For my interpretive essay, I have chosen to write about the internal context of a photograph called Precipice. This photograph was taken by Robert & Shana ParkeHarrison and is one of nine in a series called the Precipice. The photograph was captured in 2015 using real landscape combined with sets and props. Adobe Photoshop was also used to create digital composites that combine the new photographs with images they have taken in the past. Photographs from Precipice are featured on the Catherine Edelman gallery and can also be seen in numerous museum collections like the Los Angeles County Museum of Art (Los Angeles, CA), the Whitney Museum of American Art (New York, NY), the Museum of Fine Arts (Houston, TX), the International Museum of Photography at …show more content…
This very steep cliff stretches out from the left side of the photo. Thick clouds fill the background and are seen all around the precipice. The slightly greyed clouds above, below, and all along the right side of the photo accentuates the height of the cliff. The roots of grass and the lone tree can be seen dangling under the overhanging edge. The lighting in this photo is very dim and quiet. It also seems to have a sad and depressing mood, especially with the darker lighting seen all along the sides of the photo. The emphasis of this photo is put on the man and a single tree though. A man dressed in a black suit, holds an axe in his left hand as he stares at the little tree free of leaves. The small branches appear to be drooped and almost dwindled of life. Looking at the top of the precipice, it all appears to be dirt. This gives me the impression that the earth’s plants and trees have all been destroyed, and all that remains is this one lonely tree. The axe in the man’s hand gives me reason to believe that humans were the ones responsible for the destruction of the
In the second stanza the poet describes the tree as thin, dry and insecure. Insecurity is a human nature that has been used to describe a
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
Photographs capture the essence of a moment because the truth shown in an image cannot be questioned. In her novel, The Lovely Bones, Alice Sebold uses the language of rhetoric to liberate Abigail from the façade of being a mother and spouse in a picture taken by her daughter, Susie. On the morning of her eleventh birthday, Susie, awake before the rest of the family, discovers her unwrapped birthday present, an instamatic camera, and finds her mother alone in the backyard. The significance of this scene is that it starts the author’s challenge of the false utopia of suburbia in the novel, particularly, the role of women in it.
Cheng, Ah. The King of Trees. Trans. Bonnis S. McDougall. New York: New Directions Publishing Corp., 2010. Print.
In the chapter, “The Mirror with a Memory”, the authors, James Davidson and Mark Lytle, describe numerous things that evolved after the civil war, including the life of Jacob Riis, the immigration of new peoples in America, and the evolution of photography. The authors’ purpose in this chapter is to connect the numerous impacts photography had on the past as well as its bringing in today’s age.
Casares also writes, “the trees on the hill have grown so hard that it is impossible to cut them; nor can anything be done with those on the bank: the slightest pressure destroys them, and all that is left is a sticky sawdust, some spongy splinters”
Robert Frost is considered by many to be one of the greatest poets of the twentieth century. Frost’s work has been regarded by many as unique. Frost’s poems mainly take place in nature, and it is through nature that he uses sense appealing-vocabulary to immerse the reader into the poem. In the poem, “Hardwood Groves”, Frost uses a Hardwood Tree that is losing its leaves as a symbol of life’s vicissitudes. “Frost recognizes that before things in life are raised up, they must fall down” (Bloom 22).
Analysis: This setting shows in detail a location which is directly tied to the author. He remembers the tree in such detail because this was the place were the main conflict in his life took place.
After this opening stanza, the poet begins to describe the contents of the photograph: "then as you scan / it, you see in the left-hand corner / a thing that is like a branch: part of a tree" and "to the right, halfway up / what ought to be a gentle / slope, a small frame house." Margaret Atwood is gradually drawing the reader inward, from the outside edge of the photograph towards the center of the photograph, the poem, and the poet herself. This can be seen clearly on the following lines: "I am in the lake, in the center / of the picture, just under the surface." The atmosphere created is one of introspection and self examination: "but if you look long enough, / eventually / you will be able to see me." Atwood is using the device of the photograph to draw the reader from the outside world inwards to her world in the center of the photograph.
There have always been many different trees are found in the forest. Tall ones, round of leaf and with broad branches spread open in welcome. Short ones are found here as well, with thin trunks and wiry limbs they sway in the breeze. A wide variety of foliage in the emerald grove dancing merrily to the whispers of the wind. In this quiet thicket, a different type of tree grows, too. They stand resolute, patient, and ever growing.
A picture is more than just a piece of time captured within a light-sensitive emulsion, it is an experience one has whose story is told through an enchanting image. I photograph the world in the ways I see it. Every curious angle, vibrant color, and abnormal subject makes me think, and want to spark someone else’s thought process. The photographs in this work were not chosen by me, but by the reactions each image received when looked at. If a photo was merely glanced at or given a casual compliment, then I didn’t feel it was strong enough a work, but if one was to stop somebody, and be studied in curiosity, or question, then the picture was right to be chosen.
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.
Everything stops for that moment, like in the poem. I think it’s the lumber making sure no other trees are coming down with the tree that already fell. Once they realize, no other trees are coming down with the one that just fell, they go back to work on killing more trees. “were not the one dead, turned to their affairs (524).” My opinion is that in the poems we did read from Frost he talked a lot about nature and was very detailed is his description’s on nature.
On the edge of a small wood, an ancient tree sat hunched over, the gnarled, old king of a once vast domain that had long ago been turned to pasture. The great, gray knees gripped the hard earth with a solidity of purpose that made it difficult to determine just where the tree began and the soil ended, so strong was the union of the ancient bark and grainy sustenance. Many years had those roots known—years when the dry sands had shriveled the outer branches under a parched sun, years when the waters had risen up, drowning those same sands in the tears of unceasing time.