William Jenkins was born in Clondalkin on the western edge of Dublin. In the end, he chose to examine the American and Canadian experiences of the Irish through the lens of Buffalo and Toronto. After defending his dissertation in , he became a postdoctoral fellow at the University of British Columbia in Vancouver. In , he returned to Toronto when he was appointed to an assistant professorship in the Geography department at York University. Between and , he served as director of the Graduate Program in History.
WATCH RELATED VIDEO: Jenkins Raíces de familiaContent:
- How a Tennessee Farm Boy Cashed In on the Mexican Revolution
- William T Jenkins
- Joshua Lutz
- TEXT AND PHOTOGRAPHY BY KATHERINE JENKINS
- William Jenkins
- Reframing the New Topographics
- William Jenkins Worth Monument
- William's Bupa Great Birmingham Run 2013 page
- Snow Over Earlswood
- Joe Deal, a Landscape Photographer of Disquieting Images, Dies at 62
How a Tennessee Farm Boy Cashed In on the Mexican Revolution
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William T Jenkins
Gelatin silver print, 20 x 25cm. Still, restaging an exhibition in a slightly varied version of its original form in order to update its legacy is not an obvious curatorial move. This reprise, in particular, seemed to arrive neither too early nor too late. The LACMA version attempted to reframe the work of the ten photographers by demonstrating how their interest in the deadpan documentation of vernacular architecture coincided with that of Conceptual artists. Looking at the work, what comes to the fore is the predominant spirit of the solitary road trip as a working model.
He has published on the landscape and economy of rural Ireland in the nineteenth and twentieth centuries, with studies focused on localities in counties.
In May , in the midst of the pandemic, my graduate student Megan and I met on opposite sides of a meadow and walked together while remaining physically apart. We followed alternate edges of the field, aware of our bodies in space, keeping our distance but maintaining each other in sight. As if in a slow meandering dance in which the partners never meet, our paths crisscrossed a great divide. We walked with heightened awareness, present to the asynchronous rise and fall of our bodies as we moved along our separate paths. Not long thereafter, Megan returned to the meadow, which is located on an urban farm on the Ohio State University campus. Alone on this walk, she was confronted by a campus police officer who questioned the purpose of her visit. The officer justified his dismissal by claiming that he had received reports of people stealing apples from an adjacent orchard. Megan kindly noted that given that it was early May, some months before any apples would be available for picking, the validity of such a report was questionable.
TEXT AND PHOTOGRAPHY BY KATHERINE JENKINS
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There is something peculiar about the way we attribute the clarity of some photographs to the world itself. I try to reinforce that paradox by making photographs that convince the viewer that those revelations, that order, that potential for meaning, are coming from the world and not the photograph.
Named in for General William Jenkins Worth, this shopping avenue was among the first areas developed in Palm Beach. In architects Addison Mizner and Paris E. In Mizner altered the primarily residential avenue when he designed a three-story mixed-use complex with shopping on the ground floor and residences and offices above. In area merchants created the Worth Avenue Association to promote advancements. Two adjacent streets, Via Mizner and Via Parigi, extend from Worth Avenue and expand the concept of a European-influenced pedestrian village. Piazzas, pools, and sidewalks made of crushed shells reference the architectural history of Palm Beach while linked courtyards create protected, open-air civic spaces.
Reframing the New Topographics
The exhibition had a ripple effect on the whole medium and genre, not only in the United States, but in Europe too where generations of landscape photographers emulated and are still emulating the spirit and aesthetics of the exhibition. Moreover, and as a proof of the impact of this exhibition beyond the American scene, two out of the ten photographers in the show, Baltz and Gohlke, were later commissioned by the French government for the Mission de la DATAR. Since the late s the Bechers had been photographing various obsolete structures, mainly post-industrial carcasses or carcasses-to-be, in Europe and America. They first exhibited them in series, as "typologies", often shown in grids, under the title of "Anonymous Sculptures. Each photographer in the New Topographics exhibition was represented by 10 prints. All but Stephen Shore worked in black and white. In his introduction to the catalogue, Jenkins defined the common denominator of the show as "a problem of style:" "stylistic anonymity", an alleged absence of style. Only Baltz and Wessel were using regular 35 mm cameras and film.
Landscape photography, particularly in the US, has often focused on House (Rochester, New York) in , curated by William Jenkins.
William Jenkins Worth Monument
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William's Bupa Great Birmingham Run 2013 pageRELATED VIDEO: The Homestead
Signaling the emergence of a new approach to landscape, the exhibition effectively gave a name to a movement. Even today, the catchphrase New Topographics is used to characterize the work of artists not yet born when the exhibition was held. New Topographics has since come to be understood as marking a paradigm shift. The show occurred just as photography took its place within the contemporary art world.
Before that year we used to conceive the landscape as a natural scenery, without any element created by men, or at least with men and churches to remark the spiritual feature of the nature.
Snow Over Earlswood
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Joe Deal, a Landscape Photographer of Disquieting Images, Dies at 62
Art Term. New topographics was a term coined by William Jenkins in to describe a group of American photographers such as Robert Adams and Lewis Baltz whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape. Many of the photographers associated with new topographics including Robert Adams , Lewis Baltz , Nicholas Nixon and Bernd and Hiller Becher , were inspired by the man-made, selecting subject matter that was matter-of-fact.