1,736,277 research outputs found
Frederick Conger, 1889
No full textPhotographs and ephemera from a collection of vaudeville performers, acts and stage productions primarily from the American vaudeville circuit from the late 1800s and early 1900.
Handwritten on image: Yours Truly Frederick Conger "Charity Ball & Wife (?) Co"
Caption on mount: Ryder Leading Photographer, 332 South Salina St., Syracuse, N.Y.
On verso of image: 1889. Ryder Leading Photographer, 332 South Salina St., Syracuse N.Y.
PH Coll. 583.63To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order Numbe
Mitch Ryder, circa 1978
No full textMusician Mitch Ryder poses for the camera, circa 1978. The photograph was taken by Don Hamerman, who was then a staff photographer for the Unicorn Times. The Unicorn Times was a monthly performing arts newspaper for the Washington, D.C. area in the 1970s and early 1980s. Ryder and his band, the Detroit Wheels, had numerous hits in the 1960s, like "Jenny Take a Ride" and "Devil With a Blue Dress On/Good Golly Miss Molly.
Tombstone of Elizabeth Ryder
No full text(according to previous survey: Elizabeth Ryder daughter of John and Sarah Ryder Died Nov 9, 1853 Aged 59 years 10 months
Tombstone of Sarah Ryder
No full textIn memory of Sarah wife of John Ryder died May 10, 1845 in the 80th year of her ag
In The Zone podcast (series)
No full textA podcast created and hosted by Dr Mike Ryder and Dr Josh Hughes. The podcast features academic discussion and interviews with fellow researchers from Lancaster University, and across the North West
Ryder Letter Re: Receipt of Money
No full textLetter from Fr. James Ryder, S.J., to Fr. Nobili, acknowledging the receipt of money from Nobili
James Ryder, S.J. (2 of 5)
No full textContains ALS: from Thomas Lilly, SJ and Ryder to Lancaster on rental contract on St. Joseph's Manor 1/5/1844; from Abp Eccleston to Ryder on decline in number of Society missions in diocese (specifically Alexandria) 1/12/1844; from F. McAtee to S. Barber 1/23/1844; from T. Mulledy to Ryder on misc. 1/29/1844; notice To Clergy and People of Philadelphia on division of city into parishes, restrictions on St. Joseph's, prospect of Society purchase of Walnut St. property 1/29/1844; from Steinbacher to Ryder on Reading congregations' preference of Jesuits to seculars 1/30/1844; from Bally to Ryder on inability of Trustees of Reading to support college 2/9/1844, on same 2/14/1844; from Ryder to McElroy on upcoming retreat 2/16/1844; from T. Mulledy to G. Fenwick on experiences of boy at Georgetown 2/16/1844.**Former finding aid locations: 119_68_8; 214P0-214P9*
James Ryder, S.J. (3 of 5)
No full textContains ALS: from Robt. Nanet to Ryder on matters concerning contract of sale of St. Mary's, Philadelphia 5/2/1844; from Combs to Ryder on effect of civil disturbances on Society in Philadelphia 5/10/1844, on reopening of churches in Philadelphia, deed to St. Mary's 5/19/1844; from T. Mulledy to G. Fenwick on misc. events at Holy Cross College, Worcester 5/12/1844; AMs contract for secular clergy at Conewago 1/22/1844; from Ryder to McElroy on anti-Catholic disturbances in Philadelphia 5/12/1844; from Murphy to Ryder on issue of annexation of Missouri mission to Maryland 6/10/1844; from James Lucas, SJ to Ryder on relation to See of Queentown, Dorset, and Denton churches 6/19/1844; from T. Mulledy to Ryder on misc. at Holy Cross 6/27/1844.**Former finding aid locations: 119_68_6; 214M1-214M9*
Julia Steinmetz Ryder scrapbook
No full textPhotographic scrapbook of Julia Steinmetz Ryder who was a student at Rollins College from 1902-1905. Scrapbook contains black-and-white photographs of Julia and her friends and family
“Animating Fashion Illustration: Diversity in Fashion Film” (illustrations and animation by Carol Ryder, 2015)
No full textThe dominant ‘fashionable body’ of the 21st century can be clearly identified as tall, thin, young, white and able-bodied. This ongoing practice-based research explores whether the promotion of more diverse representations of the ‘fashionable body’ is possible via fashion illustration.
At the end of October, Carol Ryder - Senior Lecturer in Fashion at LJMU - visited Berkeley, California to attend the International Conference on the Image http://ontheimage.com/2015-conference and present her research into ‘the fashionable body’ including two fashion films, produced from Carol’s own fashion illustrations, which raise questions about ‘fashionable’ body image and aim to promote greater diversity in fashion.
Carol’s research into the variable ‘fashionable body’ is concerned with investigating the social impact of a single, narrowly-defined and extreme fashionable bodily ideal (tall, thin, young, white, able-bodied) and proposes that a more diverse spectrum of fashionable bodies is both possible and necessary. In her practice-led research, Carol utilises her own original fashion illustration work to explore the possibility for illustrations to depict bodies that do not adhere to the current definition of the ‘fashionable body’ and yet can still be identified as ‘fashion illustrations’, thereby questioning what we understand by the term ‘fashionable’, and to what extent ‘fashionability’ is determined by the characteristics of the human bodies depicted in fashion imagery.
As part of her Conference presentation, Carol showed two animated films that were produced this year from her own fashion illustrations.
The first, “Animating Fashion Illustration: Diversity in Fashion Film” (illustrations and animation by Carol Ryder, 2015) was the result of a watercolour fashion illustration, depicting a disabled dancer, that was produced in 129 separate stages. The gradually-evolving stages of the illustration were systematically scanned into a computer and saved as sequenced frames which were used to create a short fashion film (4 minutes, 6 seconds) aiming to challenge the notion that, in order for an image (still or moving) to be considered ‘fashionable’, the body depicted should be tall, thin, young, white and able-bodied.
“I felt that the increased dynamism produced by animated movement was especially helpful in the promotion of body-positivity in a disabled subject, and the use of technology implicit in the production of a film provides a greater sense of modernity – therefore ‘fashionability’ - than that provided by a static illustration. The gradual emergence of the subject in the film attracts the viewer’s interest: it is not clear at the outset what the final image will be so attention is held for longer and directed towards the film’s ‘payoff’ at the end. The addition of music offers another means to engage the viewer, exciting the senses in a way that a static illustration cannot.” Carol Ryder.
The original illustration was inspired by the singer Viktoria Modesta who fought to have her painful and useless left leg removed so she could fulfil her dreams of a career in the music industry. Modesta designs and wears futuristic prosthetics which challenge body image in pop music, and is determined that promotional images of her should not provoke sympathy.
Having created her own animation Ryder subsequently passed the original watercolour illustrations to film-maker Zoë Hitchen (MMU) to create a second fashion film “In Conversation” (Illustrations by Carol Ryder 2015, animation by Zoë Hitchen 2015) that moved beyond simple time-lapse animation:
“… When I started a conversation with Carol, we were concerned about whether fashion illustration that does not feature the currently-defined fashionable body would be readily recognised and validated as ‘fashionable’. We decided to explore if fashion illustration could take a new form in the computer age, and promote positive ideas about body image. Our aim is to find out how people interpret this new fashion image, now it has taken a non-literal narrative in fashion film. As this is digital technology, it tactically emphasises the new, the ground-breaking, and arguably ‘more fashionable’. In an approach that combines social semiotics and cognitive semantics, we wanted to challenge preconceived ideas, and to question the fashionable body… fashion projects a narrow vision, exclusionary mindset, and an ideal of beauty that is oppressive for us all.” Zoë Hitche
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