ART 391
Study Guide #3
(complete)
Exam: Wednesday, June 8 (2:00 – 4:30 pm)
Please bring a Blue Book!
Part I. Slide Identifications—you will be expected to identify the following images by
photographer, title, date, and type of image [only 10 will be on the exam]:
1.
2.
3.
4.
5.
[9.3] Dorothea Lange, Migrant Mother, 1936, gsp
[below] Dorothea Lange, “If You Die, You’re Dead—That’s All”, 1938, gsp
[below] Walker Evans, Floyd Burroughs, 1936, gsp
[9.7] Gordon Parks, Ella Watson, 1942, gsp
[below] Margaret Bourke-White, There’s No Way Like the American Way, 1937,
gsp
6. [9.31] Alfred Eisenstaedt, Joseph Goebbels, 1933, gsp
7. [11.13] Weegee, Their First Murder, 1941, gsp
8. [below] Nathaniel Fein, Babe Ruth Retires No. 3, 1948, gsp
9. [11.44] John Filo, Untitled (Kent State), 1970, gsp
10. [11.73] Bob Jackson, Lee Harvey Oswald Shot, 1963, gsp
11. [11.3] Aaron Siskind, Jerome, Arizona, 1949, gsp
12. [11.8] Robert Frank, Drug Store, Detroit, 1955, gsp
13. [11.14] Lee Friedlander, New Orleans, 1968, gsp
14. [11.15] Garry Winogrand, American Legion Convention, Dallas, 1964, gsp
15. [below] Diane Arbus, Child with Toy Hand Grenade, 1962, gsp
16. [below] Bernd & Hill Becher, Water Towers, 1978, gsp
17. [11.64] William Wegman, Man Ray Contemplating Bust of Man Ray, 1978, gsp
18. [11.65] William Eggleston, Greenwood, Mississippi, 1970, dye transfer
19. [12.26] Nancy Burson, Mankind, 1984, digital photo
20. [13.6] Cindy Sherman, Untitled Film Still, 1978, gsp
21. [below] Barbara Kruger, Untitled (Your Body is a Battleground), 1985,
photomontage
22. [13.40] Nan Goldin, Nan and Brian in Bed, 1983, color photo
23. [13.61] Carrie Mae Weems, Diana Portraits, 1992, C-Print
24. [13.65] Catherine Opie, Chicken, 1991, chromogenic
Lange
Evans
Bourke-White
Fein
Bechers
Arbus
Kruger
Part II. Essay Questions—3 of the following 5 questions will be on your Final Exam.
You will be asked to choose 2 of them to answer:
1. Farm Security Administration—what was the purpose of this program?
Explain the intention of these FSA photographers, using the following images as
examples. Then discuss the “real” story that they ultimately capture:
a. Walker Evans, Floyd Burroughs, a cotton sharecropper, AL, 1936, gsp
b. Gordon Parks, Ella Watson (American Gothic), 1942, gsp
c. Dorothea Lange, “If You Die, You’re Dead—That’s All” (Nettie
Fetherston), 1938, gsp
2. Photojournalism—what is photojournalism? Discuss the following images in
terms of timeliness, objectivity, and narrative:
a. Nathaniel Fein, Babe Ruth Retires No. 3, 1948, gsp
b. John Filo, Untitled (Kent State), 1970, gsp
c. Bob Jackson, Lee Harvey Oswald Shot, 1963, gsp
3. Straight Photography—what is “straight” photography? Explain using the
following images. Then discuss how Winogrand’s brand of “street” photography
differs from the previous generation (like Kertesz or Cartier-Bresson).
a. Robert Frank, Drug Store, Detroit, 1955, gsp
b. Lee Friedlander, New Orleans, 1968, gsp
c. Garry Winogrand, American Legion Convention, Dallas, 1964, gsp
4. Postmodernism—although Postmodernism can be difficult to define, in terms of
photography, it seems to go hand in hand with interrogating notions of reality and
of originality. Expand on this notion, analyzing various PoMo strategies, such as
working serially, appropriation, exploring digital photography, using the
following images:
a. Bernd & Hill Becher, Water Towers, 1978, gelatin silver
b. Carrie Mae Weems, Diana Portraits, 1992, C-Print
c. Nancy Burson, Mankind, 1984, digital photo
5.
Identity Politics—explain this idea of interrogating the body as a site of
“meaning.” How do the following photographers challenge assumptions about
gender and sexuality?
a. Cindy Sherman, Untitled Film Still, 1978, gelatin silver
b. Barbara Kruger, Untitled (Your Body is a Battleground), 1985,
photomontage
c. Catherine Opie, Chicken, 1991, chromogenic