Project #92885 - Midterm

Midterm History of Contemporary Photography Fall, 2015

Answer the questions as fully as possible with direct and specific answers. In no case should an answer be more than 500 words. That’s a maximum approximate length of one and one-half typed and double-spaced pages. Do double space to allow me to write comments. 

 

There is pressure here to be succinct, which means you need to edit your answers. Your grade is directly dependent on the amount of information you provide. Allow yourself some time to reflect on your writing but grammar is not held against your grade; it is the ideas that count. You are free to collaborate with others in gathering and discussing the answers but you need to write your own version of the paper. Otherwise, it is a case of plagiarism.

 

I have stopped three sets of plagiarism and the conversations in front of the department chair have not always been smooth. The most egregious  case was removed from the class immediately with an F; others received departmental reprimands and lowered grades. Thankfully, 99 percent work to develop their own voice. 

 

 

1. There are at least two roots to Modernism as explained in lecture. One comes from the abstract formalism of geometric art developed in Europe and arrives in what was called Modern Photography and Modernism. The second was more abstract (Moholy-Nagy). Explain and discuss using examples.

 

2. What arguments (note the plural form here) does Christopher Phillips make in the judgment seat of photography?

 

3 John Szarkowski shaped the way generations of photographers think about photography, Based on the two readings you had (Szarkowski & A.D. Coleman, treated as if he were speaking for JS), what did he present and what were some of the consequences?

 

4. Max Kozloff made some arguments about the nature of social documentary photography. Discuss what they were they and demonstrate by giving an example or two of his opinion of good and  bad  photographers. Did his arguments add anything new for you to think about?

 

5. Use Walter Benjamin (and John Berger’s film) to discuss the relationships between “mechanical reproduction,” the original (aura), and the reproductions/copies for their consequences in photography. Can we replace the phrases “mechanical” with “digital” and “reproduction” with “iteration” to learn a little something about our contemporary situation and if so, what?

 

6.  In what ways does the work of Alan Sekulla, Martha Rosler and Alfredo Jaar reflect their social orientation AND their attitudes and strategies towards making images that are considered social documents? (Note that there at two parts to the question for each of them.)

 

 

 

 

Subject Art
Due By (Pacific Time) 11/11/2015 04:44 pm
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