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National Archives exhibit blurs images critical of President Trump
https://www.washingtonpost.com/local/national-archives-exhibit-blurs-images-critical-of-president-trump/2020/01/17/71d8e80c-37e3-11ea-9541-9107303481a4_story.html
The original, unaltered photo of the 2017 Women’s March in the District. An altered version appears in an exhibit at the National Archives. (Mario Tama/Getty Images)
By Joe Heim
Jan. 17, 2020 at 6:54 p.m. EST
The large color photograph that greets visitors to a National Archives exhibit celebrating the centennial of women’s suffrage shows a massive crowd filling Pennsylvania Avenue NW for the Women’s March on Jan. 21, 2017, the day after President Trump’s inauguration.
The 49-by-69-inch photograph is a powerful display. Viewed from one perspective, it shows the 2017 march. Viewed from another angle, it shifts to show a 1913 black-and-white image of a women’s suffrage march also on Pennsylvania Avenue. The display links momentous demonstrations for women’s rights more than a century apart on the same stretch of pavement.
But a closer look reveals a different story.
The Archives acknowledged in a statement this week that it made multiple alterations to the photo of the 2017 Women’s March showcased at the museum, blurring signs held by marchers that were critical of Trump. Words on signs that referenced women’s anatomy were also blurred.
</snip>
The original, unaltered photo of the 2017 Women’s March in the District. An altered version appears in an exhibit at the National Archives. (Mario Tama/Getty Images)
By Joe Heim
Jan. 17, 2020 at 6:54 p.m. EST
The large color photograph that greets visitors to a National Archives exhibit celebrating the centennial of women’s suffrage shows a massive crowd filling Pennsylvania Avenue NW for the Women’s March on Jan. 21, 2017, the day after President Trump’s inauguration.
The 49-by-69-inch photograph is a powerful display. Viewed from one perspective, it shows the 2017 march. Viewed from another angle, it shifts to show a 1913 black-and-white image of a women’s suffrage march also on Pennsylvania Avenue. The display links momentous demonstrations for women’s rights more than a century apart on the same stretch of pavement.
But a closer look reveals a different story.
The Archives acknowledged in a statement this week that it made multiple alterations to the photo of the 2017 Women’s March showcased at the museum, blurring signs held by marchers that were critical of Trump. Words on signs that referenced women’s anatomy were also blurred.
</snip>
That's very Soviet of them.
21 replies
= new reply since forum marked as read
= new reply since forum marked as read
Or Stalinists. Whatever
to run the National Archives?
He's got his moles tunneling into and destroying Federal agencies, so presumably he's degrading the National Archives too.
For example, this is Martin Luther King Jr. giving his "I Feel Good" speech.
Rokyou
43 seconds ago
As a former image editor at an international News magazine, I find this reprehensible. Shame on Getty for permitting this. I was trained to not ever alter a news image and here we are, hearing that the National Archives, of all places, had engaged in this fraudulent behavior. This is reminiscent of the well known book by David King: 'The Commissar Vanishes: The Falsification of Photographs and Art on Stalin's Russia'. King looked at how Stalin manipulated images in order to further his own political career and to erase any memory of his victims. Google it.
43 seconds ago
As a former image editor at an international News magazine, I find this reprehensible. Shame on Getty for permitting this. I was trained to not ever alter a news image and here we are, hearing that the National Archives, of all places, had engaged in this fraudulent behavior. This is reminiscent of the well known book by David King: 'The Commissar Vanishes: The Falsification of Photographs and Art on Stalin's Russia'. King looked at how Stalin manipulated images in order to further his own political career and to erase any memory of his victims. Google it.
The Commissar Vanishes
The Commissar Vanishes: The Falsification of Photographs and Art in Stalin's Russia is a 1997 book by David King about the censoring of photographs and fraudulent creation of "photographs" in Joseph Stalin's Soviet Union through silent alteration via airbrushing and other techniques. It has an introduction by Stephen F. Cohen.
Michael Nyman created a companion album of the same title in 1999. The second disc of the two-disc album contains The Fall of Icarus, the score to an eponymous art installation by Peter Greenaway from 1986 which had previously been unreleased. The first disc, The Commissar Vanishes, is a version of The Fall of Icarus that has been defaced similarly to the photographs reproduced in King's book.
The Commissar Vanishes: The Falsification of Photographs and Art in Stalin's Russia is a 1997 book by David King about the censoring of photographs and fraudulent creation of "photographs" in Joseph Stalin's Soviet Union through silent alteration via airbrushing and other techniques. It has an introduction by Stephen F. Cohen.
Michael Nyman created a companion album of the same title in 1999. The second disc of the two-disc album contains The Fall of Icarus, the score to an eponymous art installation by Peter Greenaway from 1986 which had previously been unreleased. The first disc, The Commissar Vanishes, is a version of The Fall of Icarus that has been defaced similarly to the photographs reproduced in King's book.
Poiyut posted an illustration from this book in post #14.
