Work And The Image

This title was first published in 2000. Published in two volumes, "Work and the Image" addresses a critical theme in contemporary social and cultural debates whose place in visual representation has been neglected. Ranging from Greek pottery to contemporary performance, and exploring a breadth of geo-national perspectives including those of France, Britain, Hungary, Soviet Russia, the Ukraine, Siberia and Germany, the essays provide a challenging reconsideration of the image of work, the meaning of the work process, and the complex issues around artistic activity as itself a form of work even as it offers a representation of labour. With a shared focus on the 20th century, the era of modernity and its postmodern aftermath, the essays in this volume examine the diverse ways in which the social relations of work in industrial societies from both capitalist and socialist regimes were publicly and privately mediated by changing forms of visual representation. The authors discuss traditional analyses of the image of the worker in the light of contemporary critical theories that address the question of the subjectivity of the worker in relation to class, gender, nationhood and the concept of modernity.

The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

Debra Gimlin focuses on four sites where she conducted in-depth research--a beauty salon, aerobics classes, a plastic surgery clinic, and a social and political organization for overweight women. The honest and provocative interviews included in this book uncover these women's feelings about their bodies, their reasons for attempting to change or come to terms with them, and the reactions of others in their lives. These interviews show that women are redefining their identities through their participation in body work, that they are working on their self-images as much as on their bodies. Plastic surgery, for example, ultimately is an empowering life experience for many women who choose it, while hairstyling becomes an arena for laying claim to professional and social class identities.

This series is a vehicle for texts generated through the experiences of writers, scholars, and artists who have been residents at the Getty Research Institute or involved in its programs.

Learn to ask better, more helpful questions of your work so that you can create stronger and more powerful photographs.

Photographers often look at an image—one they’ve either already created or are in the process of making—and ask themselves a simple question: “Is this a good photograph?” It’s an understandable question, but it’s really not very helpful. How are you supposed to answer that? What does “good” even mean? Is it the same for everyone?

What if you were equipped to ask better, more constructive questions of your work so that you could think more intentionally and creatively, and in doing so, bring more specific action and vision to the act of creating photographs? What if asking stronger questions allowed you to establish a more effective approach to your image-making? In The Heart of the Photograph: 100 Questions for Making Stronger, More Expressive Photographs, photographer and author David duChemin helps you learn to ask better questions of your work in order to craft more successful photographs—photographs that express and connect, photographs that are strong and, above all, photographs that are truly yours.

From the big-picture questions—What do I want this image to accomplish?—to the more detail-oriented questions that help you get there—What is the light doing? Where do the lines lead? What can I do about it?—David walks you through his thought process so that you can establish your own. Along the way, he discusses the building blocks from which compelling photographs are made, such as gesture, balance, scale, contrast, perspective, story, memory, symbolism, and much more. The Heart of the Photograph is not a theoretical book. It is a practical and useful book that equips you to think more intentionally as a photographer and empowers you to ask more helpful questions of you and your work, so that you can produce images that are not only better than “good,” but as powerful and authentic as you hope them to be.

TABLE OF CONTENTS
Better Questions

PART ONE: A GOOD PHOTOGRAPH?
Is It Good?
The Audience's Good
The Photographer's Good

PART TWO: BETTER THAN GOOD
Better Subjects

PART THREE: BETTER EXPRESSION
Exploration and Expression
What Is the Light Doing?
What Does Colour Contribute?
What Role Do the Lines and Shapes Play?
What's Your Point of View?
What Is the Quality of the Moment?
Where Is the Story?
Where Is the Contrast?
What About Balance and Tension?
What Is the Energy?
How Can I Use Space and Scale?
Can I Go Deeper?
What About the Frame?
Do the Elements Repeat?
Harmony
Can I Exclude More?
Where Does the Eye Go?
How Does It Feel?
Where's the Mystery?
Remember When?
Can I Use Symbols?
Am I Being Too Literal?

PART FOUR: BETTER PHOTOGRAPHS
The Heart of the Photograph
Index

The shape of text to come is designed to engage educators with both image and word both effectively and intellectually. It seeks to provide a way for teachers yo understand how images work in their own right, as well as in relation to written text. By presenting key concepts around multimodal texts and the role of visual language this book will guide readers through a framework that will enhance their understanding of visual grammar as well as build on concepts of written grammar.

Clay Work and Body Image in Art Therapy provides an important addition to resources available in the field of clay work and art therapy, highlighting the unique sensory aspects of the medium and its ability to provide a therapeutic resource for women who experience body image issues. Chapters offer a comprehensive distillation of current knowledge in the field of body image, clay work, neuroscience, and art therapy, building a theoretical framework around personal narratives. Case studies examine the benefits of exploring body image through clay work within art therapy practice, providing a positive and contained way to find personal acceptance and featuring photographs of clay body image sculptures created by research participants that highlight their individual stories and experiences. As well as offering both clinical and practical implications, the text provides a full protocol for the research and evaluation methods carried out, enabling further replication of the intervention and research methods by other therapists. This book highlights clay work as a significant resource for art therapists, arts in health practitioners, and counsellors, providing an emotive yet contained approach to the development of personal body image acceptance and self-compassion.