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By the twentieth-century photography lecture, students will likely have already engaged in visual analysis of art works, so that beginning class with a close formal analysis of a single photograph provides an opportunity to review these skills. Students might begin by spending two or three minutes quickly drawing the basic lines, shapes, and forms of the composition in order to understand its careful geometry before proceeding to a class-wide analysis and discussion.
Video resources include the BBC series The Genius of Photographya great resource from which clips could be viewed in class. Content Suggestions This lesson plan focuses on a key aspect of the history of photography: This key theme can be explored in an hour and fifteen minutes through a variety of examples, including: Riis, himself an immigrant from Denmark, went into the poverty-stricken tenements of the Lower East Side to create his stark photographs.
Using flash powder, Riis literally and metaphorically shed light on the squalor in which many lived, and his photographs were used to promote reform. He published the images in How the Other Half Lives Working for the National Child Labor Committee, Hine traveled throughout the East Coast documenting the bleak reality faced by child workers in factories, mills, and agriculture.
At roughly the same time, Pictorialist photographers like Edward Steichen and Alfred Stieglitz were striving for photography to attain the status of art, consciously turning their cameras away from subjects depicting modern industry deemed unworthy of the fine arts.
Both Steichen and Stieglitz were German immigrants who had trained at art academies in Europe, and they incorporated conventions and techniques of painting and printmaking into their photographs. He also manipulated the final image using the gum bichromate printing process and applying retouches with a paintbrush, thus giving the mechanical photograph a hand-crafted quality.
In a comparison of two photographs of the Flatiron building by Steiglitz and Steichen, how are the techniques of Pictorialism combined with an interest in formal elements?
Stieglitz saw his photograph The Steerage as a breakthrough moment in which formal elements of the composition took precedence over manipulation in printing.
His interest in formalism belies the social relations at play here: Notably, Stieglitz—also an important New York City gallery owner—was instrumental in bringing non-photographic formalism to America through shows of prominent European painters and sculptors.
Do you see a difference? Moholy-Nagy lived and worked outside the USSR, where he did not face the same obligation toward social and political engagement as Rodchenko. Moholy-Nagy was ultimately freer to experiment with abstraction and form.
What makes this photograph iconic? Magazines like LIFE proliferated in this period, employing photographers trained in New Vision and documentary photography as photojournalists.
Walker Evans also worked for the FSA, but quit the program after disagreements about the use of his photographs. In the twentieth century, magazines and books became important platforms in which photographs were viewed in sequence and alongside text in the form of stories, captions, and even advertisements.
These interrelationships of word and image continue to play a powerful role in how or, if photographs convey a social message. Robert Frank, a Swiss photographer who won a Guggenheim fellowship in to travel across the U. The Americans was criticized by the magazine Popular Photography for portraying a negative vision of life in the U.
Frank utilized the straightforward approach of documentary with a careful eye for framing contrasts and incidental moments. What do you think, are these negative depictions of America, or do they simply reveal the truth?
Lee Friedlander was one of a generation of photographers working after Frank in the s who also framed incidental and contradictory moments in photographs in witty juxtapositions reminiscent of collage.
These photographers became known as the New Documents after they were given an exhibition by that name at MoMA in In lieu of an abstract, here is a brief excerpt of the content. HUMANITIES Steven C. Brown. Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century The Seattle Art Museum in association with Douglas and McIntyre.
x, $ In Native Visions: Evolution in Northwest Coast Artfrom the Eighteenth . from the Eighteenth through the Twentieth Century The Seattle Art Museum in association with Douglas and McIntyre.
x, $ In Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century Steven Brown has used a major exhibition of North west Coast art and its catalogue to present a lucid history of Northwest Coast style.
Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition.
Other topics that were much-discussed in the late 20th century remain vital for the analysis of 21st-century art and visual culture, including semiotics, post-modernism, and feminism. Art of the 21st century emerges from a vast variety of materials and means.
Conceptual Revolutions in Twentieth-Century Art presents the first systematic analysis of the reasons for this discontinuity.
David W. Galenson combines social scientific methods with qualitative analysis to produce a fundamentally new interpretation of modern art that will give readers a far deeper appreciation of the art of the past century 5/5(2).
English literature - The 20th century: The 20th century opened with great hope but also with some apprehension, for the new century marked the final approach to a new millennium.
For many, humankind was entering upon an unprecedented era. H.G. Wells’s utopian studies, the aptly titled Anticipations of the Reaction of Mechanical and .