The Camera View
Big Idea
Lorna Simpson - You're Fine
Overview:
Since the invention of photography, artists have used the camera to capture images that can not be reproduced or recaptured again. It is an art form that gives meaning to memories and is dependent on who, what, and how an artist chooses to tell his or her stories.
Since the invention of photography, artists have used the camera to capture images that can not be reproduced or recaptured again. It is an art form that gives meaning to memories and is dependent on who, what, and how an artist chooses to tell his or her stories.
Essential Questions
Seamus Murphy - Afghanistan series
What makes a photographic image powerful?
Can photography give meaning to memories?
Can photography narrate stories in an immediate or intense way?
Can photography romanticize an image?
How does a single image tell a story?
How is photography considered art?
Can photography give meaning to memories?
Can photography narrate stories in an immediate or intense way?
Can photography romanticize an image?
How does a single image tell a story?
How is photography considered art?
Lesson Objectives
In this lesson, students will learn to use the camera to frame the world around them in a narrative. Students will begin with an review of composition and framing in photography. Students will consider the way Gordon Parks, Seamus Murphy, Cindy Sherman, and Lorna Simpson framed their surroundings to comment on the world around them. At the end of the lesson, students will create their own work of art to address the narrative that is their lives.
Tools and Materials
Disposable Digital Cameras
Adobe Photoshop
Copy Machine
In this lesson, students will learn to use the camera to frame the world around them in a narrative. Students will begin with an review of composition and framing in photography. Students will consider the way Gordon Parks, Seamus Murphy, Cindy Sherman, and Lorna Simpson framed their surroundings to comment on the world around them. At the end of the lesson, students will create their own work of art to address the narrative that is their lives.
Tools and Materials
Disposable Digital Cameras
Adobe Photoshop
Copy Machine
Introduction and Procedure
Cindy Sherman - Untitled Film Still #14
Day 1-2: Photography as narrative art will be introduced with handouts and a viewing of the documentary, American Masters Portraits of Creativity. Alfred Stieglitz. The Eloquent Eye. Homework reading chapters will also be assigned.
Day 3: Working in groups of 3-4, students will be assigned a photographer and will choose a photograph that highly resonates with their view of the world around them. Students will discuss which elements make the composition strong and weak.
Day 4-5: Students will individually create their own narrative by photographing themselves or an event that represents their role, identity, or representation.
Written summary: Students will write a 2-3 page personal reflection on either the assigned readings or the supplied documentary.
Day 3: Working in groups of 3-4, students will be assigned a photographer and will choose a photograph that highly resonates with their view of the world around them. Students will discuss which elements make the composition strong and weak.
Day 4-5: Students will individually create their own narrative by photographing themselves or an event that represents their role, identity, or representation.
Written summary: Students will write a 2-3 page personal reflection on either the assigned readings or the supplied documentary.
Assessments
Gordon Parks
1. Individual oral critique: Students will be assessed based on their participation in the class discussion. Their ability to analyze and critique the work of their peers by identifying what information makes the photographs powerful and exploring elements of composition, cropping, and lighting will count as a participation grade. Students will also be assessed on their ability to develop ideas about artistic intent.
2. Individual written critique: Students will be assessed on their ability to identify techniques used by contemporary artists in a 2-3 page written summary format that incorporates photography techniques and popular culture.
3. Individual student critique: Students will create their own narrative by photographing themselves or an event that they feel represent their role, identity, or representation. Students will be assessed on their ability to photograph images that depict the basics of composition: framing, texture, and lighting.
4. Group critique: Students will be assessed on their participation and contribution of ideas.
Artists
Lorna Simpson
Seamus Murphy
Cindy Sherman
Gordon Parks
2. Individual written critique: Students will be assessed on their ability to identify techniques used by contemporary artists in a 2-3 page written summary format that incorporates photography techniques and popular culture.
3. Individual student critique: Students will create their own narrative by photographing themselves or an event that they feel represent their role, identity, or representation. Students will be assessed on their ability to photograph images that depict the basics of composition: framing, texture, and lighting.
4. Group critique: Students will be assessed on their participation and contribution of ideas.
Artists
Lorna Simpson
Seamus Murphy
Cindy Sherman
Gordon Parks
References
Lukitsh, J. (2006). Alone on the sidewalks of new york: alfred stieglitz's photography, 1892-1913. In Johnston, P (Ed.), Seeing high and low: representing social conflict in american visual culture (pp. 210-225). Berkeley: University of California Press.
Drew, H. (2005). Composition. In Drew H. (Ed.), The fundamentals of photography (pp. 46-61). Switzerland: AVA Publishing.
Berger, J. (1972). Ways of seeing. New York: Penguin Group.
A Darkness Visible: Afghanistan. Retrieved September 29, 2011, http://www.adarknessvisible.com/#/About/
The Gordon Parks Museum. (2011). Retrieved September 29, 2011, http://www.gordonparkscenter.org/
Cindy Sherman (2004). Retrieved October 7, 2011, http://www.cindysherman.com/biography.shtml
Lorna Simpson. Retrieved October 7, 2011, http://lsimpsonstudio.com/biography.html/
Documentary: American Masters Portraits of Creativity: Disc 6 Alfred Stieglitz: The Eloquent Eye
Lukitsh, J. (2006). Alone on the sidewalks of new york: alfred stieglitz's photography, 1892-1913. In Johnston, P (Ed.), Seeing high and low: representing social conflict in american visual culture (pp. 210-225). Berkeley: University of California Press.
Drew, H. (2005). Composition. In Drew H. (Ed.), The fundamentals of photography (pp. 46-61). Switzerland: AVA Publishing.
Berger, J. (1972). Ways of seeing. New York: Penguin Group.
A Darkness Visible: Afghanistan. Retrieved September 29, 2011, http://www.adarknessvisible.com/#/About/
The Gordon Parks Museum. (2011). Retrieved September 29, 2011, http://www.gordonparkscenter.org/
Cindy Sherman (2004). Retrieved October 7, 2011, http://www.cindysherman.com/biography.shtml
Lorna Simpson. Retrieved October 7, 2011, http://lsimpsonstudio.com/biography.html/
Documentary: American Masters Portraits of Creativity: Disc 6 Alfred Stieglitz: The Eloquent Eye