these so-called sister arts in her zealous avocation of photography as both a spiritually imbued and poetically inspired fine art.»<BR>
163 Selected Images]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152441/index.html]]></link></item><item><title><![CDATA[Canadian Artic]]></title><description><![CDATA[Jerry Riley, Toronto.<BR>
«The Arctic offered that spiritual peace that is present in all landscapes. It is a place of light, pastels, and colours made sharp by the cold. The terrain is a never ending emptiness at the edge of the habitable world, but beckons to be explored and interpreted. It is special.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E137237/index.html]]></link></item><item><title><![CDATA[Canadian Illustrated News]]></title><description><![CDATA[National Library of Canada.<BR>
«The Canadian Illustrated News site is a selection of almost 4000 images of people, places and events across Canada and around the world taken from the popular 19th-century magazine. Canadian Illustrated News was published in Montreal, Quebec by George Desbarats from 1869 to 1883 and was notable for its innovative use of half-tone photographs.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136416/index.html]]></link></item><item><title><![CDATA[Canadian Museum of Contemporary Photography - CMCP]]></title><description><![CDATA[«The Canadian Museum of Contemporary Photography was founded and affiliated with the National Gallery of Canada in January 1985. However, its history can be traced back to World War II (1939&#8211;1945), as the Still Photography Division of the National Film Board of Canada. For nearly 5 decades, the Division collected and championed Canadian photography. It built up its collection by assigning photographers to document Canada, its resources and its people. This extensive archive of negatives dating from 1941 to 1962 is now housed at the National Archives of Canada. In the 1960s, the Division established its fine print collection, and started its exhibition and publication program.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E155729/index.html]]></link></item><item><title><![CDATA[Canadian National Railway Historic Photograph Collection ]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«This is a co-operative project between Canada Science and Technology Museum (Ottawa), Canadian National Railway and Industry Canada. It is intended to provide visitors to the site with an introduction to the significant role that railways have played in the development of Canadian society since the opening of Canada's first steam railway in 1836.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136442/index.html]]></link></item><item><title><![CDATA[Canadian Photo-based Art: Gallery TPW Exhibition History Archive]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«Gallery TPW is a leading centre for contemporary Canadian photo-based art, providing a vital exhibition facility and resource centre in the heart of Toronto's art district.»<BR>
«This online archive contains over 600 images accompanying details on approximately 200 programmed exhibitions between 1977 and 1999.  Wherever possible, a text description of the show has been included.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136417/index.html]]></link></item><item><title><![CDATA[Canadian Portraits]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136418/index.html]]></link></item><item><title><![CDATA[Canadian Souvenir View Albums]]></title><description><![CDATA[Canada's Digital Collections. Government of  Canada.<BR>
«Canadian souvenir view albums, published from the 1880s through the 1930s, occupy a singular place in the history of Canadian bibliography. Having antecedents in the travel narratives, topographical views and guidebooks that recorded and illustrated the early periods of European exploration and settlement of the country, souvenir view albums, with their distinctive formats, a proliferation of photomechanically reproduced images, and little or no text, are peculiar to the late nineteenth and early twentieth centuries. This site features albums from the collection of the National Gallery of Canada Library.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136422/index.html]]></link></item><item><title><![CDATA[Capa, Cornell]]></title><description><![CDATA[Magnum Photos.<BR>
«We all remember famous portraits such as the one of Marilyn Monroe on the set of the film The Misfits, the Hasidic teacher bending over three children who study the Torah, or John F. Kennedy at his first cabinet meeting, seen from the back, his hair's outline drawn like a Chinese shadow.<BR>
These were the work of Cornell Capa, born Cornell Friedmann at the end of World War I in a Jewish family from Budapest . In 1936 he moved to Paris where his brother Andre Friedmann (Robert Capa) was working as a photojournalist.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135804/index.html]]></link></item><item><title><![CDATA[Capa, Robert]]></title><description><![CDATA[Magnum Photos.<BR>
«On December 3, 1938, Picture Post introduced "The Greatest War Photographer in the World: Robert Capa" with a spread of 26 photographs taken during the Spanish Civil War at the battle of Ebro.<BR>
The "greatest war photographer" hated war. He was born Andre Friedman, a Jew from Budapest, and studied political science at the Deutsche Hochschule für Politik in Berlin (1931-33).»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135805/index.html]]></link></item><item><title><![CDATA[Carlos Saura, fotógrafo]]></title><description><![CDATA[Centro Virtual Cervantes.<BR>
«Carlos Saura (1932) nació en Huesca y creció en Madrid. A los diecisiete años comenzó a hacer fotografías de manera profesional. En 1951, con 19 años, realiza su primera exposición en la Real Sociedad Fotográfica de Madrid.»<BR>
«Este fue el inicio de una de las más brillantes y originales trayectorias en el panorama cinematográfico español y europeo de la segunda mitad del siglo XX cuya vitalidad se extiende hasta nuestros días.<BR>
Fotógrafo compulsivo, Carlos Saura no ha dejado nunca de tener una cámara a mano para seguir capturando instantáneas tanto de su familia y su entorno como de sus rodajes. Recientemente se ha dedicado a ordenar y reelaborar el material acumulado en su archivo.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E126845/index.html]]></link></item><item><title><![CDATA[Cartier-Bresson, Henri]]></title><description><![CDATA[Magnum Photos.<BR>
«Born in Chanteloup, Cartier-Bresson started painting in 1923 and began to photograph in 1931, met Tériade, the editor of Verve magazine and frequented members of the French surrealist movement. After a trip to the Ivory Coast he discovered the Leica, since then his camera of choice.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135806/index.html]]></link></item><item><title><![CDATA[Carved in Stone : Mi'kmaw Petroglyphs Recorded by George Creed, 1887-1888 ]]></title><description><![CDATA[Images Canada.<BR>
Nova Scotia Museum of Cultural History.<BR>
«The people of the Mi'kmaw First Nation have lived in what is now Nova Scotia and the Maritimes for thousands of years. They expressed their culture and world view in stories and traditions. We are able to glimpse aspects of Mi'kmaw traditions and culture through these stories and through the art they have created.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E137189/index.html]]></link></item><item><title><![CDATA[Catherall & Pritchard]]></title><description><![CDATA[George Eastman House.<BR> 
12 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152442/index.html]]></link></item><item><title><![CDATA[Celebrating Dominion Day 1867-1917]]></title><description><![CDATA[Images Canada.<BR>
«What does Canada Day mean to you? If you're like many other Canadians, chances are it means a holiday spent outdoors, in the company of others. Perhaps you pack a picnic lunch or take part in a sporting event. In many places, the day ends with a fireworks display.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E137185/index.html]]></link></item><item><title><![CDATA[Center for Creative Photography - CCP]]></title><description><![CDATA[University of Arizona.<BR>
«CCP is an archive, museum, and research center dedicated to photography as an art form and cultural record. CCP&#8217;s vast collection includes more archives and individual works by 20th-century North American photographers than any other museum in the nation.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E155731/index.html]]></link></item><item><title><![CDATA[Center for Photography at Woodstock]]></title><description><![CDATA[«The Center for Photography at Woodstock provides an artistic home for contemporary creative photography with programs in education, exhibition, publication, residencies, and services for artists.<BR>
Our purpose is to build audiences, enhance dialogue, and encourage inquiry about contemporary photography and related media through innovative programs.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160123/index.html]]></link></item><item><title><![CDATA[César Lucas]]></title><description><![CDATA[Portal FotoForum.net<BR>
Retrato, desnudo moda y reportaje...]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E129941/index.html]]></link></item><item><title><![CDATA[Chang, Chien-Chi]]></title><description><![CDATA[Magnum Photos.<BR>
«Chien-Chi Chang has always been fascinated by the human conditions of alienation and connection. Both are in evidence in his signature work, The Chain, which is a collection of portraits made of inmates in a mental asylum in Taiwan. The subjects are people who have had their bonds to the rest of society--family, community--severed.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135807/index.html]]></link></item><item><title><![CDATA[Changing Faces of the North Peace]]></title><description><![CDATA[Fort St. John - North Peace Museum.<BR>Canada's Digital Collections. Government of  Canada.<BR>
«This site holds around 200 pictures relating to the development of the region North of the Peace River in Northeastern British Columbia, and especially to the city of Fort St. John. The photographs are divided into 6 major categories and are each accompanied by a short caption, a story, or a newspaper article relating to it. The interesting aspects of Fort St. John and therefore of this site are the developments in transportation, industry, and economy as well as the early forts, women pioneers and interesting people.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E136436/index.html]]></link></item><item><title><![CDATA[Charles Pratsch Collection]]></title><description><![CDATA[Washington State University, Manuscripts, Archives, and Special Collections.<BR>
«The Grays Harbor region that Pratsch photographed between 1888 and 1913 may best be described as a small collection of recently formed company towns owned by timber and rail interests (Pope & Talbot Company and Northern Pacific).»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E159817/index.html]]></link></item><item><title><![CDATA[Charles Sheeler & Photographic Myth]]></title><description><![CDATA[Created by Michael Kidd as a project of the American Studies MA program at the
University of Virginia.<BR>
«Charles Sheeler (1883-1965) lived during a time of dramatic economic, social and political change in the United States. His life spanned the realization of the cultural effects of the machine age, the rethinking of the agrarian myth, and the begin ning of what anthropologist Stephen M. Fjellman calls a commercial "utopia" that revolves around consumerism and the "decontextualization" of American history. Sheeler used photography as a means to take the reasonably unpleasant objects of the end of th e yeoman farmer myth, skyscraper skylines, factory mass production, and gothic architecture, and incorporate (decontextualize) them into his version of historical myth and pleasurable aesthetic.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160026/index.html]]></link></item><item><title><![CDATA[Chema Madoz]]></title><description><![CDATA[Fotocultura.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160349/index.html]]></link></item><item><title><![CDATA[Chema Madoz: New York]]></title><description><![CDATA[Photographs Do Not Bend Gallery.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160135/index.html]]></link></item><item><title><![CDATA[Child Labour in America 1908-1912]]></title><description><![CDATA[Photographs of Lewis W. Hine.<BR>
The History Place.<BR>
«From 1908 to 1912, Hine took his camera across America to photograph children as young as three years old working for long hours, often under dangerous conditions, in factories, mines, and fields. Hine was an immensely talented photographer who viewed his young subjects with the eye of a humanitarian.<BR>
In 1909, he published the first of many photo essays depicting working children at risk. In these photographs, the essence of wasted youth is apparent in the sorrowful and even angry faces of his subjects. Some of his images, such as the young girl in the mill glimpsing out the window, are among the most famous photographs ever taken.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135925/index.html]]></link></item><item><title><![CDATA[China Obscura]]></title><description><![CDATA[By Mark Leong. January 2005.<BR>
The Digital Journalist.<BR>
«Mark Leong's photographs are also about homecoming as departure. For him, the native land of his ancestors is his own foreign country. His pictures bring to mind an image from a journey I made not long ago: I am standing beneath the frosty skies of northern China gazing upon an expanse of broken walls and piles of earth, buried speechless and silent beneath a covering of white snow and withered grass.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160759/index.html]]></link></item><item><title><![CDATA[Christopher Morris]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«Christopher Morris belongs to what is surely one of the exclusive--and demanding--clubs in all of photography: he is a war photographer. From the streets of Bosnia to the sands of the Persian Gulf, Morris constantly risks his own life to document the darker side of the human condition.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160222/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Algeria ]]></title><description><![CDATA[George Eastman House.<BR> 
19 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152724/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Austria]]></title><description><![CDATA[George Eastman House.<BR> 
249 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153275/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Belgium ]]></title><description><![CDATA[George Eastman House.<BR> 
417 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153276/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Bulgaria ]]></title><description><![CDATA[George Eastman House.<BR> 
825 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153277/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Ceylon]]></title><description><![CDATA[George Eastman House.<BR> 
26 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153278/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): China]]></title><description><![CDATA[George Eastman House.<BR> 
375 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153279/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Denmark]]></title><description><![CDATA[George Eastman House.<BR> 
313 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153280/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Djibouti ]]></title><description><![CDATA[George Eastman House.<BR> 
22 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153281/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Egypt]]></title><description><![CDATA[George Eastman House.<BR> 
225 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153283/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): England ]]></title><description><![CDATA[George Eastman House.<BR> 
598 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153284/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Ethiopia]]></title><description><![CDATA[George Eastman House.<BR> 
66 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153285/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Finland]]></title><description><![CDATA[George Eastman House.<BR> 
69 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153286/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): France]]></title><description><![CDATA[George Eastman House.<BR> 
69 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153287/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Germany]]></title><description><![CDATA[George Eastman House.<BR> 
110 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153288/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Greece]]></title><description><![CDATA[George Eastman House.<BR> 
303 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153289/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Hungary]]></title><description><![CDATA[George Eastman House.<BR> 
27 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153290/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Italy]]></title><description><![CDATA[George Eastman House.<BR> 
108 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153291/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Japan]]></title><description><![CDATA[George Eastman House.<BR> 
17 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153292/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Majorca]]></title><description><![CDATA[George Eastman House.<BR> 
70 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153293/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Morocco]]></title><description><![CDATA[George Eastman House.<BR> 
43 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153294/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Netherlands]]></title><description><![CDATA[George Eastman House.<BR> 
182 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153295/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Norway]]></title><description><![CDATA[George Eastman House.<BR> 
101 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153542/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Palestine]]></title><description><![CDATA[George Eastman House.<BR> 
72 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153543/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Philippines ]]></title><description><![CDATA[George Eastman House.<BR> 
23 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153544/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Portugal]]></title><description><![CDATA[George Eastman House.<BR> 
894 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153545/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Romania]]></title><description><![CDATA[George Eastman House.<BR> 
1122 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153546/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Russia ]]></title><description><![CDATA[George Eastman House. 
254 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153547/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Serbia]]></title><description><![CDATA[George Eastman House.<BR> 
403 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153548/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Spain ]]></title><description><![CDATA[George Eastman House.<BR> 
1709 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153549/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): St. Petersburg ]]></title><description><![CDATA[George Eastman House.<BR> 
12 Selected Images.
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152723/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Sudan]]></title><description><![CDATA[George Eastman House.<BR> 
11 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153550/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Sweden]]></title><description><![CDATA[George Eastman House.<BR> 
298 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153551/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Switzerland]]></title><description><![CDATA[George Eastman House.<BR> 
71 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153552/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Tunisia]]></title><description><![CDATA[George Eastman House.<BR> 
22 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153553/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Turkey]]></title><description><![CDATA[George Eastman House.<BR> 
510 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153555/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): United States]]></title><description><![CDATA[George Eastman House.<BR> 
315 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153556/index.html]]></link></item><item><title><![CDATA[Chusseau-Flaviens, Ch. (active 1890s-1910s): Yugoslavia]]></title><description><![CDATA[George Eastman House.<BR> 
60 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E153557/index.html]]></link></item><item><title><![CDATA[Cindy Sherman: The Complete Untitled Film Stills]]></title><description><![CDATA[The Museum of Modern Art, MOMA.<BR>
«In December 1995, The Museum of Modern Art acquired all sixty-nine black-and-white photographs in Cindy Sherman's Untitled Film Stills series. This insured that this landmark body of work was preserved in its entirety in a single public collection. The series has been exhibited as a whole only once before.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135920/index.html]]></link></item><item><title><![CDATA[City of Crows]]></title><description><![CDATA[By Robert Appleby. 2002.<BR>
The Digital Journalist.<BR>
«The Bombay slums are a byword for crime, squalor, dirty politics and communal riots, and Dharavi, the much-vaunted &#8220;largest slum in Asia&#8221;, is the biggest and most feared of the lot. Scene of some of the worst excesses of the post-Babri Masjid riots of 92/93 in which an unknown number of people lost their lives and entire districts were burnt to the ground with the collusion of the city&#8217;s leading politicians, its reputation for random violence and extreme poverty is still strong in the minds of Bombay&#8217;s middle classes and the media, Indian and international alike.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160802/index.html]]></link></item><item><title><![CDATA[City of Pullman and the Palouse Image Collection]]></title><description><![CDATA[Washington State University, Manuscripts, Archives, and Special Collections.<BR>
«More than 800 photographs of Pullman, Washington, selected from an exceptional collection assemeled by Ivan Shirrod, as well as the Cities and Towns Collection, PC 2. Pullman was first settled in 1874 by Bowlin Farr.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E159938/index.html]]></link></item><item><title><![CDATA[Civil War photograph album from the James Wadsworth Family Papers]]></title><description><![CDATA[Albumen.<BR>
Selected Images from the Library of Congress.<BR>
«The albumen photographs presented below are examples taken from an album of prominent Americans made during Civil War.  The album is thought to have been assembled by John Hay (1838-1905), a personal secretary to Abraham Lincoln during the years 1861 to 1865.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E161048/index.html]]></link></item><item><title><![CDATA[Civil War Treasures from the New-York Historical Society]]></title><description><![CDATA[Library of Congress.<BR>
«The images in this digital collection are drawn from the New-York Historical Society's rich archival collections that document the Civil War. They include recruiting posters for New York City regiments of volunteers; stereographic views documenting the mustering of soldiers and of popular support for the Union in New York City; photography showing the war's impact, both in the north and south; and drawings and writings by ordinary soldiers on both sides.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160339/index.html]]></link></item><item><title><![CDATA[Close to Home: An American Album]]></title><description><![CDATA[John Paul Getty Museum.<BR>
«This exhibition is devoted to American family photographs that were separated from their owners and then rediscovered by artists, writers, collectors, and museum curators. Removed from their original context, these snapshots become open to many different interpretations: Who are the people in the photographs? What did these photos mean to them? Where are these people now?»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160033/index.html]]></link></item><item><title><![CDATA[Coburn, Alvin Langdon]]></title><description><![CDATA[George Eastman House.<BR> 
135 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152445/index.html]]></link></item><item><title><![CDATA[Coburn, Alvin Langdon - Edinburgh Series]]></title><description><![CDATA[George Eastman House.<BR> 
52 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152443/index.html]]></link></item><item><title><![CDATA[Coburn, Alvin Langdon - Yosemite Series ]]></title><description><![CDATA[George Eastman House.<BR> 
25 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152444/index.html]]></link></item><item><title><![CDATA[Coeur D'Alene: Towns, Mines, Mountains and Lakes]]></title><description><![CDATA[Washington State University, Manuscripts, Archives, and Special Collections.<BR>
«12 p. of photographs printed on a sheet folded in accordion format.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E159942/index.html]]></link></item><item><title><![CDATA[Cohen, Mark]]></title><description><![CDATA[George Eastman House.
«Mark Cohen was born in 1943 in Wilkes-Barre, Pennsylvania. A photographer since 1958 he has worked as commercial photographer to support himself as an artist. Cohen has taught photography at Princeton University, Wilkes College, and Kings College.»<BR>
129 Selected Images]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152660/index.html]]></link></item><item><title><![CDATA[Colección de postales del Centro de Estudios de Castilla-La Mancha]]></title><description><![CDATA[Universidad de Castilla-La Mancha.<BR>
Ofrece imágenes artísticas de Toledo, así como fotografías antiguas.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E127303/index.html]]></link></item><item><title><![CDATA[Collections photographiques de la Société de Géographie]]></title><description><![CDATA[Gallica. Bibliothèque Nationale de France.<BR>
230 documentos.
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E162138/index.html]]></link></item><item><title><![CDATA[Collections privées (1875-1960)]]></title><description><![CDATA[Médiathèque de la Défense. Collection photos.<BR>
«L'ECPAD possède un ensemble de collections d'origine privée, d'importance numérique très variable, entrées par donation ou par achat. Ces collections permettent de compléter ses propres collections, en particulier pour les périodes antérieures à 1915 (date de création de la section photographique des armées) ou de l'Entre-deux-guerres (suppression de la section).»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160614/index.html]]></link></item><item><title><![CDATA[Concerning the Spiritual in Photography]]></title><description><![CDATA[Photographic Resource Center (PRC) at Boston University.<BR>
«Approaching photography and photographer literally as a "medium," this group show features contemporary work by Bill Armstrong, Carol Golemboski, Jane Marsching & Deb Todd Wheeler, Lauren O'Neal, Daniel Ranalli, Jo Sandman, Chrysanne Stathacos, and Shannon Taggart, along with historical spirit photographs and ephemera from the Harry Ransom Humanities Research Center at the University of Texas at Austin.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160144/index.html]]></link></item><item><title><![CDATA[Constructing Europe]]></title><description><![CDATA[SEPIA - Safeguarding European Photographic  Image for Access.<BR>
«Since its introduction in 1839 photography has been used to document everything under the sun. Even though the early processes were in some ways quite cumbersome, the pioneers of photography took their cameras all over the country, up mountain tops and to exotic countries to create a wide variety of images. The photographic heritage is rich in documentary photographs that tells us a lot about the way past generations viewed their world, and this wealth of information is only beginning to be disclosed.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160366/index.html]]></link></item><item><title><![CDATA[Constructing Europe: Transport]]></title><description><![CDATA[The National Archives of England, Wales and the United Kingdom.<BR>
«This collection of some of our photos is part of a larger project with our partners in the Safeguarding European Photographic Images for Access (SEPIA) project. Each partner provided images from their own holdings. It shows the development of transport of all kinds, here and elsewhere in Europe.<BR>
The SEPIA project brings together institutions from Denmark, Finland, France, Germany, the Netherlands, Norway, Spain, Sweden and the United Kingdom. All have large holdings of photographs. It seeks to improve access to these collections, with digitised services and consistent cataloguing and to guarantee care for the originals.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160452/index.html]]></link></item><item><title><![CDATA[Corlies, S. Fisher]]></title><description><![CDATA[George Eastman House.<BR>
234 Selected Images ]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152661/index.html]]></link></item><item><title><![CDATA[Country Doctor]]></title><description><![CDATA[Life.<BR>
Photographs by W. Eugene Smith.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E138107/index.html]]></link></item><item><title><![CDATA[Covenant]]></title><description><![CDATA[By Tyagan Miller. 2000.<BR>
The Digital Journalist.<BR>
«In September 1996, I began a photographic exploration of Friendship Missionary Baptist Church-an inner city, African American congregation located in Indianapolis, Indiana. I had become interested in African American spiritual life when I was a teacher in an alternative high school for urban high-risk youth. It seemed to me that if my students' families were struggling effectively against the hardships of inner city living, they were also deeply connected to the life of a church. I felt compelled to photograph and learn more about this vital aspect of black culture.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160825/index.html]]></link></item><item><title><![CDATA[Cowboys]]></title><description><![CDATA[Photographs Do Not Bend Gallery.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160129/index.html]]></link></item><item><title><![CDATA[Creative Americans: Portraits by Carl Van Vechten, 1932-1964]]></title><description><![CDATA[«The Carl Van Vechten Photographs Collection at the Library of Congress consists of 1,395 photographs taken by American photographer Carl Van Vechten (1880-1964) between 1932 and 1964. The bulk of the collection consists of portrait photographs of celebrities, including many figures from the Harlem Renaissance. A much smaller portion of the collection is an assortment of American landscapes.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E151900/index.html]]></link></item><item><title><![CDATA[Creative Americans: Portraits by Carl Van Vechten, 1932-1964]]></title><description><![CDATA[Library of Congress.<BR>
«The Carl Van Vechten Photographs Collection at the Library of Congress consists of 1,395 photographs taken by American photographer Carl Van Vechten (1880-1964) between 1932 and 1964. The bulk of the collection consists of portrait photographs of celebrities, including many figures from the Harlem Renaissance. A much smaller portion of the collection is an assortment of American landscapes.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160302/index.html]]></link></item><item><title><![CDATA[Cristina García Rodero]]></title><description><![CDATA[Portal FotoForum.Net<BR>
Ángeles.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E129942/index.html]]></link></item><item><title><![CDATA[Cross-Cultural Camera: How Photography Bridged East & West]]></title><description><![CDATA[American Photography Museum.<BR>
«Just 150 years ago, Japan ended centuries of isolation -- and photographers rushed in to document the nation's culture and its people. The camera also captured Americans caught up in the craze for all things Japanese -- the international fad known as Japonisme.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160187/index.html]]></link></item><item><title><![CDATA[Crossing the Bering Strait:Between Two Worlds]]></title><description><![CDATA[Heidi Bradner.<BR>
«Siberian Yupik Eskimos are a divided family between the two worlds of the USA and Russia, North America and Asia. They live along the coasts and are now able to visit each other, unlike in Soviet times.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160871/index.html]]></link></item><item><title><![CDATA[Cuban Soul]]></title><description><![CDATA[By David Alan Harvey. 1999.<BR>
The Digital Journalist.<BR>
«David Alan Harvey is a photojournalist's photojournalist. His work is in the tradition of Henri Cartier-Bresson and W. Eugene Smith. He never uses a press card or long lens. He never stands behind ropes at a "photo op." He tends to use a single Leica body with either a 35mm or 50mm lens. He has the eye of painter and the soul of a poet. He is the kind of photographer I would like to be.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160852/index.html]]></link></item><item><title><![CDATA[Cunningham, Imogen]]></title><description><![CDATA[George Eastman House.<BR>
98 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152662/index.html]]></link></item><item><title><![CDATA[Dago, Jan]]></title><description><![CDATA[Magnum Photos.<BR>
«Jan Dago has been working as a professional photographer for more than 10 years. He started out in advertising photography, then became a newspaper photographer for five years.<BR>
In 1993, Dago was educated as a press photographer. During that time, he was also a staff photographer at the biggest Danish newspaper, Morgen Avisen Jyllands- Posten.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135809/index.html]]></link></item><item><title><![CDATA[Daguerrotypomania]]></title><description><![CDATA[Photomuse.<BR>
«There is something essentially strange and unknowable about the daguerreotype. When Louis-Jacques-Mandé Daguerre's process was first announced at the Institute of France in Paris on August 19, 1839, those who had learned the details shouted to spectators anxiously waiting outside, ³Quicksilver! Iodine! Hyposulphite of Soda!² One observer reported, ³Everyone pricked his ears, but nobody understood anything.² How and why the first form of practical photography came as a luminiferous metallic mirror, instead of something like a drawing on paper or painting on cloth, as anticipated, astonished all.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160358/index.html]]></link></item><item><title><![CDATA[Danish Museum of Photography]]></title><description><![CDATA[«Danmarks Fotomuseum is at the same time a museum of the history of civilisation, showing the connection between technology and its utility value. At the museum you can experience the more than 160 year-old history of the camera described and shown in periods of a decade each, the only place in Denmark where you can experience this.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160368/index.html]]></link></item><item><title><![CDATA[David Bailey]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«An exploration of the life and art of one of England's most famous photographers of the past four decades: David Bailey. This "revolutionary" photographer's true fame lies in his photographic creations, images that move effortlessly from fashion photos for British and American Vogue to "intimate, almost friendly" portraits of celebrities and rock stars to street photography à la William Klein and Robert Frank.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160207/index.html]]></link></item><item><title><![CDATA[David Goldblatt: Photographs from South Africa]]></title><description><![CDATA[The Museum of Modern Art, MOMA.<BR>
«David Goldblatt's work is about buildings and structures in the South African landscape. It is, in part, about actual structures--bricks, mortar, mud, and corrugated iron. But it is also about ideological structuring: about the mental constructs that underpinned the structures of South Africa in its colonial era and more specifically, the apartheid years, the locust years, of its recent past. What Goldblatt has done is to frame these physical structures in terms of photographic constructs which, cumulatively and compellingly, reveal the many ways in which ideology has shaped our landscape.»<BR>Neville Dubow
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135917/index.html]]></link></item><item><title><![CDATA[David LaChapelle]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«Using a distinctive mix of journalistic and surrealistic techniques, advertising photographer David LaChapelle won the 1997 International Center of Photography's Infinity Award and the 1996 VH1 Fashion Award for Photographer of the Year.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160220/index.html]]></link></item><item><title><![CDATA[Davidson, Bruce]]></title><description><![CDATA[Magnum Photos.<BR>
«Bruce Davidson began photography at the age of ten in Oak Park, Illinois. In 1949, at the age of 16, he won his first prize in the Kodak National High School Competition. He went on to attend the Rochester Institute of Technology and Yale University. After military service in 1957, he worked as a freelance photographer for Life Magazine and in 1958 became a member of Magnum Photos, the international photography agency.»


]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135810/index.html]]></link></item><item><title><![CDATA[De Keyzer, Carl]]></title><description><![CDATA[Magnum Photos.<BR>
«One of a generation of reporters to have emerged in the late 1980s, Carl de Keyzer likes to tackle large-scale projects and general themes. He often starts from the premise that disaster has already struck and that everywhere infrastructures are on the verge of collapse in overpopulated communities.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135811/index.html]]></link></item><item><title><![CDATA[Delahaye, Luc]]></title><description><![CDATA[Magnum Photos.<BR>
«Luc Delahaye's work spans the worlds of journalism and art. As a war photographer he has documented many conflicts around the world. At the same time, he started a work on documentary portrait and then engaged himself in a broader approach of documentary photography. In his latest projects he did a long trip across Russia, examining the country's economic depression, and a four month stay in the suburb of Toulouse, France.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135812/index.html]]></link></item><item><title><![CDATA[Delmaet & Durandelle: Construction of the Paris Opera]]></title><description><![CDATA[George Eastman House.<BR>
23 Selected Images.]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E152663/index.html]]></link></item><item><title><![CDATA[Deneyer, Marc. Photographies]]></title><description><![CDATA[]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E137236/index.html]]></link></item><item><title><![CDATA[Dennis Reggie]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«Dennis Reggie has been described as the finest wedding photographer of his generation. His unique style combines the very best elements of reportage, portraiture and social documentary.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160204/index.html]]></link></item><item><title><![CDATA[Depardon, Raymond]]></title><description><![CDATA[Magnum Photos.<BR>
«A largely self-taught photographer who learned through experience in the field, Depardon belongs to a generation of French photographers reluctant to overinterpret their subjects. In the long run, the photographer could only be absolutely sure of his or her own identity, which is why several of Depardon's publications are autobiographical.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135813/index.html]]></link></item><item><title><![CDATA[Did You Ever Have a Dream Like This? Fantasy Photographs]]></title><description><![CDATA[American Photography Museum.<BR>
«Tall Tales have an honored place in American culture. From Paul Bunyan and King Kong to the legions of fishermen boasting about "the one that got away," there is something about exaggeration that appeals to our sense of national grandeur. Perhaps it's also our view that in the modern world, anything is possible. Giant hybrid crops? Sure. Rabbits the size of Buicks? Well--maybe.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160192/index.html]]></link></item><item><title><![CDATA[Divided Soul]]></title><description><![CDATA[By David Alan Harvey. October 2003.<BR>
The Digital Journalist.<BR>
«Passion. It is all about the passion. But the sensuality on the surface often masks a political undercurrent and a reckoning with history. A microcosm of Spanish and Portuguese colonialism, abandoned or overthrown, remains - but modified, altered and skewed. A 'New World' 'discovered' and exploited. And the consequence is hybrid people with an independent spirit, without independent means. So the music takes over. Insignificant moments become treasures. Sky, music and time blend, creating an acceptance - a peace. The influences of the Iberian peninsula are eventually modified or nullified by indigenous spiritualism and the African tribal drum.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160783/index.html]]></link></item><item><title><![CDATA[Do You Believe? A Ghostly Gallery]]></title><description><![CDATA[American Photography Museum.<BR>
«The first ghosts in photographs were the result of accidents. During a long exposure--such as those required in photography's infancy--a person who stood still would register as clearly as a building. But a person who moved out of camera range after only a portion of the exposure was completed would instead appear as a see-through blur. It happened with the lamplighter in this detail from a photograph by the London Stereoscopic Company.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160191/index.html]]></link></item><item><title><![CDATA[Douglas Kirkland]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«Renowned in fashion and celebrity circles, Douglas Kirkland's pictures have at once both defined and pierced the realm of Hollywood glamour. His often daring and always beautiful images have, for more that four decades, raised the standard by which all celebrity pictures are measured.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160216/index.html]]></link></item><item><title><![CDATA[Drawing the Western Frontier. The James E. Taylor Album]]></title><description><![CDATA[National Museum of Natural History. Smithsonian Institution. <BR>
«Of the many photographic albums in the National Anthropological Archives, perhaps the most interesting and historically important is a scrapbook kept by an American illustrator, James E. Taylor (1839-1901). A professional artist, Taylor&#8217;s newspaper illustrations served to popularize stereotypes of the Western frontier during the post-Civil War years. Like other illustrators and writers of the period, he depicted Indian-White relations in terms of savagery versus civilization and encouraged Americans to visualize the nation&#8217;s Westward expansion in heroic terms. In many ways, Taylor&#8217;s professional legacy as a "reporter" is lodged between the technological juncture that existed between newspaper publishing and photography in the 19th century.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E130750/index.html]]></link></item><item><title><![CDATA[Duane Michals]]></title><description><![CDATA[PDN Online and Kodak. Legends Online.<BR>
«One of the true originals in the world of photography, commercial and fine-arts shooter Duane Michals uses the medium to examine his own existence. Michals' photographs are haunting, funny and explore beyond reflections of light.»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160223/index.html]]></link></item><item><title><![CDATA[Early Photographically Illustrated Books]]></title><description><![CDATA[The British Library. Collect Britain.<BR>
«Victorian England captured in 2,000 original early photographic prints, including works by distinguished pioneers of the new medium.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E160494/index.html]]></link></item><item><title><![CDATA[Early Photographs from the Museum's Collection]]></title><description><![CDATA[Museum of the History of Science, Oxford.<BR>
«Just over a hundred and fifty years ago, an idea which had been familiar to many different people for some time became a practical reality. In January 1839, after several decades of experiments to create an enduring image through the action of light on sensitized surfaces, two processes that had been invented independently in the 1830s were announced to the public. Images could be made to 'draw' themselves and a visual medium was born that changed the world as far as humans perceived it.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E138618/index.html]]></link></item><item><title><![CDATA[Earth from Space]]></title><description><![CDATA[«The NASA Space Shuttle Earth Observations Photography database of images is a national treasure.<BR>
We are publishing these selected photos and related captions on the Internet to provide a glimpse of this national treasure to the public. This database was compiled by our staff to illustrate some very interesting Earth features and processes, including cities as seen by our Astronauts from space.<BR>
Earth from Space provides several ways to search the selected images. Each image is available in three resolutions and includes cataloging data and a caption. However, this site contains only a small selection of the best of our Earth photography...»]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E151899/index.html]]></link></item><item><title><![CDATA[Economopoulos, Nikos]]></title><description><![CDATA[Magnum Photos.<BR>
«Nikos Economopoulos was born in Peloponnisos, Greece. He studied law in Parma, Italy, and worked as a journalist for Greek daily papers and magazines for many years. He began taking photographs in 1979, and until 1988 practiced photography as an amateur. He abandoned journalism in that year to devote him self to photography and for the next two years travelled through Greece and Turkey taking pictures.»
]]></description><link><![CDATA[http://www1.universia.net/CatalogaXXI/C10055PPCLII1/E135814/index.html]]></link></item></channel></rss>