Caroline Blinder
Biographic Data
| ID | 1594684 |
|---|---|
| NAME | Caroline Blinder |
| GIVEN NAMES | Caroline |
| FAMILY NAME | Blinder |
| SIGNATURE | BLINDER C |
| AFFILIATIONS | Goldsmiths University of London |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Masks and Mirrors Concealment and Disclosure in Ralph Eugene Meatyard’s The Family Album of Lucybelle Crater (1974, 2002)
This article examines the use of masks in the American photographer Ralph Eugene Meatyard’s (1925-1972) posthumously published photo-book The Family Album of LucyBelle Crater (1974). For Meatyard, the spectral feature of photography – to make the invisible visible and vice versa - materializes itself in the use of masks as essential props designed to foreground not only a sense of secrecy and concealment, but also photography’s profoundly unstabl…
The Transparent Eyeball
Taking Emerson's "Nature" as its starting point, this paper argues that in Lincoln Kirstein's and William Carlos Williams's readings of Evans as a visionary artist of the vernacular, Emersonian ideals were always part and parcel of the search for an intrinsically American manifesto of photography
US Topographics
In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the …
Richard Misrach and Kate Orrf's Petrochemical America
This article looks at the landscape photographer Richard Misrach's collaboration with the architect Kate Orff in Petrochemical America (2012), a prizewinning examination of the effects of the oil industry in the Mississippi delta. Whilst situating its critique of the oil industry in the twentieth and twenty-first centuries, Petrochemical America nonetheless uses a variety of aesthetic devices from previous centuries and traditions, in particular …
The Radical Camera
(2013). The Radical Camera: New York's Photo League 1936–1951: Mason Klein and Catherine Evans (eds) Photography and Culture: Vol. 6, No. 1, pp. 107-112
Looking for love in all the wrong places’
This article addresses the issue of automatism in the context of Surrealist practice and, in particular, how Brassal's photographs in L'Amour Fou (Mad Love) (1936) speak to us of an alignment between photography and the marvellous. It argues that Mad Love presents the photograph as a link between narrative action and location, desire and its possible representation. Despite being devoid of an overtly emotive human presence, Brassal's nocturnal vi…
No prominent works on this page.
Looking for love in all the wrong places’
This article addresses the issue of automatism in the context of Surrealist practice and, in particular, how Brassal's photographs in L'Amour Fou (Mad Love) (1936) speak to us of an alignment between photography and the marvellous. It argues that Mad Love presents the photograph as a link between narrative action and location, desire and its possible representation. Despite being devoid of an overtly emotive human presence, Brassal's nocturnal vi…
The Radical Camera
(2013). The Radical Camera: New York's Photo League 1936–1951: Mason Klein and Catherine Evans (eds) Photography and Culture: Vol. 6, No. 1, pp. 107-112
US Topographics
In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the …
Richard Misrach and Kate Orrf's Petrochemical America
This article looks at the landscape photographer Richard Misrach's collaboration with the architect Kate Orff in Petrochemical America (2012), a prizewinning examination of the effects of the oil industry in the Mississippi delta. Whilst situating its critique of the oil industry in the twentieth and twenty-first centuries, Petrochemical America nonetheless uses a variety of aesthetic devices from previous centuries and traditions, in particular …
The Transparent Eyeball
Taking Emerson's "Nature" as its starting point, this paper argues that in Lincoln Kirstein's and William Carlos Williams's readings of Evans as a visionary artist of the vernacular, Emersonian ideals were always part and parcel of the search for an intrinsically American manifesto of photography
Masks and Mirrors Concealment and Disclosure in Ralph Eugene Meatyard’s The Family Album of Lucybelle Crater (1974, 2002)
This article examines the use of masks in the American photographer Ralph Eugene Meatyard’s (1925-1972) posthumously published photo-book The Family Album of LucyBelle Crater (1974). For Meatyard, the spectral feature of photography – to make the invisible visible and vice versa - materializes itself in the use of masks as essential props designed to foreground not only a sense of secrecy and concealment, but also photography’s profoundly unstabl…
Art (5 works) · Art history (4 works) · Photography and Visual Culture (4 works) · History (3 works) · Art, Politics, and Modernism (2 works) · Computer Science (2 works) · Exhibition (2 works) · Geographies of human-animal interactions (2 works) · Literature (2 works) · Narrative (2 works)