Unidentified man; Juedische Winterhilfe der Juedische Gemeinde; Berlin Portraits; Men

"Die Juedische Winterhilfe dankt ihrem Dezernenten fuer seine warmherzige Foerderung."

Terezin: Portrait of Jirina Kanova. (Prague 1938-Auschwitz 1944).

The child is shown in threequarter view, looking into the distance. Her dark head is silhoutted against the background and accented by a whitecolored blouse. Signed L. Buresova, Terezin 15.IX.1943

Isadore Breslau papers undated, 1938-1975

This collection consists primarily of correspondence, notes and memoranda relating to his work with the American Zionist Bureau (1939-40) and the Zionist Organization of America (1941). Also includes correspondence as U.S. Army Chaplain (1943) stationed in Daytona Beach, Florida. Among the more important correspondents are Louis D. Brandeis, Stephen S. Wise, Solomon Goldman and Robert Szold.

Portraits contemporains : littératurs, peintres, sculpteurs, artistes dramatiques.

UANL

The Capitol of the commonwealth of Virginia at Richmond : portraits, statuary, inscriptions, & biographical sketches, complimenting His Excellency Governor James Hubert Price /

"Errata and supplement as of August 15, 1956": [3] p. inserted at end.

Trois mois à Paris lors du mariage de l'empereur Napoléon 1er et de l'archiduchesse Marie-Louise : avec des croquis de l'auteur et deux portraits /

Mode of access: Internet.

Heads of the people; or, Portraits of the English /

A popular work, to which Thackeray and Jerrold contributed some of their earliest sketches. These literary sketches were written to the pictures and not, as some have imagined, the pictures drawn in illustration of the letterpress. cf. Academy, 1874, II, 360.

The best portraits in engraving.

Originally published in the "City".

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.