ap studio art- 2d photography. lesson: a plan for learning how to determine a concentration for an...

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AP Studio Art- 2D Photography Jody Hoffm an Archmere Academ y 3600 Phil adelphia Pike Claym ontDelaware 19703 302-798-6632-828 jodyhoffma n@ archmereacadem y.com

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Page 1: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

AP Studio Art- 2D Photography

Jo dy Hof fman Archmere Academy 3600 Philadelphia Pike Claymont Delaware 19703 302-798-6632-828 jodyhof f [email protected]

Page 2: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in

Photography.

Rationale: The student will need to create a portfolio with three sections; quality, concentration, and breadth. The concentration requires an in-depth exploration of a particular design concern. The series of artwork that you submit for this concentration section should show evidence of growth and discovery as well as coherence and focus. The concentration must contain twelve slides of the works and three may be details if needed for presentation.

Page 3: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

OBJ ECTIVES: 1. St udent s will lear n what the qualitie s of a good

concentration should be.

2. St udent s will bra instor m per sonal interests t o dete rmine

subjects for possible concentratio ns.

3. Possible concentr ations are compared and the qualitie s

identified in each .

4. St udent s will be asked to find artis t s who can be closely

related to personal ideas.

5. Again thr ough brainstor ming the stu dents will narrow their

choice to one or t wo avenues.

6. Define cou r se of action in accomplishing goals.

Page 4: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Examples of Concentration

Most artists will work in a series when they develop and produce art work. Their investigation of a particular

visual idea can produce a variety of works with a unifying central idea. These ideas can be unified by

process, composition, themes, objects, etc.

Page 5: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

A concentration is a body of related works that:

• Grow out of a coherent plan of action or investigation;• Are unified by an underlying idea that has visual and/or

conceptual coherence;• Are based on your individual interest in a particular visual idea;• Are focused on a process of investigation, growth, and

discovery; and• Show the development of a visual language appropriate for your

subject• Commentary describing what your concentration is and how it

evolved.

Page 6: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Breadth section might contain

• Work that employs line, shape, or color to create unity or variety in a composition;

• Work that demonstrates symmetry/asymmetry, balance, or anomaly;

• Work that explores figure/ground relationships;• Development of modular or repeat pattern to create rhythm;• Color organization using primary, secondary, or other color

relationships for emphasis or contrast in a composition;• Work that investigates or exaggerates proportion or scale.

Page 7: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

• Exams: 2007 Studio Art 2-D Design: Concentration -- Britaney N. Wehrmeister

Buhler High SchoolBuhler, KS

This concentration was produced by an AP art student.

Page 8: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 9: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 10: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 11: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Henri Cartier-Bresson

The Decisive Moment- Henri Cartier-Bresson

“To take photographs means to recognize - simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye and one's heart on the same axis.”

Page 12: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

“To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy.”

Valencia

Portrait of Henri Mattise

Layers of space are evident in Henri Cartier-Bresson’s photography creating a rich perspective. The foreground ,mid ground, and background are clearly defined.

Page 13: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Edgar Degas

• Edgar Degas used the idea of motion

by repeating several figures placed from

foreground middle to background.

“It is all very well to copy what one sees, but it is far better to draw what one now only sees in one's memory. That is a transformation in which imagination collaborates with memory.”

Page 14: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

David Hockney “I may seem to be passionately concerned with the 'hows' of representation, how you actually represent rather than 'what' or 'why'. But to me this is inevitable. The 'how' has a great effect on what we see. To say that 'what we see' is more important than 'how we see it' is to think that 'how' has been settled and fixed. When you realize this is not the case, you realize that 'how' often affects 'what' we see.”

Fractured space can be createwith multiple view points arecombined in a single image It is to see how David Hockney will manipulate space And suggest the passage of time

Page 15: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 16: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 17: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 18: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 19: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 20: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 21: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 22: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Aleksander Mikhailovich Rodchenko Born 1891 – December 3, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design; he

was married to the artist Varvara Stepanova.

Rodchenko was one of the most versatile Constructivist and Productivist artists to

emerge after the Russian Revolution. He worked as a painter and graphic designer

before turning to photomontage and photography. His photography was socially

engaged, formally innovative, and opposed to a painterly aesthetic.

Concerned with the need for analytical-documentary photo series, he often shot

his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a

subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the

same key-hole again and again."

Page 23: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Minor White• One of Minor White's most famous quotes:

"Be still with yourself until the object of your attention affirms your presence." He also said: "Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts."

Real to abstract to non-objective

Page 24: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 25: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Edward Weston• “Anything that excites me for any reason, I will photograph; not

searching for unusual subject matter, but making the commonplace unusual.”

Page 26: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Carol Golemboski

Page 27: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Carol golemboski gives examples of her work and this explanation.

• "Psychometry" is a series of photographs exploring issues relating to anxiety,

loss, and existential doubt. The term refers to the pseudo-science of "object reading," a purported psychic ability to divine the history of objects through paranormal channels. Like amateur psychometrists, viewers are invited to interpret arrangements of tarnished and decrepit items, depending on the talismanic powers inherent in the remains of human presence. The success of the image relies upon the viewer's expectation of truth in photography, expanding upon age-old darkroom "trickery" to suspend belief between fact and fantasy.

• In her artistic, almost performative recreations, Golemboski collects old objects from flea markets and antiques stores and then invents new environments and narratives for them. Her beautifully crafted prints are highly manipulated as well, creating literal and symbolic layers of meaning and memory. Ethereal markings also suggest spirit and slate writing almost as if another presence is attempting to come through to "the other side" with Golemboski acting as medium. Her use of photograms, fingerprints, and etchings underscore the postmodern idea of the trace and provides an artistic foil to the spirit photographs. This darkroom magic, done the "old fashioned" way, is intended to cut to the core of photographic truth.

Page 28: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 29: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 30: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 31: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Atmosphere, emotional, surreal

Page 32: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 33: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography
Page 34: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

• Jerry Uelsmann http://www.uelsmann.net/

• David Mc Kean

• Blake Fitch

• Ruth Bernhard• Gila Paris http://ww.xp=rience.net/xpWeb/homeEN/recent=works-2007.aspx

• Scott Mutter http://www.photographymuseum.com/mutter/scottmutterNewGallery.html

• Annie Leibowitz

More Photographers for Suggested ResearchMore Photographers for Suggested Research

Page 35: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Collage Artists

• Leo Kaplan

• Robert Rauschenberg

• Richard hamilton

• Laszlo Moholy-Nagy

• Kurt Schwitters

• Salvador Dali

Page 36: AP Studio Art- 2D Photography. Lesson: A plan for learning how to determine a concentration for an AP 2D Design portfolio in Photography

Assignment• I would like you to further research these artists and

create some images that will focus on on your personal voice but be inspired by these artists. When you study these artists do a little brainstorming in your journals of personal,unique ideas that could relate to the conceptual aspects of these artists. I would like to see series of 8-10 images for each of 2 artists presented and two from the lists.(4 artists with 8-10 working images) Due for critique two weeks. Proposed ideas due in two class days. Please copy all documentation and imagery for consideration.