Carol Armstrong
Biographic Data
| ID | 3867014 |
|---|---|
| NAME | Carol Armstrong |
| GIVEN NAMES | Carol |
| FAMILY NAME | Armstrong |
| SIGNATURE | ARMSTRONG C |
| AFFILIATIONS | 21st Century Oncology (United States) |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 41 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 3 |
Seurat's Media, or A Matrix of Materialities
Automatism and Agency Intertwined: A Spectrum of Photographic Intentionality
Manet and the Family Romance
A scene in a library: An unsolved mystery
This essay concerns one photograph: the eighth plate in The Pencil of Nature, called A Scene in a Library, which originally appeared in the second installment of Talbot's inaugural book on photography (figure 1). I have already written extensively about A Scene in a Library — and given its title to a book on illustrated books.1 But it is a photograph that, together with the text that accompanies it, has never ceased to intrigue me. I continue to …
The books of Rabbi Hayyim Eleazar Shapira, Mukachevo, 1938
Roman Vishniac's 1938 photograph of The Books of Rabbi Hayyim Eleazar Shapira resonates with a much earlier photograph, by the English inventor of paper photography, William Henry Fox Talbot: A Scene in a Library, from the early 1840s. It is highly unlikely, however, that Vishniac, a Jewish photographer working in Eastern Europe at the time of Hitler and the Holocaust, would have been thinking of Talbot's photograph when he made his own study of …
This Photography Which Is Not One: In the Gray Zone with Tina Modotti
July 01 2002 This Photography Which Is Not One: In the Gray Zone with Tina Modotti Carol Armstrong Carol Armstrong Search for other works by this author on: This Site Google Scholar Author and Article Information Carol Armstrong Online Issn: 1536-013X Print Issn: 0162-2870 © 2002 October Magazine, Ltd. and Massachusetts Institute of Technology2002 October (2002) (101): 19–52. https://doi.org/10.1162/016228702320275436 Cite Icon Cite Permissions S…
Cupid's Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography
When one thinks of Victorian images of come-hither children, it is Lewis Carroll that one probably thinks of first, but in fact it is Julia Margaret Cameron, the good mother and grandmother, who has left us with the more obsessive, the more insistent, and I think the more perverse record of a fascination with the allure of childish bodies. (Just one example would be Cameron's Infant Undine of 1864, with that pseudononchalant, crossed-foot pose, t…
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
Facturing Femininity: "Manet's "Before the Mirror
Florence Henri: A photographic series of 1928
Daughter of a widowed director of a petroleum firm whose work necessitated travel, Florence Henri's early life was spent moving from New York to her mother's native Silesia, to other parts of central Europe, to England, to Italy, upon the death of her father in 1908, to live with her uncle Gino Gori, who was intimate with the Futurist circle, to Berlin, where she turned away from a training in music to study art with the art historian Carl Einste…
Biology, Destiny, Photography: Difference According to Diane Arbus
The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude
Research Article| January 01 1989 The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude Carol Armstrong Carol Armstrong Search for other works by this author on: This Site PubMed Google Scholar Representations (1989) 25: 57–70. https://doi.org/10.2307/2928467 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get P…
Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas
Research Article| April 01 1988 Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas Carol Armstrong Carol Armstrong Search for other works by this author on: This Site PubMed Google Scholar Representations (1988) 22: 108–141. https://doi.org/10.2307/2928413 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permiss…
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
This Photography Which Is Not One: In the Gray Zone with Tina Modotti
July 01 2002 This Photography Which Is Not One: In the Gray Zone with Tina Modotti Carol Armstrong Carol Armstrong Search for other works by this author on: This Site Google Scholar Author and Article Information Carol Armstrong Online Issn: 1536-013X Print Issn: 0162-2870 © 2002 October Magazine, Ltd. and Massachusetts Institute of Technology2002 October (2002) (101): 19–52. https://doi.org/10.1162/016228702320275436 Cite Icon Cite Permissions S…
Cupid's Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography
When one thinks of Victorian images of come-hither children, it is Lewis Carroll that one probably thinks of first, but in fact it is Julia Margaret Cameron, the good mother and grandmother, who has left us with the more obsessive, the more insistent, and I think the more perverse record of a fascination with the allure of childish bodies. (Just one example would be Cameron's Infant Undine of 1864, with that pseudononchalant, crossed-foot pose, t…
Automatism and Agency Intertwined: A Spectrum of Photographic Intentionality
Biology, Destiny, Photography: Difference According to Diane Arbus
Facturing Femininity: "Manet's "Before the Mirror
Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas
Research Article| April 01 1988 Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas Carol Armstrong Carol Armstrong Search for other works by this author on: This Site PubMed Google Scholar Representations (1988) 22: 108–141. https://doi.org/10.2307/2928413 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permiss…
Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas
Research Article| April 01 1988 Reflections on the Mirror: Painting, Photography, and the Self-Portraits of Edgar Degas Carol Armstrong Carol Armstrong Search for other works by this author on: This Site PubMed Google Scholar Representations (1988) 22: 108–141. https://doi.org/10.2307/2928413 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permiss…
The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude
Research Article| January 01 1989 The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude Carol Armstrong Carol Armstrong Search for other works by this author on: This Site PubMed Google Scholar Representations (1989) 25: 57–70. https://doi.org/10.2307/2928467 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get P…
Biology, Destiny, Photography: Difference According to Diane Arbus
Florence Henri: A photographic series of 1928
Daughter of a widowed director of a petroleum firm whose work necessitated travel, Florence Henri's early life was spent moving from New York to her mother's native Silesia, to other parts of central Europe, to England, to Italy, upon the death of her father in 1908, to live with her uncle Gino Gori, who was intimate with the Futurist circle, to Berlin, where she turned away from a training in music to study art with the art historian Carl Einste…
Facturing Femininity: "Manet's "Before the Mirror
Cupid's Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography
When one thinks of Victorian images of come-hither children, it is Lewis Carroll that one probably thinks of first, but in fact it is Julia Margaret Cameron, the good mother and grandmother, who has left us with the more obsessive, the more insistent, and I think the more perverse record of a fascination with the allure of childish bodies. (Just one example would be Cameron's Infant Undine of 1864, with that pseudononchalant, crossed-foot pose, t…
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
A scene in a library: An unsolved mystery
This essay concerns one photograph: the eighth plate in The Pencil of Nature, called A Scene in a Library, which originally appeared in the second installment of Talbot's inaugural book on photography (figure 1). I have already written extensively about A Scene in a Library — and given its title to a book on illustrated books.1 But it is a photograph that, together with the text that accompanies it, has never ceased to intrigue me. I continue to …
The books of Rabbi Hayyim Eleazar Shapira, Mukachevo, 1938
Roman Vishniac's 1938 photograph of The Books of Rabbi Hayyim Eleazar Shapira resonates with a much earlier photograph, by the English inventor of paper photography, William Henry Fox Talbot: A Scene in a Library, from the early 1840s. It is highly unlikely, however, that Vishniac, a Jewish photographer working in Eastern Europe at the time of Hitler and the Holocaust, would have been thinking of Talbot's photograph when he made his own study of …
This Photography Which Is Not One: In the Gray Zone with Tina Modotti
July 01 2002 This Photography Which Is Not One: In the Gray Zone with Tina Modotti Carol Armstrong Carol Armstrong Search for other works by this author on: This Site Google Scholar Author and Article Information Carol Armstrong Online Issn: 1536-013X Print Issn: 0162-2870 © 2002 October Magazine, Ltd. and Massachusetts Institute of Technology2002 October (2002) (101): 19–52. https://doi.org/10.1162/016228702320275436 Cite Icon Cite Permissions S…
Manet and the Family Romance
Automatism and Agency Intertwined: A Spectrum of Photographic Intentionality
Seurat's Media, or A Matrix of Materialities
Art (12 works) · Art history (9 works) · Visual arts (9 works) · Photography (7 works) · Computer Science (6 works) · Psychology (6 works) · Photography and Visual Culture (5 works) · Visual Culture and Art Theory (5 works) · Philosophy (4 works) · Citation (3 works)