Reality and Representation: - Addison Gallery of American Art

Contents

Introduction…………...…………………… 2 Project Ideas……………………………….. 4 Curriculum Connections………………….. 5 Resources…………………………………… 7

ADDISON GALLERY of AMERICAN ART Phillips Academy, Andover, MA

Education Department Julie Bernson, Director of Education

Jamie Kaplowitz, Education Fellow Contact (978) 749-4037 or [email protected]

A D D I S O N G A L L E R Y O F A M E R I C A N A R T • T E A C H E R G U I D E • S P R I N G 2 0 0 9

THE POWER OF INTENTION • THE POWER OF THE VISUAL

Reality and Representation: An Exploration into Intention, Perception, and History

Dorothea Lange, Migrant Mother, Nipomo, California, neg. 1936, print c. 1950, gelatin silver print, 11 in. x 14 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA

What does Timothy O’Sullivan’s photograph tell us about the Civil War?

In 1861, photographer Mathew Brady (1823-1896)took out a loan on his New York gallery in order to finance his dream of photographing the Civil War. Because of the unofficial status of photographers and the limitations of capturing motion, photographers mostly documented posed and still scenes, rather than action—or battles. After leaving Brady’s photographing team to form his own, Alexander Gardner (1821-1882) and his team, including Timothy O’Sullivan (1840-1882), found inventive ways to overcome obstacles of weather and cumbersome equipment to bring images of the reality of war to the American public. At Gettysburg they took sixty photos, often shooting the same bodies of

fallen soldiers from different angles and moving bodies to create more tragic pictures. • What stories do Civil War photographs tell? • How do the intentions of Civil War photographers compare to subsequent and recent

war photographers?

How many images are needed in order to tell the whole story?

In 1866, Gardner bound one hundred of the Civil War photographs taken by his team into two albums entitled Gardner’s Photographic Sketchbook of the American Civil War. How do these albums tell the story of the war compared to an individual photograph or to a painted record, such as City Point, Virginia, Headquarters of General Grant by Edward Lamson Henry (1841-1919)?

Serving as a captain’s clerk aboard a Union Quartermaster’s supply transport, Henry made sketches to document the non-combat side of a soldier’s life. From 1865 to 1873 he worked on combining these sketches to create the composite scene of the painting that emphasizes the bustling transportation network as a new basis for national identity. • How do Henry’s and Gardner’s intentions and works compare?

Do photographs or illustrations tell a more convincing story?

Because the technology to reproduce photographs was not yet practical for mass distribution during the Civil War, newspapers relied on artists to provide images for their stories. Photographs and drawings were engraved on wood plates to enable them to be printed in publications such as Harper’s Weekly. Winslow Homer (1836-1910) was one of Harper’s most noted illustrators, creating many images from the front lines of the Civil War.

• What do you imagine were/are some differences between understanding the Civil War through Gardner’s photographic albums and articles illustrated by Homer in Harper’s?

• Who saw the images? How were they viewed? What stories do they tell?

THE POWER OF INTENTION

Timothy H. O'Sullivan, A Harvest of Death, Battle-field of Gettysburg, from Gardner's Photographic Sketch Book of the War, Volume I, July, 1863, albumen photograph, Museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA

Reality and Representation: An Exploration of Intention, Perception and History Teacher Guide , Addison Gallery of American Art, Spring 2009,

Edward Lamson Henry, City Point, Virginia, Headquarters of General Grant, 1873, oil on canvas, museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA

Winslow Homer, Christmas Boxes in Camp, from Harper's Weekly, January 4, 1862, wood engraving, gift of Thomas E. Weil, Jr. (PA 1966), Addison Gallery of American Art, Phillips Academy, Andover, MA

THE POWER OF THE VISUAL

How can photographs inspire social change?

Dorothea Lange (1895-1965) is best known for the photographs she made while working for the Farm Security Administration during the Great Depression. Lange’s empathic depictions were powerful symbols of human suffering that stirred the government and the public to action. After her renowned Migrant Mother photograph (a version of which is pictured at left) was published in the San Francisco News, immediate government relief was sent to the Nipomo migrant camp.1 • What did Lange’s images represent then? • What might they represent now?

Carleton Watkins’s (1829-1866) photographs of Yosemite from the 1860s similarly impacted government policies and action.

Watkins designed a camera around a glass-plate negative large enough to capture Yosemite’s monumental features and carried these four-pound plates along with a darkroom tent and processing chemicals through untamed terrain to create these images. These exquisite photographs (see additional image on page 6) sent with letters to senators in 1864 were influential in persuading the US Congress to pass legislation to protect the Yosemite Valley. • How did Lange and Watkins create such moving photographs? • How might you create images to inspire and incite social action today?

What do photographs of Yosemite over time reveal about our relationship to the land? In this century, photographs of Yosemite by Ansel Adams (1902-1984) (see additional images on page 6) and Roger Minick (b. 1944), provide alternative views of the well-traveled national park. Patiently waiting for the perfect light and using special lenses and filters, Adams is known for dramatic black and white compositions of his beloved California landscape. Like Watkins, Adams also used his photographs to petition the government and public for environmental preservation of US lands. Minick on the other hand, wastes no time in capturing the fortuitous moment when a tourist wearing a Yosemite National Park scarf is stands before the falls pictured on it.

• What are the differing intentions of Ansel Adams and Roger Minick? • How would you photograph Yosemite or your favorite landscape—and why?

Dorothea Lange, Migrant Mother, Nipomo, California, neg. 1936, print c. 1950, gelatin silver print, 11 in. x 14 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA


Carleton E. Watkins, Distant View of the Domes, Yosemite, Calif., c. 1880, mammoth-plate albumen print, 15 3/8 in. x 20 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA

Ansel Adams, El Capitan, Sunrise, Winter, Yosemite National Park, CA, from Portfolio VII, neg. 1968, print 1976, gelatin silver print, gift of Robert Feldman (PA 1954) in memory of

Beth Lisa Feldman, Addison Gallery of American Art, Phillips Academy, Andover, MA 1 Goldberg, Vicki. The Power of Photography: How Photographs Changed our Lives. New York: Abbeville Publishing Group, 1991.

Roger Minick, Woman with Scarf at Inspiration Point, Yosemite National Park, California, from Sightseer Series, 1980, vintage dye coupler print, 16 in. x 20 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA

PRIMARY SOURCES

• What information can we learn from primary sources? • What are examples of primary sources from history? • What primary sources do we encounter every day?

PROJECT IDEAS

• How do Homer’s Illustrations, the photographs from Gardner’s albums, and Henry’s painting (p. 2) function as primary sources? • What stories do they tell about the Civil War—individually and together?

Stanley Forman, Soiling of Old Glory, Boston City Hall, 1976, gelatin silver print, 7 1/2 in. x 9 1/2 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA


Left: Winslow Homer, The Union Cavalry and Artillery Starting in Pursuit of the Rebels up the Yorktown Turnpike, from Harper's Weekly, 1862, wood engraving on wove paper, gift of Mrs. Frederick Taft; John Reekie, Right: A Burial Party on the Battle-field of Cold Harbor, from Gardner's Photographic Sketch Book of the War, Volume II, 1865, albumen print photographs, museum purchase, Collection Care and Enhancement Fund; both: Addison Gallery of American Art, Phillips Academy, Andover, MA

CONTEXT OF THE BIGGER PICTURE

The story told in one photograph can change significantly if one sees or hears the larger context of the picture, such as what came before and after, or hearing voices of witnesses to the event. Select a photograph – perhaps this Stanley Foreman (b. 1945) , Dorothea Lange’s Migrant Mother, or Diane Arbus’s (1923-1971)Child with a Toy Hand Grenade - and write a narrative based on what you imagine is happening from the one image. Then look at the photographer’s outtakes and read any articles or books that provide a broader account of the event depicted in the photograph (we can help provide these or lead you to sources). Write the story again to see how the additional images and/or information changed your perception of the story.

• What story of busing desegregation in Boston in the 1970s does this picture tell? • How might we learn more about the actual incident to put this picture in its larger

context?

Discuss how newspapers, magazines, family photographs, ticket stubs, receipts, and even email messages function as primary sources. What will future generations be able to learn from them? Choose a source from which people can learn about you and write what you think they could learn. Then take a photograph that could function as a primary source telling the same story. Exchange your photograph and other primary source about you with a friend and write your observations of each. Share your ideas about what you can learn from each source individually-and the two together.

Compare the photographs that accompany newspaper articles about the same story from two or more papers. How do the photographs—and their captions—guide you to different interpretations of the same story? How do the photograph and the text work together to tell the story of the event?

Winslow Homer, The Army of the Potomac - Our Outlying Picket in the Woods, from Harper's Weekly, 1862, wood engraving, 6 7/8 in., gift of Mrs. Frederick P. Taft, Addison Gallery of American Art, Phillips Academy, Andover, MA

CURRICULUM CONNECTIONS LANGUAGE ARTS

Format and Intention • How does the arrangement of Eadweard Muybridge’s motion studies

photographs express his intentions? • How does the meaning of a story change if it is presented as an

autobiography, a fairy tale, a poem, a graphic novel, or a photo essay? • How do you decide which format will best express your ideas and intentions? Write about yourself in at least two different formats and consider which details are emphasized in each. Discuss how the different formats reveal your identity. Option: Students can also photograph or draw themselves. Discuss how the image expresses your identity differently than the written forms. Try combining the written and visual form and sharing these with others.

Context and Perception

• What story does Jim Casebere’s photograph imply? • Can the narrative implied by a photograph be a lie? • How does context affect the power of an image? As Lewis Hine said in 1909, “While photographs may not lie, liars may photograph.”2 If the subject of the photograph is a deliberate falsehood – such as in Jim Casebere’s (b. 1953) photograph using a model of an architectural space filled with gelatin to resemble a flood - the photograph is still an honest reproduction of what was before the lens.

Choose a photograph that tells an interesting story. Write a title and an interpretation of the photograph as if it were to hang next to the picture in a museum. Then write a caption and a story for the same photograph as if it were to be printed in a newspaper. Discuss how the context affects the interpretation.

James Casebere, Pink Hallway #3, 2000, chromogenic print, 96 x 77 in., museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA


Eadweard Muybridge, Plate 38. Horses, Running, Hattie H., from The Attitudes of Animals in Motion, 1881, albumen print, 6 1/4 in. x 8 13/16 in., partial gift of The Beinecke Foundation, Inc., Addison Gallery of American Art, Phillips Academy, Andover, MA

2 Goldberg, Vicki. The Power of Photography: How Photographs Changed our Lives. New York: Abbeville Publishing Group, 1991.

SOCIAL STUDIES AND HISTORY

Military Conflicts in the News • How do the ways in which the Civil War was documented differ from the ways in which other military conflicts have been documented? • How are current military conflicts portrayed in the media? in art? Compare images and information from news and other primary sources about one or more military conflicts from history. What stories do they tell? How do they differ? Who made them and what were their intentions? Compare these materials to those of a current military conflict. Think about the types of sources available to you and which sources you trust. Write an essay about how the formats and sources of images and information has changed over time and how they affect our understanding of war. Option: Work together to create a visual timeline of war photography and documentation.

SCIENCE

Presenting Results

• How do scientists present their findings? • How might different formats be received by the public?

Choose a local environmental issue about which you feel strongly and write a persuasive essay. Then think about how you would communicate the importance of your issue using images. First, paint or draw images for a poster to convince your audience of the problem and possible solutions. Then use photographs for the

same purpose. Determine the most effective combination of words and images to get your message across to the public. Consider publishing your work in the local newspaper or a community bulletin, or having a public exhibition.

Clockwise from top left: Carleton E. Watkins, El Capitan, Yosemite, California (3,300 feet), c. 1860s, mammoth-plate albumen print, museum purchase; Ansel Adams, El Capitan, Sunrise, Winter, Yosemite National Park, CA, from Portfolio VII, neg. 1968, print 1976, gelatin silver print, gift of Robert Feldman (PA 1954) in memory of Beth Lisa Feldman; Ansel Adams, Half Dome, Winter, Yosemite Valley, 1938, gelatin silver print; all: Addison Gallery of American Art, Phillips Academy, Andover, MA


CURRICULUM CONNECTIONS

Individually or in small groups, try several different formats for presenting results from a science experiment, such as a lecture, PowerPoint, brochure, poster, exhibition, video, or newspaper article. Consider how you would combine text and images in each of these formats. Have students share their work to the class and discuss the effectiveness of each format.

In 1872, Eadweard Muybridge (1830-1904) invented the technology to capture an image of a horse mid-gallop, proving that all four of a horses hooves leave the ground at once. Muybridge felt his original photo was not detailed enough for public display so he had his assistant paint a picture from it and then displayed a photograph of the picture. He also had drawn copies of his photographs available for zoetropes, circular drums that are spun to display the small changes between images as fluid motion, and zoopraxiscopes, his own invention that projected these images with light. Which of these formats - the photographs, the photographed painting, and the illustrations in motion - do you think is more “real”?

Students from a local pre-school explore the Addison’s zoetrope.

What do Watkins’s and Adams’s photographs each say about Yosemite?

How does each perspective influence our perception of the place?

Environmental Preservation

• What type of image is most effective at convincing the public about an environmental issue?

• What text would you use to accompany your images to highlight the problem and offer some possible solutions?

RESOURCES

Browse or search the Addison Gallery’s

collection online to find images of your favorite

works anytime —or check out the

community portfolios for sample themes and ideas.

http://accessaddison.andover.edu/

The Addison Gallery can provide PowerPoints or jpgs of the images in this packet or others from the Addison’s collection. Alden, Henry M. and Alfred H. Guernsey. Harper’s Pictorial History of the Civil War. New York: Fairfax Press, 1977.

A comprehensive collection of all articles, maps, and illustrations printed in Harper’s Weekly during the Civil War. The Center for Civil War Photography: http://www.civilwarphotography.org/index.html

The CCWP’s website has online exhibitions of Civil War photography and a video demonstration of wet plate photography. Davis, Keith F. The Photographs of Dorothea Lange. Kansas City: Hallmark Cards, Inc., 1995.

Reproductions of works from every phase in Lange’s career, narrated by quotes from both Lange and the subjects of her photographs. Gardner, Alexander. Gardner's Photographic Sketchbook of the American Civil War 1861-1865. New York: Delano Greenridge Editions, 2001.

A compilation of the two albums of photographs and text by Alexander Gardner and his team of photographers. Goldberg, Vicki. The Power of Photography: How Photographs Changed our Lives. New York: Abbeville Publishing Group, 1991.

An exploration of the enduring impact of iconic American photographs through image and text, including Lange’s Migrant Mother. Klett, Mark, Rebecca Solnit and Byron Wolfe. Yosemite in Time. San Antonio: Trinity University Press, 2005.

Contemporary versions of classic images by Muybridge, Watkins, and Adams accompanied by essays that together show how Yosemite and our conceptions of the landscape have changed since the 19th century.

Manes, Stephen. Pictures of Motion and Pictures that Move. New York: Coward, McCann & Geoghegan, Inc., 1982. A fascinating biography of Eadweard Muybridge written for a younger audience .

Masur, Louis P. The Soiling of Old Glory: The Story of a Photograph That Shocked America. New York: Bloomsbury Press, 2008.

An exploration of the context behind Stanley Forman’s powerful photograph depicting Boston’s desegregation busing crisis in the 1970s. Petersburg National Battlefield - City Point (US National Park Service): http://www.nps.gov/pete/historyculture/city-point.htm

A description of City Point, the location of Edward Lamson Henry’s painting. From a small village surrounded by a plantation to the war's largest field supply base, this piece of land was critical to the outcome of the siege of Petersburg during the Civil War.

Riis, Jacob. The Battle with the Slum. New York: Dover Publications, 1998 / How the Other Half Lives. New York: Penguin Books, 1997.

Contemporary copies of the books that promoted changes in the living conditions of immigrants living in tenement housing in New York City in the 1880s, told through narrative, photographs, and illustrations.

Scott, Amy. Art of an American Icon: Yosemite. Berkeley: University of California Press, 2006.

Yosemite’s visual history told by essays and works of art from the last two centuries.

Above left: Carleton E. Watkins, California, El Capitan, n.d.; Above right: Carleton E. Watkins, Mirror View of El Capitan, Yosemite Valley, Mariposa County, Cal., 1867; both: albumen prints, museum purchase, Addison Gallery of American Art, Phillips Academy, Andover, MA


Reality and Representation: - Addison Gallery of American Art

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