Podcasts about margaret bourke white

Gerda Taro hat die moderne Kriegsfotografie begründet, zusammen mit ihrem Mann Robert Capa. Und damit viele andere berühmte Fotograf*innen beeinflusst, von Lee Miller bis Margaret Bourke-White und den Gründern der Agentur Magnum. Geboren in Stuttgart 1910 als Tochter jüdischer Flüchtlinge aus Galizien, rettete sie sich 1933 ins Exil nach Paris. Dort lernte sie Robert Capa kennen, der noch Andrei Friedmann hieß, und gab sich jenen Namen, unter dem man „das Mädchen mit der Leica“ bis heute kennt.

Why is photography still a male-dominated industry? Listen in to learn more about women's roles in the history of photography, including the work of Frances Benjamin Johnston, Margaret Bourke-White, Diane Arbus and other notable female photographer in this classic episode.See omnystudio.com/listener for privacy information.

»Goldmedaillen 2024 – Kategorie 08 bis 05« Goldmedaille KATEGORIE 08 – BILDBAND FOTOTECHNIK: Titel: Profiwissen Landschaftsfotografie - Der Praxisleitfaden für magische Momente aus Licht, Komposition und Zeit Bild, und Textautor: André Koschinowski Gestaltung: Ulrich Borstelmann ISBN: 978-3-86490-449-3 Buchbestellung direkt beim Verlag: https://dpunkt.de/produkt/profiwissen-landschaftsfotografie/ https://www.instagram.com/koschinowski https://www.instagram.com/byschleunung +++ Goldmedaille KATEGORIE 07 – FOTOTHEORIE und ESSAYISTIK Buchtitel: Photomurals - Fotografische Wandbilder in transnationalen Aushandlungsprozessen zwischen Mexiko und den USA Bildautor*innen: Lola Álvarez Bravo, Margaret Bourke-White, u.a. Text: Johanna Spanke Gestaltung: Kerstin Protz, De Gruyter ISBN: 978-3110789249 Buchbestellung direkt beim Verlag: https://www.degruyter.com/document/doi/10.1515/9783111075372/html?lang=de https://www.instagram.com/degruyter_brill https://www.instagram.com/johannaspanke +++ Goldmedaille KATEGORIE 06 – BILDBAND FOTOGESCHICHTE: Titel: Fabelhafte Fotografie, bühnenreif! Die Alben des Hubert Marischka - Fabulous Photography, Ready for the Stage! The Albums of Hubert Marischka Herausgeber*in, Text: Roland Fischer-Briand Bildautor*innen: Madame d'Ora, Arthur Benda, F. X. Setzer, Willinger u. v. a Gestaltung: Anja Gasser, Büro für visuelle Gestaltung ISBN: 978-3-903334-66-3 Buchbestellung direkt beim Verlag: https://fotohof.at/shop/publikationen/fabelhafte-fotografie-buehnenreif/ https://www.instagram.com/theatermuseumvienna https://www.instagram.com/fotohof https://www.instagram.com/gerindruckgmbh +++ Goldmedaille KATEGORIE 05 – COFFEE TABLE BOOK: Titel: Land der Pässe – Eine Zeitreise in die heutige Schweiz Herausgeber*in: Richard von Tscharner Bildautor*in: Anton Affentranger, Daniel Lätsch et al. Text: Bernard Stackelberg Gestaltung: Sixty Six Communication Design ISBN: 978-3-03942-156-5 Buchbestellung direkt beim Verlag: https://www.scheidegger-spiess.ch/produkt/land-der-paesse/1429 https://www.instagram.com/scheidegger_und_spiess https://www.instagram.com/richarddetscharnerphotography +++ https://deutscherfotobuchpreis.de Link zum Newsletter: https://deutscherfotobuchpreis.de/newsletter/ ​- - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto/Grafik: Susanne Suttner, Regensburg Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2024. Andy Scholz wurde 1971 in Varel geboren. Er studierte Philosophie und Medienwissenschaften an der Universität Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie an der Folkwang Universität der Künste in Essen. Er ist freier Künstler, Autor und Dozent. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a.: Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, Pädagogische Hochschule Ludwigsburg. Seit 2016 ist er künstlerischer Leiter und Kurator vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner gründete. Im ersten Lockdown im Juni 2020 begann er mit dem Podcast und seit 2022 ist er Organisationsleiter vom Deutschen Fotobuchpreis, der ins INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER in Regensburg integriert wurde. Er lebt und arbeitet in Essen (Ruhrgebiet). http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ https://deutscherfotobuchpreis.de/ https://www.instagram.com/deutscher_fotobuchpreis/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

Margaret Bourke-White machte Fotos, die in die Geschichte eingingen. Dafür riskierte sie viel. Sie ließ sich aus Flugzeugen hängen, reiste mit der US-Armee durchs kriegszerstörte Europa, kniete vor Josef Stalin. Vor 120 Jahren wurde sie geboren. Finck, Almut www.deutschlandfunk.de, Kalenderblatt

Disability Representation doesn't stop at television, movies and media it also includes art. This week Peta sits down with Associate Professor Keri Watson to understand how disabled people have been represented and how interpretation and symbolism have changed over time.  Connect with associate professor Keri Watson:  LinkedIn: https://www.linkedin.com/in/keri-watson-9ba6b391/ Website: https://svad.cah.ucf.edu/faculty-staff/profile/921 Connect with Peta: Instagram: @petahooke Website: www.icantstandpodcast.com Email: icantstandpodcast@gmail.com Episode Transcript: https://www.icantstandpodcast.com/post/   References for this conversation:  Disability in Art History - http://arthistoryteachingresources.org/lessons/disability-in-art-history/ MARGARET BOURKE-WHITE - https://catalogue.swanngalleries.com/Lots/auction-lot/MARGARET-BOURKE-WHITE-(1904-1971)-Group-of-4-vintage-prints-?saleno=2570&lotNo=36&refNo=782925 Alison Lapper - http://marcquinn.com/artworks/alison-lapper Théodore Géricault, Portraits of the Insane - https://smarthistory.org/gericault-portraits-of-the-insane/ Frida Kahlo's 6 Disability Themed Paintings - https://disabilityrightsflorida.org/blog/entry/Frida_Khalos_6_Disability_Themed_Paintings Beggars Who Get About on Their Own in Bordeaux - https://www.pubhist.com/w12984 Georgia O'Keeffe - https://ukdhm.org/georgia-okeeffe-1887-1996-visually-impaired-in-later-life/ J.M.W. Turner - https://blogs.bl.uk/untoldlives/2015/12/so-i-am-to-become-a-nonentity-the-death-of-jmw-turner-.html What Ailed van Gogh? Doctors Weigh In. - https://www.nytimes.com/2016/09/16/arts/design/vincent-van-gogh-doctors-historians-weigh-in-amsterdam.html How Monet's artistic vision shone through ailing eyes - https://www.pbs.org/newshour/arts/how-monets-artistic-vision-shone-through-blurry-eyes Ann Millett-Gallant - https://www.annmg.com Panorama Journal of the association of historians of American art - https://journalpanorama.org Sins Invalid - https://www.sinsinvalid.org Riva Lehrer - https://blog.americansforthearts.org/2022/03/17/riva-lehrer-and-the-complex-world-of-art-and-disability-advocacySee omnystudio.com/listener for privacy information.

Living Art as Life, and Life as Art: Mid-century Artist Milton Cavagnaro and Five Generations Passing the Torch of CreativityBy: David Cavagnaro About the BookIn the late 1930s, with World War II looming, the famous German Bauhaus art school closed, and many of its teachers migrated to America, greatly influencing the course of modern art and architecture in the 1940s and 1950s. Influenced by the work of Bauhaus painters such as Lyonel Feininger, Paul Klee, and Wassily Kandinsky, a young artist named Milton Cavagnaro began what would become a lifetime art career in San Francisco that spanned abstract painting, commercial design, college teaching, jewelry making, gardening and landscaping. During this journey, many famous mid-century artists, beginning their own careers, would grace his family's life as friends or visitors, including photographers Ansel Adams, Imogen Cunningham, Ernest Braun; Margaret Bourke White and Yohana Meith, the first women photographers for Life; and close associates of Diego Rivera and Frida Kahlo. Milton's history, as told here by son David Cavagnaro, became in the writing the much larger story of five generations in the family, all passing along the torch of creativity via a plethora of media. Lavishly illustrated, this journey demonstrates that the definition and expression of art can permeate all of life, if we also live life itself as art. About the AuthorDAVID CAVAGNARO is the author of six previous books and a widely published writer and photographer in the fields of natural history and horticulture. Having spent most of his life in Northern California, his former home and land in Northeast Iowa have become The Pepperfield Project, a nonprofit devoted to sustainable food gardening, seed-saving, and personal growth, body, mind, and spirit. His work and activities may be viewed at http://www.naturalight.net.https://bookstore.dorrancepublishing.com/living-art-as-life-and-life-as-art-mid-century-artist-milton-cavagnaro-and-five-generations-passing-the-torch-of-creativity/https://www.barnesandnoble.com/w/the-luna-moth-papers-david-cavagnaro/1143057007?ean=9781669865032http://www.bluefunkbroadcasting.com/root/twia/113023kpp3.mp3   

On this episode, Andrew chats with director Luzia Schmid about her stunning documentary Trained to See, which is screening at the Castlemaine Documentary Film Festival. It will launch at the in person screening on June 17, with online sessions available to everyone in Australia afterwards. Trained to See tells the story of three American women journalists - Martha Gellhorn, Lee Miller, and Margaret Bourke-White - who each documented the Second World War in a fearless manner, putting themselves on the front line to capture their stories. Throughout Trained to See, we hear their stories from correspondence and journals that they kept during the period, and ultimately get to see the difficulties they faced as the power of misogyny arose during the war. This is both a powerful and engaging film, and is one of the finest archival documentaries of the year. As mentioned, Trained to See is available to watch for Australian audiences via CDocFF.com.au, alongside other great films including the brilliant football-focused documentary Equal the Contest, directed by Mitch Nivalis, and tells about their journey to push for equality in Aussie football. Other films available to watch online are Watandar My Countryman, The Thief Collector, Into the Ice, Weed & Wine, and Young Plato. For more information about the Castlemaine Documentary Film Festival, read interviews with Mitch Nivalis and Festival Director Claire Jager, and read Nadine's review of Trained to See here. See omnystudio.com/listener for privacy information.

On this episode, Andrew chats with director Luzia Schmid about her stunning documentary Trained to See, which is screening at the Castlemaine Documentary Film Festival. It will launch at the in person screening on June 17, with online sessions available to everyone in Australia afterwards. Trained to See tells the story of three American women journalists - Martha Gellhorn, Lee Miller, and Margaret Bourke-White - who each documented the Second World War in a fearless manner, putting themselves on the front line to capture their stories. Throughout Trained to See, we hear their stories from correspondence and journals that they kept during the period, and ultimately get to see the difficulties they faced as the power of misogyny arose during the war. This is both a powerful and engaging film, and is one of the finest archival documentaries of the year. As mentioned, Trained to See is available to watch for Australian audiences via CDocFF.com.au, alongside other great films including the brilliant football-focused documentary Equal the Contest, directed by Mitch Nivalis, and tells about their journey to push for equality in Aussie football. Other films available to watch online are Watandar My Countryman, The Thief Collector, Into the Ice, Weed & Wine, and Young Plato. For more information about the Castlemaine Documentary Film Festival, read interviews with Mitch Nivalis and Festival Director Claire Jager, and read Nadine's review of Trained to See here.See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.

https://weekly52.de/weekly/310 . Heute plaudern wir mit Dirk Primbs über seinen kurzweiligen Fotomenschen-Podcast, picken uns ein paar Storys aus seinem neuen 30x Fotogeschichte(n) Buch und reden über die Quantensprünge in der Fotografie. Wir geben Tipps für deine Webseite und Podcasts und in den Outtakes geht es ums Beissen, Saugen, um Bokeh-Fetischisten und Infrarot-Aufnahmen. Viel Spaß :-). Kapitelmarken mit Links zum Podcast (00:00) Wer ist Dirk Primbs? (04:00) Mit dem Anerzählt Podcast fing es an --> https://anerzaehlt.net/ (10:30) Wie läuft die Recherche zu den Fotogeschichten? (15:00) Oskar Barnack und die Leica-Welt in Wetzlar (20:00) Bildausschnitt und Wirkung: Napalm Girl und Che Guevara (27:30) Dirks Lieblingsbilder von Ed Curtis und Margaret Bourke-White (36:00) Abbey Road, Hindenburg, Afghan Girl und Tank Man (40:00) Die Erfindung der künstlerischen Fotografie und die Technik (47:30) Fake, Fakten und Fiktionen – The Book of Veles von Jonas Bendiksen (56:00) Quantensprünge in der Fotografie: Leica, Kodak und Polaroid (1:06:00) Kriminal- und Spionagefotografie und das Bild im Auge des Mordopfers (1:13:00) Deutsche Fotograf*Innen und Helmut Newton (1:15:00) Kurationen und Sammlungen in der Podcast Suchmaschine fyyd (1:26:30) Hintergründe zum Buch-Cover (1:31:30) Tipps zur Namengebung für Podcasts und Webseiten (1:35:00) Outtakes: Beissen, Saugen, Bokeh-Fetischisten und Infrarot-Aufnahmen (1:41:30) Ideen rund um Logseq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47126Ob4k3h3hyr5r5wxobfpw24wfLcg7s5np7f

This week, the ladies are covering two women who documented some of the most critical times in the 20th Century. First, Kelley covers Margaret Bourke-White, a photographer who used her creativity and guts to take some of the most iconic photos of the 20th Century. Then, Emily shares the story of Gerda Weissmann, an average Jewish Girl who survived the horrors of the holocaust and told her story. Listen now!Support the show

Margaret Bourke-White was one of America's first documentary photographers and the very first American female war correspondent. In this position, she took some genuinely remarkable photographs that no other westerner could or was allowed to obtain. Here is her intriguing story... Podcast Show Notes https://www.moneymakerphotography.com/margaret-bourke-white/  #Podcast #PhotographyClips #Photography

Gary Pageau of the Dead Pixels Society talks with Darcy Reed, author of the new book for children, "Extraordinary Women with Cameras: 35 Photographers Who Changed How We See the World." The book, featuring illustrations by Vanessa Perez, captures the stories of iconic female photographers, including Dorothea Lange's haunting portraits of American history, Margaret Bourke- White's bravery as the first female war correspondent in WWII, Florestine Perrault Collins' influential images depicting Black life in the 1920s, and Anne Geddes' joyful and elaborately-staged portraits of adorable babies.Reed is a writer, editor, and actor. Her books include The College Bucket List, Disney: Ninety Years of Mickey Mouse, Wonder Woman Trivia Deck, The Photography Trivia Deck, Captain Marvel: The Tiny Book of Earth's Mightiest Hero, Extraordinary Women With Cameras, and Shakespeare: Famous Last Words.Mediaclip Mediaclip strives to continuously enhance the user experience while dramatically increasing revenue.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showSign up for the Dead Pixels Society newsletter at http://bit.ly/DeadPixelsSignUp.Visit our LinkedIn group, Photo/Digital Imaging Network, and our Facebook group, The Dead Pixels Society. Interested in being a guest? Click here for ...

Margaret Bourke-White was commissioned for what was to be the largest photo-mural in the world for the newly-constructed 30 Rockefeller Plaza. She worked furiously and it was unveiled in December, 1933. At the opening ceremony, what someone had done to her work would upset her so badly she omitted the whole affair from her autobiography.

“Photographies en guerre“ au musée de l'Armée, hôtel des Invalides, Parisdu 6 avril au 24 juillet 2022Interview de Anthony Petiteau, chef de l'unité conservation, documentation, recherche, musée départemental Albert-Kahn, ancien responsable de la collection de photographies du musée de l'Armée et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 1er avril 2022, durée 28'37, durée 19'14.© FranceFineArt.Communiqué de presse Commissariat :Mathilde Benoistel, chargée d'études documentaires, cheffe du département de l'inventaire, de la diffusion et de l'histoire des collections, musée de l'ArméeSylvie Le Ray-Burimi, conservatrice en chef du patrimoine, cheffe du département beaux-arts et patrimoine, musée de l'ArméeLucie Moriceau-Chastagner, chargée d'études documentaires, adjointe à la cheffe du département beaux-arts et patrimoine, responsable de la collection de photographies du musée de l'ArméeAnthony Petiteau, chef de l'unité conservation, documentation, recherche, musée départemental Albert-Kahn, ancien responsable de la collection de photographies du musée de l'ArméeAssistés de : Chloé Boisson, Philomène Bonhomme, Marie Lamassa, Aline Muller, Aurélien NicolePaysages de ruines, chaos des combats, scènes de victoire ou de défaite, portraits de soldats ou de civils…. Les images de la guerre, et singulièrement des guerres passées, imprègnent notre mémoire collective, notamment par le prisme de la photographie. Certains clichés, tels que Raising the Flag on Iwo Jima (Joe Rosenthal) ou Le Drapeau rouge sur le Reichstag (Evgueni Khaldeï), sont même devenus des icônes mondiales. Mais qui sont ceux qui les ont produits ou diffusés ? Dans quelles conditions et pour qui ? Quels sont les ressorts de cette fabrique de l'image de la guerre depuis le milieu du XIXe siècle jusqu'à nos jours ?Le musée de l'Armée présente pour la première fois une exposition consacrée non pas au conflit, mais à la représentation de celui-ci par la photographie, qui va bien au-delà du reportage de guerre. Depuis l'apparition de ce nouveau médium sur un champ de bataille au milieu du XIXe siècle, les rapports entre photographie et guerre sont complexes, relevant de pratiques plurielles (amateurs ou professionnelles), d'intentions et d'usages multiples (informer, documenter, prouver, convaincre, légitimer, tromper, dénoncer, témoigner, se souvenir…) dans les champs les plus variés (militaire, politique, économique, mais aussi social, culturel et esthétique).Plaques de verre, planches, albums, portfolios, portraits, vues stéréoscopiques, petits et grands formats… Du Siège de Rome (1849) à l'actuelle guerre en Syrie, en passant par la guerre de Sécession, la guerre de 1870, les deux conflits mondiaux, la guerre du Vietnam, la Guerre Froide ou encore les guerres de décolonisation, le parcours réunit plus de 300 photographies faisant le récit d'une construction médiatique de la guerre à travers l'image. Photographes amateurs et professionnels y confrontent la singularité de leurs regards et de leurs objectifs, parmi lesquels ceux de Margaret Bourke-White, Gerda Grepp, Lee Miller, Robert Capa, Paul Corcuff, Marc Riboud, Don McCullin, Gilles Caron, Nick Ut, Yan Morvan, Laurent Van der Stockt, Richard Mosse, Émeric Lhuisset ou encore Michel Slomka.[...] Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Emma and Christy discuss surgical and cultural ideas embedded in Andy Warhol's series of Before and After paintings (1961/62) of a nose job. In this episode we talk plastic surgery and big egos, the before-and-after image trope, racial typification, criminology, connoisseurship, and American consumerism and capitalism. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. IMAGES DISCUSSED: Andy Warhol, Before and After [1] (1961) Old Lady / Young Lady Optical Illusion (See also: William Ely Hill, My Wife and My Mother-in-Law (1915)) National Enquirer Ad (recurring ad; ran at least in 1961 and 1962) Andy Warhol, Campbell's Soup Cans (1962) Andy Warhol, Marilyn Monroe (1967) Andy Warhol, Before and After [2] (1961) Andy Warhol, Before and After [4] (1962) Example of: Jackson Pollock (1948) Example of: Lee Krasner (1964) Example of: Roy Lichtenstein (1964) (note his use of Ben Day dots for the girl's skin) Andy Warhol, Coca-Cola [3] (1962) Andy Warhol, Bonwit Teller window with paintings (1961) Margaret Bourke White, The Louisville Flood (1937) Leonardo da Vinci, Salvator Mundi (c. 1500) Giovanni Morelli, Ears Illustration from Italian Painters (1892) Alphonse Bertillon, Ear Photographs from Identification of Persons (1893) Examples of Francis Galton's composite images: The Jewish Type (c. 1877–c. 1890) and Composite Portraits of Criminal Types (1877) H. Stickland Constable, illustration showing an alleged similarity between ‘Irish Iberian' and ‘Negro' features in contrast to the higher ‘Anglo-Teutonic' (late 19th c.) Photograph by Mark Peckmezian for The New Yorker, Recreation of colouring Roman busts: the Treu Head (second century AD); see also marble bust showing traces of red pigment on lips, eyes, and the fillet (first century AD) Andy Warhol, 13 Most Wanted Men (example from the most wanted men series of works) (1967) CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Heather O'Neill, No Ordinary Life Thoughtful Thursday underwritten by Guild Hall featured Emmy and Peabody Award-winning journalist Heather O' Neill ahead of her full-length feature documentary directorial debut film's showing at Bay Street Theater in conjunction with Hamptons Doc Fest. “No Ordinary Life” is a collection of footage from – And interviews with – five pioneering female war photojournalists from CNN following in the footsteps of such still photographers as Margaret Bourke-White. We discuss Heather's process paring down hundreds of hours of footage into a roughly 70-minute film, as well as the unshakable bond forged between these five incredible figures in journalism. Gene Casey, Gene Casey and The Lone Sharks Ahead of tomorrow night's annual holiday rockabilly concert at the Suffolk Theater, we hear the story behind Gene's brand-new single, “Here Come The Holidays,” a feel-good pop track that's also a reminder not all folks have a home, whether or not it happens to be the holiday season.

Hon var USA:s första kvinnliga krigskorrespondent och den första västerländska fotografen att släppas in i Sovjetunionen. Margaret Bourke-Whites bilder är världsberömda, hennes namn inte lika känt. Margaret Bourke-White räknas av många som en av dem allra främsta bildjournalisterna genom tiderna. Hon var den första kvinnliga fotografen att anställas av den inflytelserika tidningen Life. Att som kvinna i 1930-talets USA skippa ett mer traditionellt hemmafruliv och satsa på sin karriär hörde inte till vanligheterna. Men det ledde Margaret Bourke-White till ett liv som kan mäta sig med fiktiva hjältar som Indiana Jones. Dessutom hade hon en påfallande stilsäkerhet både framför och bakom kameran, och en enastående förmåga att vara där det hände, när det hände över hela världen. I veckans Stil berättar vi historien om en pionjär, vars namn dock kommit att hamna något i skymundan.Dessutom tittar vi tillsammans med fotografen Martin von Krogh närmare på krigskorrespondent-stilen, för det finns en tydlig klädkod inom kåren.Vi djupdyker även in i bildjournalistikens värld. Trots att användandet av fotografier ökar, avskedas fotografer och det talas om att bildjournalistiken är utrotningshotad. Detta pratar vi med bildjournalisten Joey Abrait och Journalistförbundets ordförande Ulrika Hyllert om. Och så träffar vi dokumentärfilmaren och loppisentusiasten Rasmus Wassberg, som upptäckte att många begagnade kameror innehåller oframkallad film. Något som fick honom att bestämma sig för att försöka återlämna dessa kvarglömda fotografier. Veckans gäst är Eva Dahlman, fotohistoriker och etnolog.  

Un viaggio tra i nuovi appuntamenti e le mostre che sono state prorogate in seguito alle impreviste chiusure per la Pandemia. Come due mostre a Palazzo Reale di Milano..- DIVINE E AVANGUARDIE: le donne nell'arte russa..e MARGARET BOURKE-WHITE , una delle prime donne del fotogiornalismo, brave e coraggiosa..- ALFREDO CHIGHINE: a Casa Boschi di Stefano uno dei primi artisti ad avvicinarsi all'informale..- DI SEMI E DI PIETRE: un viaggio fotografico nella rinascita di Amatrice e Accumoli a cinque anni dal tragico sisma che ne aveva devastato i territori..- OPTICAL VIBES: alla Galleria Nazionale di Roma..- E a pochi giorni dalla proclamazione della Cappella degli Scrovegni patrimonio dell'Umanità da parte dell'Unesco, torniamo ad occuparci di Giotto col saggio davvero affascinante di Giuliano Pisani

Un viaggio tra i nuovi appuntamenti e le mostre che sono state prorogate in seguito alle impreviste chiusure per la Pandemia. Come due mostre a Palazzo Reale di Milano..- DIVINE E AVANGUARDIE: le donne nell'arte russa..e MARGARET BOURKE-WHITE , una delle prime donne del fotogiornalismo, brave e coraggiosa..- ALFREDO CHIGHINE: a Casa Boschi di Stefano uno dei primi artisti ad avvicinarsi all'informale..- DI SEMI E DI PIETRE: un viaggio fotografico nella rinascita di Amatrice e Accumoli a cinque anni dal tragico sisma che ne aveva devastato i territori..- OPTICAL VIBES: alla Galleria Nazionale di Roma..- E a pochi giorni dalla proclamazione della Cappella degli Scrovegni patrimonio dell'Umanità da parte dell'Unesco, torniamo ad occuparci di Giotto col saggio davvero affascinante di Giuliano Pisani

Today we're celebrating the birthday of Margaret Bourke-White, an American photographer who pioneered photojournalism! Known for many “firsts,” Maggie's courage helped her document some of the most important moments in the first half of the 20th Century, allowing her legacy to live through her work. Happy birthday, Maggie!If YOU want a birthday shoutout, email us with your name, and a little bit of information about you, at TheNameDayProject@gmail.com

Today's show offers a remix of a July 2016 interview with Alex Lichtenstein on the documentary photographs of Margaret Bourke-White, “Focus on Apartheid.” The conversation was recorded live in our WFHB studios. All of our music for this remix comes from five albums by Johnny Dyani, South African double bassist and pianist. In the early …

It's episode seven and this week we discuss screen legend Candice Bergen. Bergen will be most recognisable to many as the titular lead in the long-running TV comedy Murphy Brown, however she has also cast a striking presence on the big screen surrounding her time on that show. We talk about her memorable turn as a Kathy Morningside in Miss Congeniality and as photojournalist Margaret Bourke-White in Best Picture Oscar-winning Gandhi from 1982. With Candice delivering career highlight performances in the last five years in Book Club and Let Them All Talk, join us as we discuss this period and as we lay out our fantasy choices for film roles we'd die to see her take on in the next few years. Follow @dontknow_her on Twitter and Instagram to keep updated on upcoming episodes and to have your say on future episodes. 01:33 - Intro to and overview of Candice Bergen 08:24 - Carnage Knowledge (Mike Nichols, 1971) and toxic masculinity 12:45 - Soldier Blue (Ralph Nelson, 1970) 14:40 - Starting Over (Alan J. Pakula, 1979) and Candice's Oscar nominated performance 19:40 - Rich and Famous (George Cukor, 1981) 23:45 - Gandhi (Richard Attenborough, 1982) and a celebration of teachers 25:34 - Murphy Brown (1988-1997) and Candice's Emmy reign 26:22 - Miss Congeniality (Donald Petrie, 2000) and Michael's first memories of Candice 29:53 - Sweet Home Alabama (Andy Tennant, 2002) and Scott's introduction of Candice 30:49 - A brief pitstop on Bride Wars (Gary Winick, 2009) and fragile friendships 31:50 - Book Club (Bill Holderman, 2018) 34:25 - Let Them All Talk (Steven Soderbergh, 2020) 39:25 - Quiz/Testing our knowledge on Candice 46:26 - What do we want for Candice's film career in the future? --- Send in a voice message: https://anchor.fm/dontknowherpod/message

Desde muy temprano Camilo decidió que quería vivir cerca de la música. A punta de organizar camerinos, escenarios y probándose como ingeniero de sonido pudo ser testigo del nacimiento (y también del fracaso) de muchas bandas de rock y de varios intentos por desarrollar una industria del espectáculo en Colombia. Fue persiguiendo el trance que veía en muchos músicos que llegó a la fotografía y desde ahí se ha dedicado a registrar los dramas de artistas, deportistas y sociedades enteras. En esta conversación hablamos sobre esa trayectoria, sobre qué es la excelencia y sobre el pasado, presente y futuro de la música en Colombia. Pueden conocer más del trabajo de Camilo en su página web (https://www.camilorozo.com) o en su Instagram, @camilorozo Pueden encontrarnos en su aplicación de podcasts favorita, o como @expertosdesillon en Instagram, @ExpertoSillon en Twitter o también pueden escribirnos a expertosdesillon@gmail.com Expertos de Sillón es un podcast donde conversamos con nuestros invitados e invitadas sobre sus grandes obsesiones, sus placeres culposos o sus teorías totalizantes acerca de cómo funciona el mundo. Es un proyecto de Sillón Estudios. Conducen Alejandro Cardona y Sebastián Rojas. Produce Sara Trejos. REFERENCIAS La crónica osbre EcoMundo 92 la encuentran en Vice (https://www.vice.com/es/article/kzej8x/ecofracaso-la-triste-noche-en-la-que-giimour-y-daltrey-se-presentaron-en-cali). Cuatro bandas que recomienda Camilo: Los PetitFellas, Mabiland, Tori Amos, Led Zepelin. Dos fotógrafos: Eugène Atget, Margaret Bourke-White.

Margaret Bourke-White fu una fotografa americana nota per i suoi ampi contributi al fotogiornalismo, in particolare per il suo lavoro sulla rivista Life. È riconosciuta come la prima fotografa documentarista donna ad essere accreditata e lavorare con le forze armate statunitensi.Al link troverai le foto menzionate nella puntatahttps://raccontidiluce.wixsite.com/podcast/post/07-margaret-bourke-white

Donna forte, determinata e sprezzante del pericolo, fotografa la Grande Depressione, la Seconda Guerra Mondiale e l'Apartheid in Sudafrica. Margaret Bourke-White ha saputo fotografare una società in mutamento, la ricordiamo infatti come una vera pioniera della fotografia.

MIRACOLO A MILANO! Finalmente in questi giorni hanno riaperto i Musei. Allora ci rinfreschiamo la memoria:..-A Palazzo Reale DIVINE E AVANGUARDIE, LE DONNE NELL'ARTE RUSSA e MARGARET BOURKE WHITE grandissima fotoreporter..-Al Museo del Novecento: CARLA ACCARDI..-Al Castello Sforzesco: BOSSI E RAFFAELLO..-Hanno riaperto BRERA e IL CENACOLO..-Gli ORTICANOODLES sono al MUSEO MESSINA con “INSIDE”..-In TRIENNALE entusiasmo per il DESIGN e per ENZO MARI..-E a Venezia trionfano le GALLERIE DELL'ACCADEMIA..Ma la nostra è una gioia limitata…. perché son tutti chiusi..sabato e domenica…. per fortuna qualcuno apre fino alle 21.30

Margaret Bourke-White meisterte gleich mehrere Fotogenres und wurde durch ihre Furchtlosigkeit und ihr Talent zu einer Fotografin mit Celebrity-Status und Vorbild.

Carl Chiarenza was a member of the second class to graduate from the newly-established bachelor of fine arts program in photography at Rochester Institute of Technology. His classmates included well-known photographers Bruce Davidson, Kenneth Josephson, Pete Turner, and Jerry Uelsmann. In an interview with LensWork magazine editor Brooks Jensen from 2000, Chiarenza discusses the dual influences of Minor White and Ralph Hattersley, two prominent faculty members at RIT during the mid 1950s: Now in the photo thing, as this program is developing, Hattersley was the person—of the teachers we had Hattersley was the person who was directly involved with putting the program together. Minor came into the program when he moved to Rochester and Eastman House, so he came in part-time. Anyway, as the classes got going over the two-year period, we would be bouncing back and forth between Minor and Ralph. So the wonderful thing about this was that we didn't get stuck with a single track. We were not under Minor White, we were not under Ralph Hattersley. We would go to minor and we would learn the Zone System—and how to stare at a picture for an hour and really digest that picture detail by detail, you might say silver halide by silver halide. At the time, we all sorta thought he was really nuts, I mean having us sit there for an hour looking at these pictures, but again, as we’ve all said in retrospect, that was a major part of our education—what a picture is and how you deal with that, particularly in photography, where photographers generally see a subject or an object and say, “Oh, that’s nice, I’m going to make a picture of that,” whether its people or a lamp or whatever it is, and don’t really think about what’s going on behind it, in front of it, to the left of it, to the right of it, and so on. So we really learned to understand that photography, like any other picture, is made up of everything that’s in it. And everything that’s in it is important. On the other hand we went to Ralph and Ralph would say, ‘Well, what’s in the darkroom trash this morning? Is there anything interesting that we can pull out and start with?’ These would be prints that had stains on them that could be developed further. I know this sounds extreme, but it happened! Or he would take us on field trips to New York. We went to New York and we spent a couple days at LIFE magazine meeting people like Eisenstaedt and Margaret Bourke-White and meeting people and going through the whole building, the labs and meeting the layout people and so on. And we would go back to RIT with negatives that he had gotten for us from LIFE magazine and we experimented with them to see if we could do something different from what LIFE did. Or we went to Chicago and we met the people at ID, Callahan and Siskind, and learned about an entirely different way of teaching photography. We walked into—I guess it was the Mees building or Gropius building, I can’t remember—and as we were walking up toward the photo department, up the stairway, and we heard this terrific jazz going on. We make it up a stairway, up a landing, and there’s Chico Hamilton quartet playing, live, in the middle of this space. It wasn’t a concert, it was just in the middle of the building. So it was experiences like that that really opened us up to all kinds of creative worlds. Source: LensWork Interview (2000)

- Veste diversa e più ricca per l'undicesima edizione del..FESTIVAL DELLA FOTOGRAFIA ETICA di Lodi..- Riapre il palinsesto de I TALENTI DELLE DONNE: Il programma..espositivo del Comune di Milano riapre in grande con la mostra..di MARGARET BOURKE-WHITE a Palazzo Reale..- “The Sky in a Room”: la potenza immaginativa dell'arte nella performance di RAGNAR KIARTANSSON..- DONNE IN LIBERTA': Le artiste di Quarta Vetrina in un documentario alla Libreria delle Donne..- “ CITIZEN”: l'antologica di Paola Di Bello..- VILLE APERTE IN BRIANZA: Porte aperte allo straordinario

- Veste diversa e più ricca per l'undicesima edizione del..FESTIVAL DELLA FOTOGRAFIA ETICA di Lodi..- Riapre il palinsesto de I TALENTI DELLE DONNE: Il programma..espositivo del Comune di Milano riapre in grande con la mostra..di MARGARET BOURKE-WHITE a Palazzo Reale..- “The Sky in a Room”: la potenza immaginativa dell'arte nella performance di RAGNAR KIARTANSSON..- DONNE IN LIBERTA': Le artiste di Quarta Vetrina in un documentario alla Libreria delle Donne..- “ CITIZEN”: l'antologica di Paola Di Bello..- VILLE APERTE IN BRIANZA: Porte aperte allo straordinario

- Veste diversa e più ricca per l'undicesima edizione del..FESTIVAL DELLA FOTOGRAFIA ETICA di Lodi..- Riapre il palinsesto de I TALENTI DELLE DONNE: Il programma..espositivo del Comune di Milano riapre in grande con la mostra..di MARGARET BOURKE-WHITE a Palazzo Reale..- “The Sky in a Room”: la potenza immaginativa dell'arte nella performance di RAGNAR KIARTANSSON..- DONNE IN LIBERTA': Le artiste di Quarta Vetrina in un documentario alla Libreria delle Donne..- “ CITIZEN”: l'antologica di Paola Di Bello..- VILLE APERTE IN BRIANZA: Porte aperte allo straordinario

We talk about transitioning into autumn - which inspired some exciting new purchases - as well as the Netflix series Greenleaf, particularly Lady May’s wardrobe, and the HBO series Lovecraft Country and its visual references. See links below. Colourful Standard: https://colorfulstandard.co.uk/ AS Colour (the shop in Redchurch Street): https://ascolour.co.uk/ Craig Wright (creator), Johnetta Boone (costume design), Greenleaf (2016-20): https://www.imdb.com/title/tt4971144/ Michael Patrick Jann (director), Mimi Melgaard (costume design), Drop Dead Gorgeous (1999): https://www.imdb.com/title/tt0157503/ Matt Ruff, Lovecraft Country (HarperCollins 2016): http://www.bymattruff.com/lovecraft-country/ Misha Green (creator), Dayna Pink (costume design), Lovecraft Country (2020): https://www.imdb.com/title/tt6905686/ Libby Torres, ‘Lovecraft Country' is packed with historical references and hidden clues. Here's a guide to the ones you may have missed., Insider (1 September 2020): https://www.insider.com/lovecraft-country-historical-references-details-you-missed-2020-8 Erica Gonzales, Lovecraft Country’s Leti Uses Clothing as “an Armour”, Harper’s Bazaar (24 August 2020): https://www.harpersbazaar.com/culture/film-tv/a33729791/lovecraft-country-costumes/ Gordon Parks, Segregation in the South (1956): http://www.gordonparksfoundation.org/gordon-parks/photography-archive/segregation-in-the-south-1956 Margaret Bourke-White, The Louisville Flood (1937), Whitney Museum of American Art: https://whitney.org/collection/works/8061 Amy Sherman-Palladino (creator), Donna Zakowska (costume design), The Marvelous Mrs. Maisel (2017- ): https://www.imdb.com/title/tt5788792/ Peter Farrelly (director), Betsy Heimann (costume design), Green Book (2018): https://www.imdb.com/title/tt6966692/

This week we’re looking at America’s favorite pastime: baseball. We start with John Badham’s The Bingo Long Travelling All-Stars & Motor Kings (1976) featuring Billy Dee Williams and James Earl Jones reclaiming the means of production. Next up is Barry Levinson’s The Natural (1984) with Robert Redford and Glenn Close in an American fairytale. We finish with Bennett Miller’s Moneyball (2011) with Brad Pitt and Jonah Hill proving that instincts can’t beat statistics.Also: Sneakers (1992). Satchel Paige. Lovecraft Country (2020). Margaret Bourke-White. Jackie Robinson. 42 (2013). Silver Streak (1976). Fanfare for the Common Man. Eddie Waitkus. Joe Don Baker. Homer at the Bat. Fever Pitch (2005). Billy Beane. David Justice. Michael Lewis. SABR. Perry Mason (2020). Wes? Anderson? Fire in Babylon (2010). We play a game of “Let’s play, Sportsball!”Music: Sahara - Magnus Moone (license #09GJ)

It’s the birthday of photojournalist Margaret Bourke-White (1904), who broke gender barriers and who was nicknamed “Maggie the Indestructible” at Life magazine.

On this episode, we discuss the fifty-fifth Best Picture Winner: “GANDHI.”"Gandhi" is the biographical drama that presents the major events in the life of Mohandas Gandhi, the beloved Indian leader who stood against British rule over his country. Dedicated to the concept of nonviolent resistance, Gandhi is initially dismissed by English officials, including the influential Lord Irwin, but eventually he and his cause become internationally renowned, and his gatherings of passive protest move India towards independence. Directed by Richard Attenborough, the film stars Ben Kingsley as Mohandas Gandhi, Rohini Hattangadi as Kasturba Gandhi, Roshan Seth as Pandit Nehru, Candice Bergen as Margaret Bourke-White, John Gielgud as Lord Irwin, and Martin Sheen as Walker.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. You can reach anyone here at TheEnvelopePodcast.com – Just go there to email us, check our bios, and keep up with the latest episode. 

The hosts share their new hobbies, then Rita digs into the story of Fay Fuller, the first woman to summit Mount Rainier. Amanda shares the adventurous tale of Margaret Bourke-White, the first female photojournalist for Life & first female war correspondent. Follow us on social media: FB: facebook.com/idkherpodcast Twitter: @IDKHerPodcast Insta: @idkher_podcast

Zum Ende des Zweiten Weltkriegs hatte es lange keine unabhängigen Berichte mehr gegeben aus dem Inneren Nazi-Deutschlands. Dann trafen ausländische Journalist*innen in Köln ein, wie George Orwell und Margaret Bourke-White. Autor: Albert Wiedenhöfer Von Albert Wiedenhöfer.

She was one of America’s first documentary photographers and the very first American female war correspondent. In this position, she took some truly remarkable photographs that no other westerner was able or allowed to obtain. Here is her intriguing story... Show Notes: https://moneymakerphotography.com/margaret-bourke-white/ Subscribe via: https://moneymakerphotography.com/podcast Weekly Giveaways: https://moneymakerphotography.com/giveaways Free eBooks: https://moneymakerphotography.com/free-ebooks #WillMoneymaker #PhotographyPodcast #PhotographyClips

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa.

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa.

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa. (prima parte)

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa. (seconda parte)

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa. (prima parte)

2020 si apre l'anno che il comune di Milano vuole dedicare al TALENTO DELLE DONNE oggi nei GIRASOLI ospitiamo il COLLETTIVO DONNE FOTOREPORTER di Milano che ci racconteranno le loro storie. Ancora donne e ancora fotografia con due grandi e storiche : le fotografe americane di MARGARET BOURKE-WHITE e DOROTEA LANGE è ancora Andiamo all'Accademia di Brera dove ANSELM KIEFER ha ricevuto il Diploma Honoris Causa. (seconda parte)

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White's photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association.

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, Margaret Bourke-White and the Dawn of Apartheid (Indiana University Press, 2016) photojournalism, and writing transnational histories of labor and social justice movements. As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, and recorded the liberation of Buchenwald at the end of WWII. In 1949, Life sent her to South Africa to take photographs in a country that was becoming racially polarized by white minority rule. Life published two photo-essays highlighting Bourke-White’s photographs, but much of her South African work remained unpublished until now. Here, these stunning photographs collected by Alex Lichtenstein and Rick Halpern offer an unparalleled visual record of white domination in South Africa during the early days of apartheid. In addition to these powerful and historically significant photographs, Lichtenstein and Halpern include two essays that explore Bourke-White's artistic and political formation and provide background material about the cultural, political, and economic circumstances that produced the rise and triumph of Afrikaner nationalism in South Africa. This richly illustrated book brings to light a large body of photography from a major American photographer and offers a compelling history of a reprehensible system of racial conflict and social control that Bourke-White took such pains to document. Beth A. English is director of the Liechtenstein Institute's Project on Gender in the Global Community at Princeton University. She also is a past president of the Southern Labor History Association. Learn more about your ad choices. Visit megaphone.fm/adchoices

Esta semana en nuestra “Sección principal” os traigo la última gran película de Stanley Kubrick que aún no había comentado. Como sabéis Kubrick es junto a Scorsese, Coppola, Oliver Stone Spike Lee uno de los 5 directores cuyas filmografías analizo temporada a temporada. Además en nuestra sección, “Rodajes malditos” os voy a hablar del rodaje de “Mary Poppins” esa joya de 1964 dirigida por Robert Stevenson con Julie Andrews y Dick Van Dyke que tuvo complicaciones varias cortesía de la creadora de Poppins, la señora P.L. Travers. Finalmente en la sección “¿Qué fue de?” os hablo de la gran fotógrafa y corresponsal de guerra Margaret Bourke White que trabajo para las más prestigiosas revistas y cubrió desde la II Guerra Mundial al Apartheid pasando por la Guerra de Corea y logro una entrevista con Stalin en el mismísimo Kremlin. Tiempos: Sección principal: del 00:02:49 al 02:07:14 Sección “Rodajes malditos”: del 02:07:15 al 03:03:13 Sección “¿Qué fue de?”: del 03:03:14 al 03:46:41 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

War Photojournalist Margaret Bourke-White   Want answers? Send your questions, comments and thoughts about life to universe@thelinlife.com   Thank you so much for listening to The Lin Life Universe. I hope you've been enjoying it. Please leave a review! 

We talk quite often about the importance of routine, and how by having a routine, we actually set ourselves free, especially our minds. And it is in that vein that Mason Curry shares his two books Daily Rituals. His second is focused entirely on Women at Work, sharing the routines and preferences of creative women who lived and created over the past four centuries. I thoroughly enjoyed his second book, even more than the first which I also found great inspiration. It was refreshing to see so many women living their lives in a variety of different ways, but all in which they discovered worked well for them and the craft they most loved. Not all of the ideas resonated with me, but it was wonderful to get into the minds for a moment of these women and how they approached their days. I highlighted vigorously from beginning to end, and would like to share 34 daily routines to consider to enable your creative ideas to flow freely and without withdrawal. Some will speak to you, some will not, but each one is inspired by a woman's routine which is shared in the book: Daily Rituals: Woman at Work - 143 artists on how they paint, write, perform, direct, choreograph, design, sclpt, compose, dance, etc. ~Be sure to tune into the audio version of the podcast where much more discussion takes place on each point.  1.Begin with a hot glass of lemon water Designer Elsa Schiaparelli woke up at 8 am, sipped lemon-juice-and-water and a cup of tea for breakfast as she read the papers, handled private correspondence, made telephone calls and gave the menus of the day to the cook. 2. Wake up early if that is when your creativity is most fruitful —Lillian Hellman would wake up at 6am. —Marie Bashkirtseff would wake up at 6am —Maggie Hambling wakes up at 5am each morning "I get up between three or four o'clock in the morning, because that's my best writing time." —Octavia Butler 3. If spending less time with people fuels your creativity, embrace it fully "I enjoy people best if I can be alone much of the time. I used to worry about it because my family worried about it. And I finally realized: This is the way I am. That's that." —Octavia Butler in 1998 4. If traditional "holidays" don't work for you, create your own, or dive into what you love. Coco Chanel worked six days a week, and dreaded Sundays and holidays. As she told one confidant, "That word, 'vacation,' makes me sweat." 5. Greet the day in a habitual way that sets the tone for a great day 6. Live your ideas, don't talk about them "People would sit around and talk about things constantly. I never really went in for that. If you talk something out, you will never do it. You can spend every evening talking with your friends and colleagues about your dreams, but they will remain just that —dreams." —choreographer Martha Graham 7. Keep a small journal next to your bed to capture ideas "I always have notebook and pencil on the table at my bedside. I may wake up in the middle of the night with something I want to put down." —American poet Edna St. Vincent Millay 8. If you work at home, carve out a part of the day to get out of the house and just absorb inspiration or let go of the day completely  "In the nocturnal evening, I get the hell out to some movie or damn play and I come back and sleep like a rock." —Frida Kahlo 9. Figure out the ingredients that are needed to let the ideas find you To develop a new work of choreography, Agnes de Mille needed 'a pot of tea, walking space, privacy and an idea'. 10. Don't feel obligated to keep the same schedule when you are in the middle of creating your art or craft Margaret Bourke-White required long periods of solitude to write, with as few interruptions as possible." In an interview with a Life photographer Nina Leen, Leen remembers after asking her if she would have lunch with her, "She told me she was writing a book and there was no hope of a lunch for several years. 11. Don't feel bad for loving your work and working on what you love beyond the traditional work hours. "Everything seems petty and uninteresting, everything except my work . . . ". Russian-born painter and sculptor Marie Bashkirtseff 12. Do something during the day that is relaxing and keeps you present 'I relax before lunch by arranging flowers . . . When these are all beautifully arranged in bowls and vases, it's usually lunch time." —English actress Gertrude Lawrence 13. Have a studio or space of your own to create "The most important thing is to have a studio and establish and preserve its atmosphere." —Agnes Martin 14. If you love solitude, embrace it  "But it is, as Yeats said, a 'solitary sedentary trade.' And I did a lot of gardening and cooked my own food, and listened to music, and of course I would read. I was really very happy. I can live a solitary life for month at a time, and it does me good." —poet Katherine Anne Porter 15. Trust your intuition as to what works best for you "It's not right if it doesn't feel right." —English painter Bridget Riley 16. Find regular time to just read what you love Rachel Whiteread [English sculptor] would "at some point stop for lunch, and she'd often spend an hour of the day reading sitting in a comfortable chair away from her desk. 17. Establish a flexible routine to work with what you need Morning routine: "Zittel feeds her chickens, waters plants, and performs other outdoor chores before meditating, taking a shower, making breakfast and getting dressed. In the winter, Zittel's morning schedule reverses: She meditates, showers and eats breakfast first; then, once the sun has raised the outdoor temperature, she heads out on her hike and does chores. 'It's really all about establishing a flexible routine."Andrea Zittel, an American artist, in 2017 18. Don't quit trying to live the life you wish to live "It never occurred to me that I couldn't live the life I wanted to lead. It never occurred to me that I could be stopped . . . I had this very simple view: that the reason people who start out with ideals or aspirations don't do what they dream of doing when they're young is because they quit. I thought, well, I won't quit." —Susan Sontag 19. Try a crossword puzzle like Joan Mitchell 20. Determine what view in your studio/sanctuary/work space is most productive for inspiration "Where do I write? In a Morris chair beside the window, where I can see a few trees and a patch of sky, more or less blue." —Kate Chopin, American writer 21. End the day with a signal to your mind to relax "During the performance I drink water with breadcrumbs, which is most refeshing. After the ballet I have a bath as soon as possible. Then I go out to dinner, as by that time I have an unmerciful hunger. When I get home I drink tea." —Russian prima ballerina Anna Pavlova 22. Let baths be your creative muse "Baths also played a part in her creative process - a post-breakfast bath enjoyed regularly by Virginia Woolf. 23. Let lunch be a true mid-day break At 1:00 p.m., Hambling has lunch, takes her Tibetan terrier, Lux, for a walk, and switches on the television to satisfy her tennis addiction. 24. Write when inspiration hits - even if it is in bed in the morning so as not lose the ideas.  25. Go outside and breathe in the fresh air "Fresh air and cold water are my stimulants." —Harriet Martineau - the first female sociologist 26. Enjoy someone's company for tea, lunch or a walk regularly  Emily Post would regularly welcome a guest or two for tea in the afternoon. 27. It's okay for your personal time to be less than what others feel is acceptable  "It seems to me you have to have your personal life organized so that it takes as little of your time as possible. Otherwise you can't make your art." –Eleanor Antin 28. Don't expect the routine to come naturally, create one and stick with it as it enables you to flourish 29. Cook and walk "The only other essential component of her day is a twice-daily walk with her dog, during which she avoids thinking about her writing project. In the evening, she makes herself a simple dinner and goes to bed at 10:00 or 11:00 p.m.." —Isabel Allende 30. Create space for your ideas to be seen  "Open a gap for them, create a space. Be patient." — Hilary Mantel "I think the way to become inspired is to empty your mind and let things come into your mind."  —Joan Jonas 31. Do you and don't apologize "I live here as in Paris. I rise every day at 5 o'clock; I drink my two large glasses of hot water; I take my coffee; I write when I am alone, which is rare; I do my hair in company; I dine every day with the king, chez lui, or with him and les seigneurs. I make calls after dinner; I go to the theater; I return to my place at ten o'clock; I drink my hot water , and I go to bed." —Marie-Thérèse Rodet Geoffrin, a major salonniéres of the French Englightenment 32. Turn on music paired with your favorite drink to start the day "I wake about nine, turn on the symphony and have juice, fruit and a pot of black coffee . . . " —Grace Hartigan, American painter 33. Leave evenings open for your social engagements "In the evening, she would see a friend for dinner or attend another social engagement. But the real key to this perfect writing day, she said, was to know that the following day would be exactly the same." —Eudora Welty 34. Be patient until you find what works, then cherish it "Trial and error, and then when you've found your needs, what feeds you, what is your instinctive rhythm and routine, then cherish it." —novelist Doris Lessing ~SIMILAR POSTS/EPISODES YOU MIGHT ENJOY: ~Why Not . . . Be Creative? ~The Benefit of Daily Rituals ~The Importance of a Daily Routine & How to Create One You Love, episode #164 Petit Plaisir: ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, a Patricia Wells recipe, click here for the recipe ~Why Not . . . Grow a(n) Herb Garden? ~Check out TSLL's IG account, see the Highlights and Part 3 of my FR Trip '18 - mid-roll to see the presentation of the dish in Provence. ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, enjoyed in Provence with Patricia Wells and the other cooking class students during the summer of 2018~ ~the same dish served this past weekend as the second course during a dinner party at my home. Cool and crisp cucumber and yogurt soup.~

In terms of its sheer reach and influence on photographers, there is no magazine that compares to LIFE. From the 1930s into the 1970s, it was the weekly go-to for news, lifestyle, entertainment and, of course, world class photography. With the likes of Margaret Bourke-White, W. Eugene Smith, Robert Capa, Gordon Parks, Dorothea Lange, and Alfred Eisenstadt under contract, and a commitment to the photo essay, LIFE was a groundbreaking publication that has yet to be equaled. At its most popular, it sold 13.5 million copies per week. With America’s attention switching to television by the early 1960s and, eventually, away from print media in general, LIFE slowly became a remnant of another era, but its influence on photography is still immense. On today’s episode of the B&H Photography Podcast, we discuss the magazine, and particularly its print and online reincarnations in the 2000s. Joining us for this conversation is the former editor-in-chief of LIFE, Bill Shapiro. Shapiro, a long-time editor at Time Inc., brought LIFE out of mothballs, in 2004, and launched LIFE.com in 2009. We examine these two iterations of the famed journal. Underscoring this conversation is the larger issue of the consumer switch from print journalism to digital journalism as the primary source of news and photography. Shapiro walks us through the decisions that were made to keep LIFE viable as the eventual changes in the industry took hold, and how he infused creativity into the print magazine and the website, while maintaining its long tradition of great photography. We also talk with Shapiro about his work as an author and, particularly, the book he co-authored, What We Keep, and how that book was influenced by the work he did at LIFE magazine. Join us for this look back at the final years of one the most important publications in American photography history.  Guest: Bill Shapiro Photo: Courtesy Bill Shapiro

“Saturate yourself with your subject, and the camera will all but take you by the hand’’ Margaret Bourke-WhiteWelcome to the Outerfocus Podcast!Joining us on our 25th episode this week, we speak with international award winning British wedding and street photographer (and all round nice guy), Ross Harvey. Ahead of his impending Milan visit, we hear what Ross has been up to lately, including his recent role as Nikon Ambassador. We also hear a little about how Ross got started and how he went from graphic designer to progressing organically into shooting weddings, as well as what he does besides photography. Also up for discussion this week are Instagram, what motive others have for shooting, and outsourcing post-production.Continuing the discussion on motives, we look this week at the life and work of Margaret Bourke-White one the first female war photographers. Looking at her iconic body of work, we talk about the obvious passion she had for photography, and her compassion for the situation and subjects. Born in 1904 in New York Margaret had photographed many difficult and hard times around the world, including World War 2, where she was the first female to be allowed to work in combat zones. We discuss this part of her life, as well her time in Pakistan, and some of her iconic images such as those including Stalin, Gandhi and more.Links:https://en.wikipedia.org/wiki/Margaret_Bourke-WhiteGuest Links: http://www.rossharvey.comhttps://www.instagram.com/rossharvy/http://street.rossharvey.comHost Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comBradley Hansonhttps://www.bradleyhanson.comhttps://www.facebook.com/bradleyhansonphotographyhttps://www.instagram.com/bradleyhansonphotography/https://twitter.com/bradleyhansonIan Weldonhttp://ianweldon.comhttps://www.facebook.com/Ian-Weldon-Photography-124854627581367/Books

   Machiavelli stated- Upon this, a question arises: whether it be better to be loved than feared or feared than loved? One should wish to be both, but, because it is difficult to unite them in one person, it is much safer to be feared than loved.  But what does the data say? Join me as I take a deep dive into compassion in your leadership, the photography of Margaret Bourke White, and the Aretha Franklin version of Precious Lord.

Flag Day, and documentary photographer Margaret Bourke-White, born On This Day in 1904. (repeat)

As a photographer for Life and Fortune magazines, Margaret Bourke-White traveled to Russia in the 1930s, photographed the Nazi takeover of Czechoslovakia in 1938, recorded the liberation of Buchenwald a the end of World War II, and documented “Calcutta streets strewn with putrefying corpses decaying in the heat and being consumed by bloated vultures” in …

Alex Lichtenstein, Associate Professor of History at Indiana University, discusses his new book with co-author Rick Halpern, "Margaret Bourke-White and the Dawn of Apartheid," photojournalism, and writing transnational histories of labor and social justice movements.

A podcast by Alex Lichtenstein, Associate Professor of history at Indiana University, Bloomington

Why is photography still a male-dominated industry? Listen in to learn more about women's roles in the history of photography, including the work of Frances Benjamin Johnston, Margaret Bourke-White, Diane Arbus and other notable female photographers. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Things get a little heavy as Bill and Jeffery discuss the importance of dreams and what often keeps us from chasing them. Plus, standing up for the value of your work, just how limited are limited editions and pioneering female photographer Margaret Bourke-White as Photographer of the Week.

Things get a little heavy as Bill and Jeffery discuss the importance of dreams and what often keeps us from chasing them. Plus, standing up for the value of your work, just how limited are limited editions and pioneering female photographer Margaret Bourke-White as Photographer of the Week.

06. Margaret Bourke-White Ornamental Gargoyle Chrysler Building 1934 Download

  Alex Lichtenstein (History, Indiana U.) on the history of the struggles for class and racial justice in both South Africa and the U.S. The focus is on black trade unions and the apartheid state, the 2012 Marikana mine massacre, and labor in Jim Crow U.S. South, as well as an upcoming exhibition of Margaret Bourke-White‘s […]

  Alex Lichtenstein (History, Indiana U.) on the history of the struggles for class and racial justice in both South Africa and the U.S. The focus is on black trade unions and the apartheid state, the 2012 Marikana mine massacre, and labor in Jim Crow U.S. South, as well as an upcoming exhibition of Margaret Bourke-White‘s […]

Broadcast originally aired September 17, 2012Clare Sheridan's interview of Kerwin McCarthy, the curator of an exhibition about the Centennial of Letchworth Village which was on display at The Historical Society of Rockland County in 2012. The Exhibition presented the facility as seen through the eyes of noted photographer Margaret Bourke-White. The broadcast originally aired on September 17, 2012 on WRCR 1300am Radio Rockland.Mr. McCarthy has been a public affairs official for the Hudson Valley Developmental Disabilities Services Office for over 30 years and it was from his archives that many of the photographs were culled. McCarthy notes that Bourke-White was a “pioneering figure in 20th century documentary photography and is famous for her scenes of modern industry, of the Great Depression, and of political and social movements in the 1920s through the 1950s.”Letchworth Village opened its doors in 1911 and closed in 1996. Although much of Letchworth is now abandoned, its site still serves as the Hudson Valley regional office for the New York State Office for People with Developmental Disabilities (OPWDD) and houses several municipal buildings for the Town of Stony Point. The OPWDD supports patients in Orange, Rockland, Sullivan and Westchester counties.Listen to Crossroads of Rockland History live on www.WRCR.com. Visit The HSRC at www.RocklandHistory.org