Career Services and the College Art Association

As mentioned in my previous post I spent the majority of last week attending the College Art Association's annual conference. While the presentations and sessions covered a variety of topics I spent a great deal of time attending events held by Career Services. Although the photography related presentations where interesting and insightful, I decided to write about my experience in these workshops and mentoring sessions. I hope you enjoy my take on the CAA conference and next week I promise I'll be back to posting as normal.

A large part of the annual College Art Association (CAA) conference focuses on the quest for full time employment. Artists and art historians attend the conference, and the related Career Services events, with the anticipation of securing a coveted interview or a follow up meeting. At the 2013 conference I spent a great deal of time attending Career Services events. I enrolled in workshops, perused the interview hall, and engaged in a career development mentoring session. As someone who is actively applying for various positions I was excited to speak with professionals, and to gain some insight into this competitive market. During the CAA conference, when not running between paper presentations and poster sessions, I was attending Professional Development Workshops. These workshops, because of their “specialized” nature had an additional fee, which at the time seemed worth the money.

Registration Tables

The first workshop on my list was lead by David M. Sokol, Professor Emeritus at the University of Illinois. The course, “Job Hunt 101: Essential Steps in Securing a Job in the Arts,” seemed promising enough. The first thirty minutes of the two-hour workshop were devoted to explaining professorial rank and going over depressing statistics concerning the number of job openings in the field. Sokol then gave a few pointers on the application process and reminded us to do our research before an interview. We then transitioned into a question and answer format for the remaining hour and a half. And that was it. Fifty dollars for a course that was a glorified question and answer session. To Sokol’s credit some of the information he presented was helpful. He delved into a nice discussion on interview tips, and also presented us with standards and guidelines for writing a CV (this information is also free on the CAA’s website). As the workshop wrapped up I could not help thinking that the presentation was outdated, and at times irrelevant. Disappointment set in even further when Sokol simply discussed academic jobs and did not explore museums or alternative career paths. The instructor clearly had many years of experience, but failed to explore tools for navigating the online job search, and the role social media has in networking. While some new information was gained, for the most part I felt this workshop was a waste of time and money. 

Luckily, the rest of the conference proved to be fruitful and I was able to spend Thursday moving between sessions. It was refreshing to listen to new scholarship, to observe academic discourse, and to witness innovative sessions such as "CAA THATCamp: What Happened and What's Next," and "Rock the Pedagogical Boat: Open Mic." On Friday morning I attended my second Professional Development Workshop, “The Syllabus: Mapping Out Your Semester.” After Wednesday’s experience, my expectations were needless to say low. The session however, was an informative two hours. The workshop, lead by Steven Bleicher from Coastal Carolina University covered lesson plans, course objectives, assignments, grading, and general classroom policies. Bleicher presented interesting ideas and shared his past teaching experiences. The course prompted me to think about my pedagogical style and to develop goals for my future students to achieve. The instructor also emailed his presentation to all those that attended so we that could revisit the session at our leisure.

Steven Bleicher's workshop, "The Syllabus"

Though the information presented in “The Syllabus” was useful, I was troubled that the course, much like the rest of the Career Services was focused on artists and those with MFA degrees. Where was the focus on art historians? Bleicher’s presentation, which included a section on developing good critiques and safety procedures in the studio was helpful to artists, but was lost on me. I do not blame the instructor, but rather the CAA and Career Services for not providing accurate descriptions of their workshops. During the week of conference, I was shocked by the lack of useable and relevant resources for emerging art historians and museum professionals. I was also surprised that the CAA didn’t have an equal number of workshops targeted to educators focusing on the history of art. After all, the majority of the papers presented at traditional conference sessions are written by professors of art history, critics, curators or other museum professionals. And as was pointed out in Victoria Scott's paper, "The Art History Guild," shouldn’t the CAA be promoting art history, the humanities, and providing resources for those who want to keep the field relevant, alive and vibrant?

While it is clear from several sessions at the conference, the CAA has plenty of new challenges to face. However, I wish to end this post on a positive note and to share a highlight from my Career Services experience. On Friday afternoon I had the pleasure of participating in a mentoring session with James Farmer from Virginia Commonwealth University. Our thirty minute workshop was a welcomed opportunity to meet a professional working in the field. Farmer’s candidness allowed for a comfortable yet honest discussion, and we were able to cover a variety of topics. He briefly examined my CV and asked spoke to me about future plans. He offered advice on how to get published and specifics to look for in doctoral programs. Although this session was short, it was extremely valuable and lent an optimistic tone to the day. It was refreshing to receive real and useable advice from a respected source.

Attendees between sessions

I do not regret participating in the Career Services aspect of the CAA conference but will not register for their courses in the future. In addition to the workshops and the mentoring sessions that I attended, Career Services also offered Roundtable Discussions, Brown Bag Lunches and Mock Interviews. However, due to previous commitments and my desire to also attend a variety of sessions I was not able to take advantage of these opportunities. I am curious to hear what other emerging professionals thought of the offerings and am interested in see what changes (if any) are made for the 2014 conference.

CAA February 13-16

This year the College Art Association’s annual conference will be held in New York City from February 13th to the 16th. The conference with over 6,000 attendees, will host discussions and presentations exploring the history of art and visual culture. The conference serves a forum for artists, students, art historians, critics, collectors, educators, and museum professionals to discuss developments in their fields and to present new ideas.

I will be attending the conference this week and look forward to sharing with you some of the highlights from the photography related lectures. I will also be tweeting from presentations and workshops, so be sure to follow along @rlwomalley and #CAA2013. If you are attending the conference I look forward to seeing you there.

God Made A Farmer: A Historical Perspective

On Sunday, millions of Americans gathered around their televisions to watch one of the most highly anticipated and commercialized events of the year. Known for over-the-top performances, expensive commercials and immortal acts of athleticism, the Superbowl is as American as Thanksgiving. And without a doubt, Superbowl XLVII was one for the books.

Between the retirement of Ray Lewis, Beyoncé's heart stopping performance and the ensuing stadium blackout, the four hour event was more than just a game. Breaking up the series of passes, touchdowns and flags were some of the most expensive and inventive commercials of the year. Corporations touted their branding power, prowess and accessibility with multiple camera angles and special effects. They appealed to the emotions of the viewer and often prompted the requisite laughter. While every commercial had its role in sculpting the audience's opinion, one advertisement struck me as more provocative then others.

Dodge Ram’s two-minute long commercial, which spotlighted the American farmer, proved that aestheticism is still relevant in our media. The commercial, narrated by the late right-wing radio broadcaster Paul Harvey, effectively combined sound and imagery to create a visually appealing statement. While the commercial is not without criticism (a point I will address shortly) one cannot deny the powerful nature of documentary photography.

Images from Dodge Ram's 2013 Commercial

The images used in this advertisement depict hard working Americans, farming the land that our country is so proud of. The video, although clearly created for the purpose of selling trucks reminded me of a much earlier agricultural initiative from the 1930s. Created in response to the Great Depression and as part of FDR’s New Deal for America programs, the Farm Security Administration (FSA) hired photographs to document rural life. During this time, photographers such as Walker Evans, Dorothea Lange, and Gordon Parks captured some of our countries most iconic images. 

Dorothea Lange, Migrant Mother.

The FSA and the photographic program’s original goals were to educate farmers, and to show middle-class urbanites the problems plaguing the less developed portions of the country. The documentary photographs taken while the FSA was operational (1935-1944) have been appropriated countless times. They have become illustrative not only of the Great Depression but of American history, art, and human struggle. One has to only look at a few of these images to see a visual connection to the commercial. While the composition and subject matter of the FSA and Dodge’s images are closely linked, the message the photographs present and the context in which they are viewed is strikingly different.

Russell Lee, Hands of a Farm Woman.

Walker Evans.

Walker Evans.

Walker Evans. Floyd Burroughs, Sharecropper.

The photographs used in Dodge Ram’s commercial, like those of the FSA were chosen for their ability to sell. The images not only present the idea that every good farmer needs a powerful truck (in this case a Ram), but they also encourage the noble thought that farmers, and the agricultural industry, are closer to God. To some this commercial could be seen as a harmless advertisement for trucks and a broad stereotype of our agricultural community. I do not believe that anyone would deny the important role that farming has in our country. I shop at grocery stores, support local farms, and have friends and family members who have at one time or another grown and sold produce. What troubles me about this advertisement, is that this commercial presents a rather anachronistic view of America, especially when it comes to our diversity and the environment. When speaking so highly of the land, and the labors of love associated with cultivating it, shouldn’t we be promoting and demanding cleaner farming practices, not encouraging consumerism and pollution? And what about diversity? Where are the thousands of Latino farmers that carry the agricultural industry? In the entire slide show, by my count thirty-four images, only four represent women and minorities. It is shameful that a corporation as large as Dodge could not come up with a more comprehensive view of America. Especially when our country is more diverse then ever. Even during the 1930’s FSA photographers were encouraged to document diversity. In fact, Roy Stryker, head of the FSA’s photographic program practically demanded it, and that was before the civil rights movement. I find it troubling that such a well executed and powerfully narrated advertisement could fail to equally represent those invested in the industry it claims to support.

Marion Post Wolcott. Men Unloading Tobacco.

Sharecropper.

As a proponent of art, photography and education I believe this topic deserves further exploration. It is important to think critically about our visual culture and to examine what is presented to us by the media. By looking at commercials and advertisements through a historical lens one can get a sense of perspective that is often over looked. Dodge Ram’s commercial while beautifully executed and narrated could have presented a more progressive and inclusive message. Especially if it wanted to connect with those living in urban environments. The goal of this post is not to attack Dodge Ram’s message but to simply encourage others to think critically, and to remember that documentary photography continues to be powerful medium, even in the twenty-first century.

Winter Photography

Over the past week due to dropping temperatures and icy snow I have spent a great deal of time inside listening to podcasts and perusing my collection of photography books. As someone that enjoys winter and the comforts of hot tea, stews and sweaters I thought this post would be the perfect time to share some of my favorite photographs from a season that encourages personal reflection.

Ansel Adams. Winter, Yosemite Valley, 1933-1934.

The act of looking at photographs is a simple enough task, it is however not always easy. I often think about who the photographer was, the history behind the image, and the criticism surrounding it. I was recently reminded of how important the practice of simply looking is while listening to an interview with photographer David duChemin on The Candid Frame. duChemin was addressing a problem that many photographers encounter which is focusing on the technical aspects of creating a photograph rather then capturing good form. He suggested that in order to create the aesthetics of a image you have to study them, and the best way to do that is to look at big, beautiful photographs. As an art historian I immediately connected with this statement. In a field where so much attention lies on networking, perfectly curated shows and intuitive criticisms, sometimes I need to be reminded to just look. After all, it was the intrinsic act of observing that compelled me to study art history in the first place. So this week I encourage you to look with me and to ponder duChemin's suggestion of contemplating "the light, the lines and the moment" surrounding each photograph.

Ansel Adams. El Capitan, Yosemite National Park, California, 1968.

Albert Renger-Patzch. Winter Landscape with Oak Grove. 1955.

Kenji Tadamoto. Snow Pattern, 1959.

Harry Callahan. Objects in Snow, 1947.

Hans Hammarskiold. Snow on Slats, 1940.

John Vachon. Rider in the Snow, 1940.

Edward Steichen. The Flatiron, 1904.

Alfred Stieglitz. Winter - Fifth Avenue, 1893.

Bruce Davidson. Out a Gallery Window in Winter, 1968.

Faking It

As promised here's a recap of my experience at The Metropolitan Museum of Art's current photography exhibition, "Faking It: Manipulated Photography Before Photoshop," curated by Mia Fineman.

I am trying to get better about seeing shows soon after they open, not a week before they close. I always find something else to do or see and wait until the last minute then rush to the museum before the exhibition is dismantled. Going during the last week is usually a terrible idea and I would not recommend it. The crowds are horrendous and all the extras such as gallery talks, lectures and tours have already run their course. But lucky for me this was not the case last Friday, even with bustling galleries and crowds of tourists I was able to make the most out of the exhibition.

The Metropolitan Museum of Art

I arrived promptly at 11 am and was able to catch a gallery tour which highlighted a few pieces in the show. The tour was given by Fineman's research assistant and I spoke to her about a variety of subjects, including her favorite works and the curatorial goals behind the exhibition's organization. The exhibition, divided into seven categories (Picture Perfect, Artifice in the Name of Art, Politics & Persuasion, Novelties & Amusements, Pictures in Print, Mind's Eye and Protoshop) explores the rich history of photographic manipulation. By organizing the work thematically the viewer can read the photographs in the context in which they were created. The curator did an excellent job representing various time periods and the accompanying labels not only provided a history of the photographs but also explained why they belonged in each particular section.

One of the earliest examples of photographic manipulation was an image by Paolo Salviati. Taken in the 1880s this photograph depicts a Venetian canal lit by the moonlight. Because night photography was not technologically possible during this time period, Salviati repurposed his daylight scene by painting a wash of blue over the sky, adding a moon and creating shadows on the water. The practice of painting over photographs was fairly common and was likely a profitable technique since customers often requested nocturnal photographs like the one seen here. 

Paolo Salviati. 17 Rio Pesaro, Venice. 1880s.

While painting over photographs was done to increase aesthetic appeal, another form of manipulation was harnessed to make the photographers job easier. As explained by the research assistant, group photography was a difficult genre to master as it was often hard to get all the participants together at the same time. There are several examples of group photography in the exhibition, many of them serious portraits of generals and soldiers, but one of my favorites was this piece by George Washington Wilson.  Created in 1857 this collection of busts is amusing as Wilson literally cut and pasted the heads of these elite individuals into a larger collage then re-photographed it. It is fun to get especially close up and examine the various expressions.

George Washington Wilson. Aberdeen Portraits No. 1. 1857.

The use of collage was effective when it came to arranging subjects for a group portrait and continued to be a preferred method of manipulation into the 20th century. Perhaps one of the most famous examples of collage can be found in the political work of John Heartfield. Known for his anti-fascist stance Heartfield perfected the art of photomontage by creating images which almost forced the reader to believe what he was presenting. The piece featured in the exhibition depicts Adolf Hitler, his propaganda master Joseph Goebbels and the Luftwaffe chief Hermann Göring teetering on the edge of a tight rope. The composition while politically motivated is also interesting from a technical standpoint. Upon closer inspection you can see the hand of Heartfield in the ink lines, cut outs, pencil markings and cropping notes. Photomontage may have been one of the more popular ways to manipulate photography but it was certainly not the only technique used.

John Heartfield. Die Drei Weisen aus dem Sorgenland. 1935.

Highlighted in the Novelties & Amusements section is a series of decapitation photographs which were all created using trick photography. This bizarre collection of images depicting self-decapitation, men juggling their own heads and plenty of fake blood is worth a second look. The majority of these photographs were taken in the late-19th century and were the work of amateur photographers who were experimenting with tips and tricks available in popular trade magazines. This collection of photographs is surprisingly large and provides insight into the culture surrounding new dark room technology at the turn of the century.

Unknown. Decapitated Man with Head on Platter. ca. 1865.

Saint Thomas D'Aquin. Man Juggling His Own Head. ca. 1880.

The exhibition which provides examples of photographic manipulation from the invention of the medium (1839) to the release of the first Photoshop program (1990) wraps up with images from the later part of the 20th century. Yves Klein, Harry Shunk and Janos Kender's piece, Leap Into the Void is perhaps one of the better examples of photomontage from the 1960s. The photograph depicting an air born Klein was distributed throughout Paris in the form of broadsheet and became a well known example of the artist's favored gesture. 

Yves Klein, Harry Shunk and Janos Kender. Leap Into the Void. 1960.

This well executed and extensively researched exhibition provides an interesting glimpse into the history of photography. Fineman's broad look into the medium's past reminds viewers that there are many explanations for a photograph's purpose. Whether created for aesthetic reasons, utilitarian purposes, political statements or for simple amusement there is a rich history of photographic manipulation. The notion that photography can communicate a truthful and realistic representation of the world is a myth that is often perpetuated by the medium and if this exhibition shows you anything it is that photographic images have been manipulated since photography's inception.
 
The exhibition, although closing this week in New York is set to travel to the National Gallery of Art and The Museum of Fine Arts in Houston. If you're in either of these towns I highly recommend reserving a few hours to check out this exhibition. With over 200 photographs there is certainly a lot to see. Many of these photographs are best experienced up close so that you can examine the idiosyncrasies of the various techniques. In addition to the exhibition catalogue all of the images are on The Metropolitan Museum of Art's website so you can take a closer look into some of the specifics surrounding these works. 
 

Back In New York

Well after a four week hiatus, I am back. The holidays were a total blur. A wonderful, family and friend filled blur, but nevertheless very busy. My husband and I traveled a good deal which made squeezing in blog time rather difficult. But now that we are back in new york and settling in for the winter I am once again discovering that free time does exist.

I have not seen any shows since I have been back, but there are plenty on my list for this month. Next week I am planning on visiting "Faking It: Manipulated Photography Before Ohotoshop" at the Metropolitan Museum of Art and am also attending an opening at the International Center of Photography, so I will have lots to discuss.

[Image Source]

Although I didn't have time to write while I was away I did have a lot of time to read and to catch up on podcasts as well as to discover a few new ones. As I'm sure you know many museums publish podcasts of symposiums, conferences and general exhibition tours. These are some of my favorite to listen to not only because I can't make it to every event but also because it allows you to revisit a particular exhibition through a simple auditory experience. These podcasts are also great if you do not have access to the wide gamut of institutions that we have here in New York.

In addition to museum published podcasts I have been listening to a variety of independent ones. One of my new favorites is a series of class lectures on the history of photography. This podcast is published by Jeff Curto who is a professor at the college of Dupage in Chicago, Illinois. Curto has two podcasts, one focuses on the more creative aspects of photography called "Camera Position" and another is broadcast of history of photography lectures.

Recently, I have been considering applying for PhD programs so that I can further my career as an art historian and educator so I thought it would be interesting to hear Curto's take on photography's history.

I found his lectures to be incredibly insightful and interesting. He not only outlines the complex, although relatively brief history of the medium, but encourages his students to think about photographs and how we interact with them on a daily basis. In his first two episodes he provides a condensed overview of the timeline of photography. He begins his chronology not with the year 1839 and the invention of the mechanically reproduced image but with ancient Egypt and the importance of perspective, subject matter and point of view.

[Image Source]

He continues on this train on thought and highlights other important art historical moments such as Giotto's frescos and the use of the camera obscura, camera lucida and so on. I found his methodology of outlining photography within the greater context of art and the history of the world to be a dynamic approach. Rather then the traditional presentation of a simple timeline beginning with Louis Daguerre and Henry Fox Talbot. Curto's course encourages students to think about photographs as not only historical documents and "high art" but as something we interact with on a daily basis.

I looking forward to listening to the remainder of his lectures. For the rest of the course he breaks his discussions into thematic subjects with titles such as: "Light and Likeness" and "Photography as Transportation." hether you are interested in photography, teaching the history of photography or just need a refresher course, listening to Curto's podcasts is a wonderful way to spend a few hours. I have also begun following him on twitter @jeffcurto and #photohistory.

I would love to hear what podcasts you listen too and if you have any preferred methodology to teaching photographic histories and I'll keep you updated if I find any other noteworthy podcasts. 

The Americans

Robert Frank's seminal series and photo book "The Americans" as been on my mind for awhile now. In light of our recent national holiday I thought this would be an appropriate time to share and discuss this specific body of work. Frank's photographs, taken on a 1955/1956 road trip through America chronicle the often banal and routine activities of his subjects. They have also been heralded as the one of the most important photographic events of the 1950s (the project of course would not have been possible without Frank receiving a grant from the Guggenheim Foundation).

Parade - Hoboken, New Jersey

During the two year period that Frank traveled he went to nearly 48 states and took 28,000 shots (83 of which ended up in the original publication). While the images featured in the book can certainly speak for themselves, they become all the more poetic when read in conjunction with Jack Kerouac's exquisite imagery and undulating prose. It seems that no matter how many times I read the opening line featured below I am flooded with images of America.

that crazy feeling in america when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral that's what robert frank has captured - jack kerouac

Funeral - St. Helena, South Carolina

While Frank's work brings forth a sense of nostalgia of what America once was, it also raises some interesting questions concerning the shifting focus of the so called 'cold war aesthetic.' After all, this was a time period when many artists began moving away from external forces (both political and social) and instead focused their energies on more personal quests. This trend is certainly exemplified in this series as Frank abandons the preconceived notions of documentary truth and social relevance. In it's place he captures his own personal, yet fragmented perception of the American people.

Rooming house - Bunker Hill, Los Angeles

Featured below are a few of my favorite images from the series and some of Kerouac's well chosen words. I hope you enjoy.

...the humor, the sadness, the EVERYTHING-ness and American-ness of these pictures! 

Rodeo - Detroit

...madroad driving men ahead - the mad road, lonely, leading around the bend into the openings of space toward the horizon...

U.S. 285 -  New Mexico

 ...and the loneliest picture ever made, the urinals women never see, the shoeshine going on in sad eternity...

Men's room, railway station - Memphis, Tennessee

 ... love under the sky and in the womb of our universe...

Beaufort, South Carolina

 

... drain your basins in old Ohio... bring your Big Muddy rivers thru Kansas and the mudlands... punch lake holes in Florida and L.A., raise your cities in the white plain, cast your mountains up, bedawze the west, bedight the west... America - we're going home, going home...

Fourth of July - Jay, New York

*** all images and quoted text were gathered from Steidl's 2008 publication of Robert Frank's The Americans ***