William J. Olcott, University of Michigan football captain 1882, 1883

Cropped from 1883 team photo.

UM Medical School Class of 1883 composite photo

scanned in two pieces and joined, entire image with mount (slightly cropped, but no loss of information or image) = 1of2; 1200 dpi scan of central portion (portraits) without mount = 2of2

Territorial slavery question : observations on Senator Douglas' views of popular sovereignty, as expressed in Harper's Magazine for September, 1859.

Printed in double columns.

Richard Wagner en caricatures : 130 reproductions de caricatures françaises, allemandes, anglaises, italiennes, portraits : autographes (lettre et musique) dessins originaux de J. Blass, Moloch et Tiret-Bognet /

Includes bibliographical references.

American portraits, 1620-1825, found in Massachusetts ...

Paged continuously.

A primer of American literature : with an appendix containing 12 portraits and homes of eight American authors /

Most of the plates are printed on both sides.

Southeastern Archaeological Conference

verso: Conference at Macon, Georgia, Nov. 10-11, 1939; First row sitting. James A. Ford, John Alden, Joseph R. Caldwell, Dr. Frederick S. Hulse, John Bennett, ? ?, George I. Quimby Jr., Joffre Coe. Second row standing left to right: John C. Ewers, James B. Griffin, Madeline Kneberg, Marion L. Dunlevy, Charles H. Fairbanks, J. Joe Finkelstein, Karl Schmitt Jr., Charles G. Wilder, Carl F. Miller, Ralph Brown, ? Third row: Harold F. Dahms, Andrew H. Whiteford, Charles Snow, H. Thomas Cain, ? ?, Robert Ritzenthaler, Robert Wauchope, ? ?, ? West

1939 UM Track Team

Top Row: Robert Barnard, Sherman Olmstead, Thomas Lawton, Geoffrey Hall, August Fabyan, Frank Feely

4th Row: Richard Bennett, Perry Kimerer, Robert King, Jack Leuritz, Robert Hook, John Dobson, Ralph Pyszynski

3rd Row: Francis Hogan, John Kutsche, Harry Wisner, Donald Canham, Carl Culver, Fred Culver, Edward Barrett, Warren Breidenbach

2nd Row: asst. coach Ken Doherty, Stanley Kelley, G. Wesley Allen, David Cushing, Philip Balyeat, Thomas Jester, Henry Heyl, Alan H. Smith, st. mngr. John Green

Front Row: Harvey Clarke, Douglas Hayes, Elmer Gedeon, captain Bill Watson, Coach Charles Hoyt, Ralph Schwartzkopf, Ross Faulkner, Harold Davidson

Silas H. Douglas

ala Biblical prophet with fob

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.