#frank bourke

[badmovieihave]

Bad movie I have His Dark Materials : The Complete Third Season 2022

[rtfics]

Since there's a resurgence of readership of my Villy fanfic (V.A. Vandevere x Milly Farrier age 18 = Villy) Baby, Mine, I decided to reblog this.

I did hear from a friend who works media in L.A. that Michael Keaton had read something I wrote for him about V.A. moving like a snake. ( I can't give more detail because I'm anonymous). He loved it so much he brightened up during the press conference with the Dumbo cast that was filmed immediately after he read it. In the interview, Keaton said he wanted to be "the snake. Not the snake handler, but the snake." Everyone was confused and his comment fell flat, but I knew he was referring to what I'd written. :-)

It's in this clip at 4:09.

Keaton fans, there's some good crotch-watching in this video. ;-) @liquidloz @youkickedandcried @yunafire

My “Dumbo” art.

I was cleaning out my folders and found art I did of Dumbo 2019 and Villy.  I got into the fandom 3 years ago this month, before the movie even opened!

I was on Twitter in 2019.  I did cartoons of the characters reading for First Book’s Magical Adventure Sweepstakes (promo narrated by Michael Keaton).  First Book promoted these, and I received a nice note from actor Frank Bourke, asking if he could use the Puck cartoon as his avatar.  Of course I said yes, I was honored!  He used it on Twitter and Instagram.

I never did get around to doing a cartoon of Holt, I don’t know why.

Soon after I deleted my Twitter account, so all those posts are gone.

I didn’t have a scanner at the time, so all the photos were taken with a clunky old digital camera.

Nico Parker.

Sharon Rooney.

Roshan Seth.

Frank Bourke.

DeObia Oparei.

Danny DeVito.

Eva Green.

Michael Keaton.

Keaton and DeVito did this Dumbo promo:

so I tweeted this cartoon for First Books.

A Dumbo cast members told me both Keaton and DeVito loved it, but I can’t confirm that (I don’t believe it).

After reading bad reviews of Michael Keaton’s accent as VAV, I tweeted these.  A friend who’s an actor in L.A. urged me to send the art to Keaton’s rep agency.  For the hell of it, I did.  No idea if his rep’s office ever received them, of if he ever saw them.  Considering he must get bags of fan mail, I doubt very much he’s seen them.  Just as well; I drew the art fast, and it’s not my best work.

My first Villy art.

I drew these for Chapter 5 of my fanfic, Baby, Mine.

This scene from Chapter 5 kept getting fl@gged by Villy-antis because of the “explicit” parts, until finally my whole original blog went down.

Here’s most of it (explicit parts removed).

Before text:

After:

I saw lots of Disney Villains t-shirts, but none for my fav bad guys.  So I designed my own.

[laurengrabelle]

I’ve been waiting two years to share this news. I’m not really sure how this came to be, but certainly it is a highlight of wishing my work out into the world. 26 years ago in a crowd of many I could not take my eyes off a dancer at the Schemitzun Powwow and, I think for the first time in my life, approached a stranger to ask for a portrait. This is what we made together, “Tommy in His Car”. And now it is in this stunning new book, Our America, A Photographic History, by Ken Burns with an introduction by Sarah Hermanson Meister. Oh, and it is on the facing page of an image by Sally Mann, and just page widths away from the iconic works of Hansel Mieth, Elliott Erwitt, Minor White, Walter Iooss, Richard Avedon, Danny Lyon, Eve Arnold, Dennis Stock, Alfred Eisenstaedt, Gordon Parks, Robert Frank, Bruce Davidson, Jerome Liebling, Dorothea Lange, Ansel Adams, Eudora Welty, Helen Levitt, Marion Post Wolcott, Walker Evans, Margaret Bourke-White, Paul Strand, Charles Sheeler, Alfred Stieglitz, Laura Gilpin, Lewis Hine, Edward Curtis, Mathew Brady, Timothy O’Sullivan, and Carleton E. Watkins. There are many more known and unknown photographers, but these are the names that leapt out at me when I finally got to hold the book in my hands last night.I’m kinda excited! Many thanks to Tommy Christian, Ken Burns, and Susanna Steisel.

[itsawritblr]

When I was inking regularly I always had Inker’s Hands (ink stains).  I wore it as a badge of Honor. ;-)

I use watercolor pencils more than liquid watercolor, because the color’s easier to control with the pencils.

I’m self-taught, too.  You do wonderful work for being self taught!

I’m not drawing currently (need to be more disciplined about it).  But since you asked, I’ll inflict some of my old art on you.

In 2019 I did some art for Tim Burton's Dumbo promotion for the nonprofit First Book, which wanted the characters reading. This is actor Frank Bourke's character, Puck. Bourke used it as his avatar for a while. Pencil, ink, grayscale markers.

Michael Keaton's, as V.A. Vandevere.

For my Beetlejuice + Lydia fanfic, Falling in Loathe. Pencil, ink, grayscale markers.

For my Beej/Lyds fanfic, Coming of Age.

Professional illustration. Pencil, ink, watercolor, and watercolor pencil.

Reimagined Pippi Longstocking for a library's Book Illustration project. Pencil, ink, watercolor, watercolor pencils.

So anyway, this is the kind of shit I do. Thank you for asking! (I still like yours better!)

I love your art! How do you create it?

Thank you so much! I'm glad you enjoy my artworks! ❤️

I work with "Krita" and usually it goes like this:

Create sketch

Do Lineart

Base Colours then shadows then light then highlights

Touch up with an editor (for example "PicsArt")

In the last few artworks I tried a new technique because I wanted to get faster at drawing and I wanted to see how I did with a less detailed approach. So, for that I

created a sketch

immediately painted with colours - slowly carving the features and the finer details out

It felt a little bit like sculpting and it was fun!

I hope this answered your question 😊

[ulkaralakbarova]

A young man leaves Ireland with his landlord’s daughter after some trouble with her father, and they dream of owning land at the big giveaway in Oklahoma ca. 1893. When they get to the new land, they find jobs and begin saving money. The man becomes a local barehands boxer, and rides in glory until he is beaten, then his employers steal all the couple’s money and they must fight off starvation in the winter, and try to keep their dream of owning land alive. Meanwhile, the woman’s parents find out where she has gone and have come to America to find her and take her back. Credits: TheMovieDb. Film Cast: Joseph Donnelly: Tom Cruise Shannon Christie: Nicole Kidman Stephen Chase: Thomas Gibson Daniel Christie: Robert Prosky Nora Christie: Barbara Babcock Danty Duff: Cyril Cusack Mary Kay: Eileen Pollock Kelly: Colm Meaney Dermody: Douglas Gillison Grace: Michelle Johnson Bourke: Wayne Grace Joe Donnelly: Niall Tóibín Paddy Donnelly: Jared Harris Colm Donnelly: Steven O’Donnell McGuire: Barry McGovern Gordon: Gary Lee Davis Farmer: Peadar Lamb Peasant: Mark Mulholland Peasant: P.J. Brady Landlord: Wesley Murphy Priest: Jimmy Keogh Villager: J.G. Devlin Villager: Gerry Walsh Tavern Keeper: Brendan Cauldwell Peter: Derry Power Matthew: Noel O’Donovan John: Macdara Ó Fátharta Lady: Eileen Colgan Lady: Kate Flynn Lady: Joan O’Hara Map Vendor: Frankie McCafferty Hat Vendor: Poll Moussoulides Irish Vendor: Pat Kinevane Flag Vendor: Donncha Crowley Fruit Vendor: Tim McDonnell Thug: Todd Hallowell Thug: Ken McCluskey Rebel Leader: Brendan Ellis Flynn: Clint Howard Coniff: Jeffrey Andrews Glenna: Judith McIntyre Olive: Rynagh O’Grady Lamplighter: Martin Ewen Social Club Policeman: Brendan Gleeson Doctor: Frank Coughlan Crew Boss: Hoke Howell Old Man: Arnold Kuenning Immigrant: Rocco Sisto Immigrant: Michael Rudd Railworker: Donré Sampson Derelict: Harry Webster Officer: Mark Wheeler Tomlin: Rance Howard Blacksmith: William Preston Prostitute: Pauline McLynn Prostitute: Joanne McAteer Prostitute: Cara Wilder Prostitute: Aedin Moloney Piano Playing Prostitute: Helen Montague Boxer: John-Clay Scott Boxer: Clay M. Lilley Boxer: Cole S. McKay Boxer: James Jude Courtney Boxer: Jeff Ramsey Boxer: Anthony De Longis Boxer: Carl Ciarfalio Bigoted Man: Tim Monich Boston Maid: Alecia LaRue Turner: Ian Elliot Social Club Thug: Bobby Huber Social Club Woman: Julie Rowen Social Club Woman: Louisa Marie Henchman: Brian Munn Honest Bob: Bob Dolman I.M. Malone: Phillip V. Caruso Immigration Policeman: Tom Lucy Dancing Girl (uncredited): Kris Murphy Film Crew: Original Music Composer: John Williams Producer: Brian Grazer Costume Design: Joanna Johnston Producer: Ron Howard Editor: Daniel P. Hanley Editor: Mike Hill Animal Coordinator: Greg Powell Screenplay: Bob Dolman Stunts: Tony Brubaker Stunt Coordinator: Walter Scott Director of Photography: Mikael Salomon Stunts: Corey Michael Eubanks Stunts: Gary Powell Movie Reviews:

[wendellcapili]

pilita corrales

(originally posted in my “letters from canberra” blog on 10 june 2006—i was then a ph.d. scholar at the australian national university. photo with ms. pilita corrales taken on 27 november 2019 at grand hyatt manila. “letters from canberra” is also the working title of my unpublished autobiography on my growing up years in sampaloc, manila, during the 1970s-early 1980s)

from maestra isang tapales and jovita fuentes to ryan cayabyab and lea salonga, filipino musical artists have been winning worldwide acclaim as soloists, accompanists, composers, and arrangers. i grew up fascinated with filipino pop artists and their achievements in many international music festivals. but my fascination with these artists began with pilita corrales.

i skipped kindergarten and landed immediately in prep school at u.s.t. elementary school when pilita corrales bagged the best singer award during the 1st tokyo music festival (tmf) organized by tokyo’s popular music promotion association in 1972. pilita performed george canseco’s stirring ballad “my daughter.” she bested well-known musical artists like stig anderson (who later became the manager of abba), julio iglesias, paul williams and olivia newton-john. tmf’s succeeding roster of participants and guest artists has included the likes of paul anka, shirley bassey, kate bush, kim carnes, joe cocker, natalie cole, the commodores, rita coolidge, randy crawford, sammy davis jr., al green, israeli superstar ofra haza, jermaine jackson, jackson five, al jarreau, limahl (lead singer of the 1980s pop band kajagoogoo), barry manilow, gilbert o’ sullivan, the pointer sisters, lionel richie, diana ross, frank sinatra, sister sledge ("we are family"), donna summer, the three degrees ("when will i see you again"), vaya con dios (a top belgian band), dionne warwick, andy williams and stevie wonder. not to be confused with the equally prestigious world popular song festival (http://users.telenet.be/wpsf/Main_Menu.htm)(organized separately by the tokyo-based yamaha music foundation from 1970 to 1989), pilita’s victory at tmf was no mean feat.

immediately upon arrival in manila, pilita landed in newspapers and on television, where the local press began dubbing her as “asia’s queen of songs.” that’s how i got to know more about her. soon, pilita became a permanent fixture on ibc channel 13's "seeing stars with joe quirino." then japan's matsushita corporation, owners of national (now panasonic) electronic appliances, handpicked pilita to endorse quintrix state-of-the-art color t.v. and jetscycle refrigerators. right before going to bed late at night, i patiently waited for rpn channel 9 to air pilita's t.v. ad where she sang the first few bars of "kapantay ay langit" at eduardo's along roxas boulevard. pilita was then at the height of her popularity as the country's leading female vocalist.

these days, pilita is well-known on t.v. audiences as a comedy actress. she is “mamita” on gma channel 7’s comedy “lagot ka, isusumbong kita” opposite joey marquez, richard gomez, raymart santiago, and benjie paras. soon, she will be even more famous as the female judge, a la paula abdul, in abc channel 5’s philippine idol (http://www.philippineidol.com/). younger generations of filipinos are probably oblivious to pilita’s impressive feat as the first filipino winner of an international music festival. nobody seems to remember pilita's distinguished achievements as a recording, live performance, and t.v. artist.

nearly fifty years ago, pilita arrived in australia with a shipwrecked troupe of performers. initially, she was the assistant of magician and actor john calvert. calvert had earlier achieved popularity with his long-running magic show in hollywood with edgar bergen, gary cooper, cary grant, and danny kaye during world war II. calvert also appeared in a movie with clark gable. later, pilita and calvert formed a tandem that proved to be very popular at the legendary tivoli theatre ("the tiv") on bourke street. "the tiv" was the center of melbourne's glamour, magic, and live entertainment long before t.v., cinema, betamax, vhs, vcds, mobile phones, dvds, mp3s, ipods, blogs, and laptops took over. it was also the site of pilita's first international success.

as a leading female vocalist from 1958 to 1962, pilita achieved mainstream acceptance and popularity in australia way ahead of newton-john, pat carroll, helen reddy, patsy anne noble, debbie byrne, renee geyer, the moir sisters, colleen hewitt (who made a hit out of "day by day" from godspell), sister janet mead (who did a popular cover version of "the lord's prayer"), marcia hines, samantha sang (who scored a u.s. #1 hit in 1978 with barry and maurice gibb's "emotion" ), kate ceberano (who is actually filipino-hawaiian-australian), tina arena, kylie minogue and delta goodrem. the australian broadcasting corporation (abc) and melbourne's the age recognized pilita as the first woman ever to land on top of the australian pop charts in 1958 with "come closer to me."

pilita also performed with international artists like the beatles, bob hope, julie andrews, pat boone (“you light up my life” singer debbie boone’s father), and sammy davis jr. (at caesar’s palace in las vegas) while hosting prizewinning musical-varieties like “an evening with pilita,” “pilita and jackie, ” “ang bagong kampeon” and "tanghalan ng kampeon.” she popularized songs by filipino composers (“a million thanks to you,” “kapantay ay langit,” “ang pipit”) way ahead of many local artists. her renditions of tagalog classics by tito arevalo, george canseco, levi celerio, constancio de guzman, dominador santiago, leopoldo silos, restituto umali, and miguel velarde jr. under plaka pilipino and vicor helped pave the way for the mainstream (and not just token or marginal) acceptance of original pilipino music (opm) during the 1970s and the 1980s.

after pilita, filipino artists realized they could also win festival honors for the country. celeste legaspi won major prizes in world music festivals held in manila (1976, for philip monseratt’s “pusong nagmamahal”), tokyo (1976, also for “pusong nagmamahal”), and seoul (1981, for willy cruz’s “never ever say goodbye”). didith reyes bagged the gold prize during the 1977 tokyo music festival. leah navarro and the manila music machine bagged the bronze prize at tokyo in 1979. the philippines had been luckiest at the seoul popular music festival (1978-1983). winners of the annual metro manila popular music festival (1978-1985) were sent to compete at the sejong cultural center. except for lerma de la cruz (who did not win in 1983, despite her exceptional rendition of vehnee saturno's "ako'y ako"), filipinos won a slew of prizes in seoul: ryan cayabyab and hajji alejandro for “kay ganda ng ating musika” (grand prix, 1978); freddie aguilar for snaffu rigor's “bulag, pipi at bingi" (best performer, 1979); dero pedero and leah navarro for “isang mundo, isang awit” (bronze, 1980); ananias montano and something special for “babae ka” (bronze, 1981); and jun latonio, tillie moreno, eugene villaluz and louie reyes for “nothing i want more” (grand prix, 1982). in later years, jose mari chan, eugene villaluz and louie reyes, leo valdez, dulce, ivy violan, smokey mountain, regine velasquez, jaya, ryan cayabyab, gines tan, danny tan, vehnee saturno, and a few other artists would achieve similar honors in festivals held in canada, china, finland, hong kong, japan, malaysia, the philippines, and the united states during the 1980s and the early 1990s.

towards the 21st century, a shortage of interest and sponsors caused the demise of many music festivals. the few surviving ones today are mostly national or regional, as in the case of san remo (italy) and the annual eurovision contest. gma 7 tried to revive metro pop during the 1990s, but antonio barreiro passed away. no one could execute the vision and spirit of music festivals locally as he did.

gerry matias, one of pilita’s musical directors, is the father of my former student, gm matias. when i return to manila, i will probably ask gm to get me pilita's autograph. or i'll drop by pilita’s bar in greenhills and tell her how she fascinated me when i was growing up. one of these days, she ought to be proclaimed a national artist. even the city of melbourne has named a street after her in forest hill. and yet, she opted to sing more for her kababayans back home. i will never understand why pilita corrales should not receive the honor she deserves.

[blendergallery]

⚡️ "How I found myself in the WC with one of the most influential rock musicians of all time" 👑 Ever wanted to know the story behind this very famous photo of Frank Zappa?! ⚡️ Join us TONIGHT for a little summer soirée with British photographer Robert Davidson - who has landed in Australia for the first time! He will be telling the story of how he snapped Zappa “on the krappa”, signing exclusive posters and books - come down for a drink and a chat 🥂 ✅ 6-8pm ✅ 682 Bourke St Redfern Here’s a lil taste…. 😎 In the summer of 1967, nineteen year old photographer Robert Davidson was commissioned to shoot Frank Zappa in his London hotel room to promote an upcoming concert at the Royal Albert Hall. Zappa let him in upon arrival and proceeded to use the toilet. Robert seized the opportunity and immediately asked through the ajar door if he could take his picture on the throne – Zappa obliged. This set of images, commonly known as the ‘Zappa Krappa’ pictures almost immediately gained cult status, a sentiment echoed by Zappa himself in 1983, when stating, “I’m probably more famous for sitting on the toilet than for anything else.” Peace & Love! ✌️❤️🎶 #frankzappa #zappa #robertdavidson #monday #mondayvibes #rockandroll #musichistory #musicphotography #psychadelic #sixties #legendsneverdie #rockroyalty #cult #rare #style #icon #muse #rockicon #rocknroll #blendergallery (at Blender Gallery) https://www.instagram.com/p/CnlEhhdP_6n/?igshid=NGJjMDIxMWI=

[moviemosaics]

Dumbo

directed by Tim Burton, 2019

[badmovieihave]

Bad movie I have The Complete Second Season His Dark Materials:New Worlds Await 2020

[itsawritblr]

I can’t believe it’s been 2 years, Part 1.

Over two years since Dumbo opened!  Where the hell has the time gone??

But I still love this film, flaws and all.

[domwho11]

Please check out my His Dark Materials series 2 episode 6 review Many thanks

[genrecaps]

HIS DARK MATERIALS - 1.04 ARMOUR 1920x1088 | .jpg | logofree | 3,052 screencaps | sorted

gallery :: download - PLEASE LIKE/REBLOG IF TAKING! - credit genrecaps.tumblr.com or genrecaps.net

[victorianwestpiano]

Puck as a merman:

Here’s the original photo:

I forgot to post this fanart on Tumblr, sorry. I posted on Instagram first and Frank Bourke, the actor who plays Puck, responded me with a direct message:

[rrrauschen]

Johnny Kelly, {2017} Fern

[whatdoesshedotothem]

Saturday 10 November 1838

6 55

1

very fine morning tolerably much cousin yesterday but hardly any in the night A- came and got me up so soon, for a light – poorly this morning – had  had Josephine and was dressed before 8 – F61° now at 8 ¾ am note from Madame de Bourke to put off the dinner from tomorrow to Monday, hoping to have un homme de lettres to meet me – wrote back pour la remercier de sa bonté et to say I should be charmé to diner chez elle Lundi au lieu de domain – then breakfast – then wrote as under to  ‘Monsieur Monsieur Oakey ambassadi Britannique’ – ‘Mrs. Lister presents her compliments to Mr. Oakey and if he has received any letter for her from Pau, will be much obliged to him to put it under cover to her at Meurices’ Hotel – Saturday morning 10 November 1838.’ then went out – the carriage ordered at 10 and having waited – out about 10 ½ A- and I in the carriage and took George – waited in the carriage while he took my note to Mr. Oakey next door no! no.35 embassy no.39 r. du Faubourg St. Honorè – and while he took my passport to the embassy-porter to be visaed for Angleterre via Calais – then r. des Capucines and ordered a pair of strong leather shoes for Wednesday evening sans faute – then r. du Helder no.12 – Madame Oudot-Manoury sortie – saw her husband and a young English girl – would rather see Madame O- herself and would call again – then to Amyots’ – A- amused – bought for her folio 80/. sur l’histoire de France and its antiquities published chez Firmin Didot and bought for myself Voyages historiques, littéraires, et artistiques  en Italie par M. Valery bibliothécaire du roi au palais de Versailles. Paris chez Baudry. 1838 – then at 1 ½ back again from Amyots’ to no.12 r. du Helder – Madame O.M. still out so came away immediately – then bought a pair of slippers chez Flammant à la chinois (Bains chinois) boulevard Italian – then to Madame Contant and left my black silk shawl and A-‘s ditto mantelet to be lined and ouatté – Madame C- so strongly recommended Madame Chatelain coutrière no.46 r. St. Anne that we went to her and ordered each a morning gown – silks to come in the morning at 10 for us to choose – then to Bodier gautier r. de Richelieu – good – bought a couple of pair gloves each and had our measure taken and left each our name and address r. St. Victor 27, and came away at 3 ½ and then to the Pensionnat Protestant 2 Rue des deux portes, St. Jean. Madame Langeland to inquire for a young Swiss lady’s maid – she had none but young girls – too young and knowing – generally sends them to England as petites bonnes, under nurses, to teach the children French – but some are apprenticed here to dress-makers – none at present at liberty – there is one will be at liberty in 18 months from this time – then to Place de la medicine no.13 chez Crochard – ordered the volumes necessary to complete my sets of Capefigue etc. Mr. Audoin now a member of the Institute – has made some great discoveries relative to the [?] that destroys the vine and going to publish a large work on the subject aided by government in the expense – Dr. Milne Edwards, too, also a member of the Institute – home at 5 ½ - A- wrong at breakfast but I got her right and then the eighty frank book at Amyots and the silk gown and was all right till we went to Crochards’   not amused and rather wrong again   what a bore I am never at ease but when away from her    dinner at 6 to 7 10 – then A- read a little aloud to me of her folio bought this morning then slept on the sofa and I dozed in my chair till near 10 – then had Josephine she asked when I should leave Paris – about engaging herself to Mrs. Sheldon to go on Wednesday – Mrs. Sheldon wishing to see me – I declined this begging that if she had anything to ask me, she would write – Josephine wants me to give her a written character said it was not my habit to give written characters – but I would say she had lived with so long, and I was satisfied with her – adding however that if she left me on Wednesday it would be a great inconvenience and I should decline saying anything – I should feel it unhandsome on her part, but I did not wish her to

SH:7/ML/E/22/0064

lose a good place – I understood, one gave a fortnights’ notice here – no! it was eight days – very fine day – I shall never keep a servant with A-   I must begin over again   I must be rid of her by and by – then settling Josephines’ accounts and calculating her wages etc. etc. till now 12 tonight at which hour F60 ¼° - Josephines’ wages from the time of her coming Saturday 16 June to Thursday 15 November = 153 days at 500fr. a year = 209fr. 11 285/365 sols say 210fr.

[sartle-blog]

Art History Reader: How to Read a Photograph (As Art)

Robert Frank, Trolley - New Orleans, 1955, Gelatin silver print, 8 5/8 x 13 1/16 in., The Metropolitan Museum of Art.

  From Rembrandt to Frida Kahlo, artists have long found inspiration in the mirror. While their painted selfies may have taken a bit longer to create, they are not so different from what we post on Instagram. Whether it's to share your experiences or please the algorithm, we continue this trend of photographing ourselves for our followers. Our technology allows us to do this through the grueling work of clicking a button, not to mention using apps to edit and perfect this version of us. The amount of likes then confirms that we have shared a significant picture with the world, as we sit back and wait for verification from the Pulitzer or TIME committees. However, contrary to social media’s endorsements, “liking” a photograph isn’t the same as critically reading a photograph. 

There is more to a photograph than simply looking at it. Since we are so inundated with images--from the news, social media, and memes--slowing down, practicing visual literacy, and comprehending what we see is essential. Here are a few easy steps to start to more critically read and analyze photographs. 

  Do a formal analysis. 

Just like checking an influencer’s photos for Photoshop mistakes, slow down and look at every nook and cranny of the photograph. Try to see each item and element individually without creating any expectations or stories. List the items, people, words, indications of location, and the elements of art in the image. Photographs are a record of light, bouncing, reflecting, and being absorbed by different surfaces. Acknowledge the light and colors that are visible.

Consider the example of Robert Frank’s Trolley, seen above. There are strong lines that create a grid to frame the shapes of the subjects. The light is diffused likely from the clouded sky creating bouncing reflections on the trolley siding. Photographs that have many aspects to formally analyze are:

Gunsmith and Police Department, 6 Centre Market Place and 240 Centre Street, Manhattan by Berenice Abbott

Untitled by Francesca Woodman

  Examine the composition.

After looking at the individual elements, see the image as a whole. Be aware of how your eyes move through the photograph, observing if there are places for pause. Consider the overall tone of the work, whether there is more complexity or harmony in the shapes, patterns, light, color, and contrast. Ask yourself whether these moments create a sense of balance or instability. Again, practice looking rather than creating assumptions. 

The composition of Trolley is very formal and symmetrically balanced by the trolley’s wall and windows. The subjects are centered horizontally. The contrast overall is rather high, where the middle gray frames the subjects. Photographs that have strong compositions are:

Roadside Stand, Vicinity Birmingham, Alabama by Walker Evans

At the Time of the Louisville Flood by Margaret Bourke-White

  Identify the narrative.

Now that we’ve read the receipts we can spill all the tea we want! Think about the story and meaning of the photograph. While photographs are documents of the world around us, each image is carefully curated by the artist with regard to the story they want to tell. Sometimes that narrative is about people, where the expressions, actions, and clothing (or lack thereof) convey the character’s personality. Objects and colors can give more abstract context to the story, being symbolic of a larger idea. Be aware of what is not included in the frame as well based on any shadows, lines, or shapes surrounding the subject.

In Trolley, the assumption is that the passengers are using public transportation. The facial expressions and clothing indicate personalities, showing irritability in the older woman, apathy and concern in the children, and resignation in the man. Consider their lack of interaction. Other photographs with strong narratives include:

Flower Power by Bernie Boston 

Untitled Film Still #35 by Cindy Sherman 

  Give context to the artwork.

Now that we have an understanding of what is going on in a photograph, we have to establish the why. The artist’s goals often shift the way a viewer interprets an image. Context can be given in two ways: within the photograph or through a title and artist statement.

Within the photograph, explore the details of location and time period. Location can be explored through the scenery, whether there is urban infrastructure or natural landscapes. The time in history can be more difficult to establish but clothing and objects often give it away. The time period is essential for understanding the social and political atmosphere of the scene. Tension and upheaval in racial, gender, and economic inequalities are prevalent throughout twentieth century photographs. While these larger ideas are not always the ultimate goal of the artist, it is important to understand the historical context.

The artist statement gives a very specific version of the artist’s story and objectives. These will place the exact year of the image and often describe the process and story behind the photograph. No photograph is neutral nor can it be objectively read. Viewers bring their own preconceived ideas to each image based on their own beliefs of what is visualized and what a photograph can do. The artist usually has a specific story they are telling to share information, create commentary, and give visuals to situations and ideas. 

The racial tensions in Trolley are the primary subject matter. The racially charged atmosphere is clear in the segregation of seats on the trolley. The dispositions of the passengers also hints to the turbulence of the time. Explore these other photographs that show a larger concept with greater context:

American Gothic by Gordon Parks

Self Portrait with Fried Eggs by Sarah Lucas

  Establish where the image exists.

Whether you’re scrolling through Instagram, on a gallery date, or seeing ads in a magazine, the location, size, placement, and space of the photograph can alter the reading of it. Consider where the image exists. Installations of photographs allow the artist to curate a viewer’s experience of the images. Images in advertisements have an indication of commodity and capitalism. Images on social media are immediately given ratings. While the first experience you have with a photograph is not the only way to read the image, the impression of your encounter will affect your reading.

Frank’s Trolley exists within the larger monograph The Americans, a book which features 83 photographs. There is a specific order for the viewer to read the images. Seeing a photograph between the pages of other photographs creates a connection between them, allowing the viewer to understand them in relationship to each other. Consider the following photographs and their installations:

Untitled from The Kitchen Table series by Carrie Mae Weems

The Flooded Grave by Jeff Wall

  Scrolling through Instagram might be a bit easier than critically reading a photograph, but the payoff is worth more than likes. The more practice you have, the better you will be at understanding the ways of truth and manipulation in images. While many of these steps seem simple, the act of slowing down will be beneficial for reading any kind of artwork. You will also be even better at spotting selfie edit fails! 

By: Epiphany Knedler