Meeting tonight?

Hello all and good morning,

Was everyone still going to be available to meet before class tonight at 5:45 in the cafeteria for a bit before class to split up and layout a plan for the lecture portion of our presentation? Maybe we can also chat about geting our choosen pictures together and coordinating the images for our lecture portions as well.

I was thinking that with everyone having about 10 minutes to speak to the class each person may want to either speak of a certian artist, what social documentation entails, maybe certian themes through the history of social documentation, etc. I think we should each bring something unique to each of our presentations as well as our individual stations that we are constructing as well.

See you all tonight......

Evan

Nan Goldin (Posting for Carolina)

Here are some pix from the photographer Nan Goldin, wasnt able to upload them into the blog sry!! Below is a little overview of her work!!

(I was not able to transfer her pictures)

This photograph is done by Nan Goldin from her Ballad of Sexuality series. Nan Goldin is one of the most prominent snapshot photographers. She is the person who took the snapshot and made it remarkable. Nan Goldin doesn't worry about the colors or cropping but just sees special moments, good and bad and captures the moment. This photograph is of her dear friends who are gay and both have Aids, later on in the series she photographs the death of both of them. This portrait is very compelling because anyone who has a heart will feel for this couple and understand what is happening. This is what makes her work strong, her honesty to the photographs.

Here are a few more...

Lee Friedlander

I looked at a few sources, basically it seems Friedlander began doing Jazz portraits for Atlantic records. His work is varied, though; there are images taken from inside cars with it int he frame, as well as his own shadow taking place over his subject. It sounds like his style keeps morphing and I saw somehwere that he does high end fashion photography now...
-Joanna

(b Aberdeen, WA, 14 July 1934). American photographer. He first became interested in photography in 1948, and from 1953 to 1955 he studied under Edward Kaminski at the Art Center of Los Angeles. In 1956 he settled in New York and supported himself by producing photographs of jazz musicians for record jackets, for example Count Basie (1957; see Malle, pl. 39). He also produced photographs influenced by Eug?ne Atget, Walker Evans and Robert Frank and, like his subsequent works, these were all in black and white. In 1958 he discovered the work of the little-known photographer E. J. Bellocq from whose gelatin dry-plate negatives of the brothels of New Orleans he took prints, which were included in the exhibition E. J. Bellocq: Storyville Portraits at MOMA in New York in 1970. In 1960, 1962 and 1977 Friedlander was awarded Guggenheim Memorial Foundation grants, and his works began to appear in such periodicals as Esquire, Art in America and Sports Illustrated. He had his first one-man show in 1963 at the International Museum of Photography at George Eastman House in Rochester, NY. From the 1960s Friedlander started taking photographs of the 'social landscape' of the USA, detached images of urban life which, like Pop art works, captured the feel and look of modern society, though often with depressing effect. Newark, New Jersey (1962; see Friedlander, 1978, pl. 2) is characteristic of these and includes shop-window reflections, posters and signs, which tend to compress spatial depth. In atmosphere and subject-matter these works have affinities with the work of Friedlander's friend Garry Winogrand. Friedlander's collaboration with Jim Dine further emphasized his links with Pop art, and in 1969 they published Works from the Same House. This included etchings by Dine and photographs by Friedlander, so arranged that examples of each faced one another, creating a suggestive juxtaposition of imagery.

FSA Photography

What I'm getting from the two sources I have below (linked up the text) is the FSA was a Government funded project intended to document the way people were living in what was called "the dust bowl", meaning rural areas out of the cities. There was, however, photographers in every state (44 at the time, I believe). Everything looks like it is covered in dirt.

-Joanna







Initially created as the Resettlement Administration (RA) in 1935 as part of the New Deal in the United States, the Farm Security Administration (FSA) was an effort during the Depression to combat American rural poverty.

The FSA stressed "rural rehabilitation" efforts to improve the lifestyle of sharecroppers, tenants, and very poor landowning farmers, and a program to purchase submarginal land owned by poor farmers and resettle them in group farms on land more suitable for efficient farming. Critics, including the Farm Bureau strongly opposed the FSA as an experiment in collectivizing agriculture — that is, in bringing farmers together to work on large government-owned farms using modern techniques under the supervision of experts. The program failed because the farmers wanted ownership; after the Conservative coalition took control of Congress it transformed the FSA into a program to help poor farmers buy land, and continues in operation in the 21st century as the Farmers Home Administration.

The FSA is famous for its small but highly influential photography program, 1935-44, that portrayed the challenges of rural poverty.
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FSA
Nearly 180, 000 photographs produced 1935-43 under the direction of Roy Stryker, first in the FSA, and later in the Office of War Information (OWI), represent the first major body of photographic images specifically labelled ‘documentary photography’.

During its lifetime, the Historical Section employed 44 photographers; a majority of photographs in the file are the work of fifteen men and women. The agency's work took place in two locations: at its Washington, DC headquarters, where Stryker directed operations, including a darkroom and the growing file of photographs; and in the field in the (then) 48 states and Puerto Rico.

After 1937 the photographers included more images of the community life of rural small towns, and a few urban centres. From 1940, as Stryker first subcontracted the section's photographic services to wartime agencies, then worked within OWI, hundreds of images also documented the nation's industrial production and home front activities. As the file at headquarters grew, so too did its use and reputation. FSA images were freely available, and appeared widely in newspapers and magazines, in government pamphlets, in posters promoting agency accomplishments, and even in a giant photographic mural in Grand Central Station in New York.

So here is some info on the images below:
Image 1 is an anti-Vietnam propaganda image from a protest in Wichita, KS in 1967. I think that the sinage and the props being used here speak for itself and the protestors sendiments.

Image 2 is from the 1989 massacre at Tiananmen Square China, where at least a reported 400-800 peaceful demonstrators were murdered in protest of the murder of government reformer Hu Yaobang. I remember watching this image unfold via the BBC newscast as it happened. This student is making a powerful statement and is willing to give the ultimate sacrifice. This image, the monks protests in Vietnam, and the 1968 Mexico City Black Power equal rights image are histories most moving for me.

Image 3 is by WeeGee, AKA Arthur Fellig. He was a street photographer and documented realistic urban life in its true form......as it happened. I like this one because it seems like there is a whole lot of goings on where there should not be (hence the mans reaction to the picture in the doorway). He once said "People that work in the daytime are suckers." One look at his works and you can see what he means, he likes the raw, dark, grimey parts of life.

Image 4 was taken at the 1968 Olympics in Mexico City. Here, Tommie Smith (gold medalist) and John Carlos (bronze medalist) make a huge statement that sent ripples through the world and controversy and were eventually banned from the Games. All three athletes wore Human rights pins, but it was Smith and Carlos that stood shoeless to symbolize black poverty, beads to honor those lynched and hung, and Carlos with an open jacket to symbolize blue collar America. All three suffered major backlash and were ostracized in their sporting establishments.

Image 5 Bob Dylan singing "Only a Pawn in Their Game," July 2, 1963 a song about the murder of activist Medgar Evers. Being an activist and revolutionary this is part of a series of political and civil statements that Dylan had made throu out his career. I really am moved by the looks on everyones faces during this Student Nonviolent Coordinating Committee in Raleigh, NC.

See you all tomorrow,

Evan

Hey there all,

Here are some picstures that I found compelling for our project. Joanna, were you still going to print these up and bring them to class? My printer is not working (I had to order a new one after only one year).....great! I'll bring scissors to cut things up (I think that we mentioned doing something like this last week). Okay, so here goes.......my pictures

The email from last week

Here is a link referring to some of the works from Lewis Hine. http://www.historyplace.com/unitedstates/childlabor/ and http://www.nypl.org/research/chss/spe/art/photo/hinex/empire/biography.html
1. Was was a sociologist and photographer
2. He took famous Empire State Building Construction pics ( I am sure you all have seen them)
3. Did alot of work bringing to light child labor laws and abuse of child labor
4. He would follow emigrants from Ellis Island to Lower East Side Manhattan and document journies
5. Used photography as a means of social reform
6. Tried to document man and machine working together and their relationships

Photo Secessionists
1. Led by Alfred Stieglitz they were a group of photographers that sought to break away from the orthodox approach of photography.
2. What was important was the manipulation of the image by the photographer/artist to achieve a subjective vision
3. It helped to raise awareness and standards for "art" photography
4. Attempted to elevate photography to a fine art, moving it further away from the realm of painting
5. Selected individuals

So, tomorrow morning, I will post my few pics that I choosen and all of the info that goes with them.

BTW-I really hope that I am doing this correctly as I have not used this Blog before. I suspect that it may take a time or two for me to get the hang of posting pictures. Speaking of that, do I just cut and paste them into this text box for all to see?

Evan

my photos for class

Carrying a guitar and a M16 rifle, a Marine waits at a landing strip for a flight out of Khe Sanh, February 25th, 1968. Accompanying the music of the era was a new mood towards the war and a lack of faith in the objectives became more common among the servicemen than ever before.


Vietnam, 1969. Helmets were often used to express feelings and this soldier has written the word "HIPPIE" on his, in large letters.


The pilot of a US Cobra helicopter at Dau Tieng Vietnam, 1969. The stickers on his helmet read: "Bomb Saigon Now" - "Bomb Hanoi Now" - "Bomb Disneyland Now" - "Bomb Everything".



June 8th, 1972. A South Vietnamese air force plane has accidentally dropped a napalm bomb on the village 26 miles outside of Saigon. Twenty-five years later, the young girl running naked from her village, Phan Thi Kim Phuc, was named a UNESCO goodwill ambassador.


Saigon, October 5th, 1963. A young Buddhist monk sits impassively in the central market square, he has set himself on fire performing a ritual suicide in protest against governmental anti-Buddhist policies.


An adolescent boy scout, fighting on the side of the Buddhist rebels, stands in the street during the Da Nang Buddhist Insurrection, 1966.


I know there's more than three, but I really liked all of them and couldn't decide. >..< Well, I hope you all like them and I'll see everyone in class.

Chelsea. <3

Also, here is a little bit about the photographer, Tim Page:

Mr. Page managed under extraordinary circumstances, to bring back some of the most compelling photographs of the era. Most of these photographs and many more, can be seen in his book "NAM", published by Thames and Hudson Inc. Tim Page is a photographer, journalist, and author of Page After Page: Memoirs of a War-Torn Photographer. In 1965, Page began taking photographs of the border conflicts in Cambodia and Vietnam. Eventually, he became one of the most notorious combat photographers and renowned for the images he captured. In the movie epic "Apocalypse Now", the dope smoking, crazed photographer played by Dennis Hopper at the top of the river is said to be based on Page. Page's friend Michael Herr created the role and also wrote the well-known book "Dispatches", where Page is one of the main characters. Tim Page was wounded several times whilst working in Vietnam. Take a peek into the mind of Tim Page by reading "Memories of an acid-slaved war photographer".

Meredith((pics for class))

I think im doing this right....I hope >..<" http://i42.photobucket.com/albums/e349/Scartaris/gh1386.jpg
http://i42.photobucket.com/albums/e349/Scartaris/marty3.jpg
http://i42.photobucket.com/albums/e349/Scartaris/vatican46_33.gif

Well I really hope i did this right and you guys like them^^
if i didnt do this right and you dont get them ill just bring them in on wensday.
((Sorry for my spelling, im really bad at it))

Mary Ellen Mark

Photographs:
First: Looking Out of Caged Peep Hole
Second: Portrait of Mona in Lace Lying in Bed 1976
Third: Rat and Mike With a Gun Seattle Washington
Fourth: Woman with Scarred Leg 1976

Group Blog

Good morning All,

As we discussed on Wednesday night, we will utilize this blog to share our individual progress/ideas to keep everyone informed and involved.

Lets try to have our 3 (minimum) preferred photographs on here by Tuesday night of next week, September 22.

Hope all is well,

Joanna