History of Photography
Final Exam: ART 3648: History of Photography CSUB Spring 2024 Dr. Alex Kershaw Weight: Due: 25% of Final Grade Due 6pm Friday May 17. Submission Details: – Submit a single Microsoft Word document titled “Final Exam_YourSurname” on the Canvas site via the “Final Exam” page that can be found under “Upcoming Assignments” in the “Assignments” tab. – Use 12pt. Times New Roman font, double spaced, with 1-inch page margins. – Make sure you start a new page for each bundle. – You don’t need to include the questions, only your answers. – Read carefully through your exam before submitting. Always double-check for spelling, grammar and syntax errors. – Include a Works Cited or Bibliography and the end of the exam on a separate page for any source other than the textbook and/or lecture. Assessment There are 4 bundles to the exam. The number of bundles you satisfactorily complete determines your grade. Bundles Completed Satisfactorily complete Bundle 1: Satisfactorily complete Bundles 1 and 2: Satisfactorily complete Bundles 1, 2, and 3: Satisfactorily complete Bundles 1, 2, 3, and 4: Grade D C B A Understanding this Exam and Specifications Grading We are using a type of grading system for this exam called specifications grading. Part of the reason is that I want to give you more autonomy in your learning experience as a means of being practical about the fact that we are all prioritizing where we put or energy given the limited time and resources available. The most important aspect of specifications grading to understand is that rather than grading each bundle numerically, they are graded as either “satisfactory” or “unsatisfactory.” Depending on how many bundles you pass determines your grade. Simply attempting the bundle does not guarantee that you will pass. When grading “Satisfactory” or “Unsatisfactory” the bar for satisfactory is set higher than what we typically think of as “passing work” (it’s more like a typical B than a C), with a satisfactory grade being one that meets the clearly-articulated specifications. Make sure to carefully read the question before attempting to answer it and make sure you are willing to allocate the necessary time to complete it satisfactorily. For this exam there are 4 bundles that get progressively more challenging. In a way this system is like a game of “choose your own adventure,” but keep in mind that playing the game means participating with honest effort to demonstrate an understanding of course material that is effectively applied to the exam’s specifications, rather than “gaming the system.” The bundles must be completed in order—so you must complete Bundle 1 before attempting Bundle 2, Bundle 2 before attempting Bundle 3, and Bundle 3 before attempting Bundle 4. Also, keep in mind that the final letter grade you receive for this exam is not an assessment of your intelligence, your abilities, or your value as a person. I am not grading “you” as a person, instead the grade reflects what you demonstrated that you learned in the course—no more, no less. You might choose that passing the course with a C is sufficient for your goals—it is perfectly appropriate and worthy of respect for you to make that choice, especially if it allows you to proactively allocate your time to other endeavors. If you strive to get an A and maximize your learning, you should know that you are taking on that work and challenge yourself, and should make sure you are in a personal and academic situation to achieve that level of engagement. I understand that this is probably a new system for many of you and so I want you to know that I am committed to taking as much time is necessary to ensure you understand the expectations and practices. Feel free to reach out to me at any point during the week if you would like me to explain this grading system in more detail or if you would like clarification on any aspect of the exam. Though, like any normal exam I will not be able to discuss ideas for have for how you will answer the question or give feedback on your answers. As I mentioned in lecture last week, I have provided a link to an article in the Week 5 Module for those that are interested in reading more about specifications grading. Relevant Policies as Per the Syllabus Your exam must be turned in on time to receive full marks. It will be docked one letter grade (the equivalent of 10%) per day until I receive it, including Saturday and Sunday. There will be no make-up exams. If you miss an exam or fail to turn in a paper on the due date, please contact me immediately. Exams may only be made up because of illness or other severely extenuating personal circumstances. Documentation will be required. All assignments, papers, and exams will be read carefully. Academic dishonesty of any kind will result in an automatic zero for the exam and possible failure of the course. Your exam will be screened via an application that checks for plagiarism called called Turnitin. 3 Bundle 1: Short Answer Questions Total Number of Questions: Length of each response: 5 120-170 words #1—What is meant by the term “avant-garde” in the context of art history? After you have defined the term in your own words, use one specific photograph (please identify the title of the photograph) of either Dada or Surrealist photography and explain why it is exemplary of the avant-garde. #2—As per our lecture and the textbook, what does FSA stand for? Name three photographers that participated in this project and briefly describe the project’s purpose. #3—Who curated the exhibition The Family of Man? Briefly explain the purpose of this exhibition. #4—Based on what you learned from my lecture titled Photography’s ‘Other’ Histories and the associated textbook readings, what is meant by the concept of the ‘Other’ and how does this concept relate to photography? #5—Name three characteristics that differentiate analogue photography from digital photography. 4 Bundle 2: Short-form Formal/Contextual Analysis Using formal and/or contextual analysis, make an argument about how this photograph challenges stereotypes of beauty and populist notions of what constitutes the ‘perfect’ body. You can read a short bio and description of Katayama’s work HERE and view her website HERE. Feel free to use these sources or others you locate independently. Artist/Photographer: Title: Date: Medium: Size: Mari Katayama You’re Mine #001 2014 Lambda Print 102.1 x 159.2 cm Word Length: 350-500 Total Overview For this response your formal analysis is one long paragraph in length. Use the “Guide to Formal Analysis” and the “Thick Description” sample in the Week 3 Module for additional support. Rather than focusing on just one element in detail you need to address several elements briefly. Like any formal analysis the purpose is to make an argument about the photograph. Specifications for Constructing the Paragraph Your first sentence (known as a topic sentence) should broadly identify what’s “on the table” so to speak in terms of how you will consider the image. Seeing as there is no single way to interpret any image, you 5 will want to signal to your reader in the first 1-2 sentences the general nature/approach of your analysis. This will include a one-to-two sentence thesis statement. In the next few sentences provide an initial description that gives the basic details and context of the image—mention the artwork’s title, its author, date, and location/subject. Then, for the majority of the paragraph you will engage in thick description of the photograph. While you don’t need to specifically identity the formal elements by name, you must use at least 3 formal elements to DESCRIBE the photograph. For the final 2-3 sentences you will INTERPRET the photograph. This must connect logically to the preceding description as well as your thesis statement. Note: Remember that formal analysis is not about using what others have said about the work to form an interpretation, but using the toolkit of formal analysis to dissect the work in order to analyze and interpret. 6 Bundle 3: Compare and Contrast Word Length: 500-700 Compare and Contrast these two photographs. Robert Frank—(American 1924-2019) Trolley, New Orleans. From the series The Americans 1955 Diane Arbus—(American 1923-1971) Young Man and His Pregnant Wife In Washington Square, N.Y.C. 1965 7 Overview Following the method outlined in the resources on our Canvas site, compare and contrast these two photographs in five paragraphs. Specifications for Structuring Your Response Your response must have a short introduction and a conclusion with three body paragraphs in-between. You are free to use additional sources other than my lectures and the textbook as sources and if you do, please site your additional sources. Your introduction should include: ➢ Basic details about the two works like the name of the photographer/artist, title, date, and a very brief description of the work where relevant. ➢ For the introduction’s context establish your “Frame of Reference.” ➢ A road map—this is like a movie trailer, it gives the reader a preview of your essay. For the compare and contrast this involves an overview of your “Grounds of Comparison.” ➢ Thesis statement—This is a one or two sentence statement where you make your argument’s main claim. Remember that the purpose of this essay is to make an argument that makes an argument about how these two images relate to one another (synthesis). For Paragraphs two, three and four (your separate body paragraphs): – Use three different “Grounds of Comparison.” Together these paragraphs constitute the reasons and evidence that supports your overall argument that synthesizes a specific relationship between these two photographs. Begin each paragraph with a topic sentence that identifies the grounds for comparison. The topic sentence should make clear to your reader how the following analysis supports your overall thesis statement. For your Conclusion: ➢ Start you conclusion with a restatement of your thesis. ➢ A summary of your findings as now having been effectively argued where you connect your three different “Grounds of Comparison” to your thesis statement. ➢ Also, conclusions often give your readers something extra to think about. For example you can address the broader significance of your argument and/or the subject under analysis as well as identifying promising avenues for future research. Often scholars do this in a conclusion to let the reader know there’s lots more that can be discussed that they didn’t have room for or that there are alternative arguments. Note: You must use both formal analysis and contextual analysis. For your contextual analysis you will need to cite the source(s). You are free to use lecture and/or the textbook as a source and/or locate other sources yourself. Note: If you need to refamiliarize yourself with the meaning of the terms “Frame of Reference” and “Grounds of Comparison” these are covered in the resources on the Home page of out Canvas site under the heading “Contextual Analysis.” 8 Bundle 4: Contextual Analysis Word Length: 600-750 Using contextual analysis, make an argument about Pieter Hugo’s photographic series La Cucaracha. The whole photo series can be viewed HERE: See: https://pieterhugo.com/LA-CUCARACHA To help you get started, these are some questions you can ask: – What does the work say about Mexican society? – What aspects of Mexican culture does Hugo’s work illuminate and why? – What themes are addressed in the work? – How does the series La Cucaracha engage with the genre of portraiture? There are many photographs in this series, so don’t try and address each work individually. Instead, write about the series generally as one body of work, but also make sure you include analysis of at least two specific photographs. Overview Your contextual analysis must be an essay-length response of between three-to-five paragraphs (plus an introduction and conclusion) in length. You must cite at least two sources as evidence in your analysis from this list (all sources are linked on the Week 16 Module): 1. 2. 3. 4. Video interview with Hugo on La Cucaracha. Interview with Hugo for AnOther magazine. “La Cucaracha.” The British Journal of Photography 166, no. 7894 (04, 2020): 50-67. Short text on the series La Cucaracha by Ashraf Jamal. Note: You can also use the textbook and/or lecture as sources in addition to the above sources as long as it’s relevant to your argument. Also, as long as you use two of the four sources provided, you can include additional sources that you locate yourself. Specifications for Structuring Your Response Introduction: Like any introduction for an argumentative essay in Art History, your introduction should include: ➢ Context—A brief description of the photographer/photographs under analysis. This is where you give the reader a general background to the subject/topic under analysis. ➢ Basic details where relevant. For example, the name of the photographer/artist and medium. ➢ A road map—This is like a movie trailer, it gives the reader a preview of your essay. Here you will introduce what contexts you will be using to analyze the work. ➢ Thesis statement—This is a one or two sentence statement where you make your argument’s main claim. Body Paragraphs: It’s up to you how you choose to arrange your body paragraphs—do what best suits your argument. One suggestion is that each body paragraph focuses on a specific context. Examples that we discussed in class include biographical, historical, genre/style, theoretical, etc. Using between 3-5 body paragraphs engage reasons and evidence to support your argument about Hugo’s photographic series. Begin each paragraph 9 with a topic sentence that clearly identifies the point your are trying to make in the paragraph. It must be clear how this supports your thesis statement. Note: ➢ You must refer to at least three specific images (use their titles to identify them). ➢ Although you are using contextual analysis, because you need to describe the photographs you will also be using formal analysis—just make sure that your formal analysis functions to support a contextual argument. Conclusion: Although there is no magic formula for how to write a conclusion it should at a minimum include: ➢ A restatement of your thesis. ➢ A summary of your argument presented as now having been effectively argued. Also, conclusions often give your readers something extra to think about. For example you can address the broader significance of your argument and/or the subject under analysis as well as identifying promising avenues for future research. For support in helping you craft conclusions refer to Chapter 16: Introductions and Conclusions from The Craft of Research, (Fourth Edition). CSUB students have full access to the digital edition of this book. Follow this LINK If the link doesn’t work, the URL is: https://csub-primo.hosted.exlibrisgroup.com/primoexplore/fulldisplay?docid=TN_cdi_proquest_ebookcentral_EBC4785166&context=PC&vid=01CALS_U BA&lang=en_US&search_scope=EVERYTHING&adaptor=primo_central_multiple_fe&tab=everything &query=any,contains,The%20craf Resources ➢ Look at your notes from when we practiced contextual analysis with Dorothea Lange’s Migrant Mother, Nipomo, California. ➢ For help with deciding what kind of claim you will make look at the section titled “Conclusion— New Frames > New Claims” from Contextual Analysis Guide. ➢ Also, the resources under the heading “How to Structure an Argument” on the Canvas home page will help with the process of putting together your argument.
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