Twenty-four portraits

"This edition is limited to 2000 copies, of which 1200 are for sale in Great Britain and 800 in the U. S. A.

Gallerie der ausgeziechneten Israeliten aller Jahrhunderte, ihre Portraits und Biographien.

Pts. [1-3] hrsg. von E.Breza, redigiert von R.O. Spazier; pt.[4] hrsg. von N.Frankfuter und B.Auerbach; pt.[5] fortgesetzt von B.Auerbach.

Alexander Grant Ruthven [From a dry plate etching]

Shaw was General Secretary of the Alumni Association, 1904-1029; Director of the Bureau of Alumni relations, 1929 -1950. He was both editor and illustrator of the Michigan Alumnus and Michigan Alumnus Quarterly Review

The unique: or biography of many distinguished characters: with fine portraits.

Binding deteriorated. Foxing. Water. Untrimmed.

Legislation affecting municipal finance in Massachusetts--1906-1945

Mode of access: Internet.

Concord lectures on philosophy, comprising outlines of all the lectures at the Concord summer school of philosophy in 1882, with an historical sketch;

References: Blanck. Bibl. Amer. lit. 129.

Famous racing men : with anecdotes and portraits /

Thormanby pseudonym for Willmott Willmott-Dixon.

Bella Abzug introduces guest Geraldine Ferraro at Eleanor Roosevelt House

General note: Title and date provided by Bettye Lane.

Proyección y política cultural estadounidense en argentina (1928-1941)

El objetivo del artículo es analizar algunos aspectos de los orígenes de la “política cultural” estadounidense en Argentina. La atención se concentrará en el pasaje desde las declaraciones del presidente Hoover, que contribuyeron a favorecer un clima útil y propicio a la intensificación de los intercambios, a los primeros pasos concretos realizados en el periodo de la presidencia de Roosevelt. Se tratará, en particular, de individualizar las características de la cooperación establecida entre organismos estadounidenses y argentinos para favorecer la proyección cultural estadounidense en el país y el intercambio cultural entre Estados Unidos y Argentina, donde se iba intensificando la difusión de un sentimiento anti-imperialista, y que era entonces objetivo de formas de propaganda particularmente agresivas por parte de los regímenes totalitarios.

Didiman: Australian agricultural extension officers in the territory of Papua and New Guinea, 1945-1975

Historically, the development philosophy for the two Territories of Papua and New Guinea (known as TPNG, formerly two territories, Papua and New Guinea) was equated with economic development, with a focus on agricultural development. To achieve the modification or complete change in indigenous farming systems the Australian Government’s Department of External Territories adopted and utilised a programme based on agricultural extension. Prior to World War II, under Australian administration, the economic development of these two territories, as in many colonies of the time, was based on the institution of the plantation. Little was initiated in agriculture development for indigenous people. This changed after World War II to a rationale based on the promotion and advancement of primary industry, but also came to include indigenous farmers. To develop agriculture within a colony it was thought that a modification to, or in some cases the complete transformation of, existing farming systems was necessary to improve the material welfare of the population. It was also seen to be a guarantee for the future national interest of the sovereign state after independence was granted. The Didiman and Didimisis became the frontline, field operatives of this theoretical model of development. This thesis examines the Didiman’s field operations, the structural organisation of agricultural administration and the application of policy in the two territories.

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.