Photo27B History and Aesthetics of Photography - PShare ...

Summer 2018 Session B
                                                              July 16 – Aug. 19 2018
                                                              (5 week session)
                                                              Section # 11800

Photo27B
History and
Aesthetics of
                                                              Instructor: Jill Connelly
                                                              E-mail:
                                                              conneljp@piercecollege.edu

Photography                                                   Phone: (818) 710-4235
                                                              Office: Village 8203

                                                    Office Hours: I will try to respond to
                                                    your email within 24 hours or sooner in
 Prerequisite – None. Photography 27-A is not       most circumstances. It is best to
 a prerequisite for the class, however it is a      message me through the Canvas
 great class to learn early photographic history.   system, that also sends an email to
                                                    me. I can also call you if necessary to
 Course Description – Students examine the          discuss any issues however I don’t
 major developments of the photographic             check my campus voicemail frequently
 medium, focusing on the genre of                   over summer so please don’t leave me
 documentary photography, including how             voicemails.
 these developments relate to society and to
                                                    Class is Fully Online
 events in the other visual arts.
 The concentration will be on learning about        We will be using Canvas learning
 the key photographers important to                 management system. You can find
 understanding this history and seeing the key      instructions to login on Pierce online.
 photographs so students are familiar with the      http://online.piercecollege.edu
 important pictures that tell this story.
 Documentary photography and effect on social       Please add a profile picture to your
 justice issues will be a key focus. Key            account.

History and Aesthetics of Photography                                                         1

organizations such as the Farm Security            If you don't have a profile picture yet,
 Administration, LIFE magazine, National            please add one of your face. It will help
 Geographic, and Magnum Photos will also be         me keep track of who is who since we
                                                    don't meet in person.
 discussed.
                                                    https://guides.instructure.com/m/4212
 Course Objectives                                  /l/710334-how-do-i-add-a-profile-
 At the conclusion of this class students will:     picture-in-my-user-account-as-a-
                                                    student
                Understand the development of
                 documentary photography from its   Written assignments go through anti-
                 inception to the present.          plagiarism software. A resource page
                Recognize the key photographers    for you to submit your assignments:
                 and photographs in documentary
                 photography.                       https://itconnect.uw.edu/learn/tools/ca
                Be able to describe the primary    nvas/canvas-help-for-
                 concerns of documentary            students/assignments/submit-vericite-
                 storytelling when photographers    assignment/
                 are in the field.
                Understand the evolution of
                 photographic technology as it
                 relates to documentary
                 photography.                       Summer session B
                Choose a photographer and study
                 them in-depth.                     First day of class: July 16
                Correctly use key photographic     Drop Dates:
                 terms.
                                                    July 18 (without a w)
 Special Services - Students with disabilities,
                                                    August 11 (with a w)
 whether physical, learning, or
 psychological, who believe that they may           Last day of class: August 19
 need accommodations in this class, are
 encouraged to contact Special Services as          Textbooks: required reading:
 soon as possible to ensure that such
 accommodations are implemented in a timely
 fashion. Authorization, based on verification of
 disability, is required before any accommodation
 can be made. The phone number for Special
 Services is (818) 719-6430 and they are
 located in the Student Services Building,
 #4800.

                       Class Policies

 This syllabus is dynamic and changes may           Photography as Activism: Images for

History and Aesthetics of Photography                                                       2

occur as the session progresses.                    Social Change by Michelle Bogre

 When you sign up for an online class, it is                  Citing Your Work:
 expected that you will have reliable, fast
                                                            Please use MLA style.
 internet access for the entire 5 weeks. I will
 not give you extensions because you are going          Here is a guide to MLA style:
 on vacation, your internet is slow, etc. Give       https://owl.english.purdue.edu/o
 yourself enough time to do your work. You                 wl/resource/747/01/
 should expect to spend 10 hours and 30
 minutes a week on this class.                        With MLA Style, you use 12-point
                                                     font and double space your paper.
 ALL WORK MUST BE UPLOADED VIA                         Make sure to save it as a PDF
 CANVAS BY DEADLINE. I do not accept late              before submitting to Vericite.
 work. DO NOT EMAIL ME ANY ASSIGNMENTS.
 I WILL NOT GRADE THEM. The computer
 won’t allow them to be uploaded past
 deadline so please do not wait until just
 minutes before deadline to upload.

 All document files must be saved as PDFs.
 I frequently cannot open Googledocs with this
 system. I probably don’t have the same
 version of Pages/Word as you so please don’t
 use it. Just save your files as PDFs. If I can’t
 open a file, I can’t give you a grade on it.
 Please follow instructions. The papers need
 to go though Vericite, an anti-plagiarism
 software.

 Because this is an accelerated late start
 class being taught in 5 weeks (when it is
 normally taught in a 15 week semester),
 there will be a lot of work each week. It
 is very important that you be on top of
 due dates and keep up with the lessons.
 This is a UC transferable class, expect to
 work hard. Online classes require you to be
 motivated, organized and disciplined. If you
 are not prepared to do this at this time, or feel
 you would learn better in an in person class,
 please take the class in person or in a
 traditional semester when you have more time

History and Aesthetics of Photography                                                  3

and will be more successful.

 However, if you want to learn in an
 accelerated format online, we do have some
 resources to help you: Quest for Success –
 these are online tutorials to help students be
 more successful in online courses. All
 students can self-enroll by clicking this access
 link: https://ilearn.laccd.edu/enroll/NGD444

 Also NetTutor is available to all students. It is
 already enabled in every shell and is part of
 the left hand navigation. Use this online
 tutoring program as it gives you access to
 24/7 tutoring services.

 Help is also available through the Pierce
 Library which has a 24-7 online chat for
 questions.
 http://library.piercecollege.edu/home

 Please contact the help desk if you have
 technical problems. Please contact me if you
 have questions about the course content or
 the assignments.

 WITHDRAWAL FROM CLASS - The
 responsibility for withdrawing from the class
 by the published deadline is the responsibility
 of the STUDENT. Do not rely on an instructor
 to drop you from the roster. Students who fail
 to withdraw properly from the class and who
 have their names on the final grade roster will
 receive an F for the course. However if you
 don’t participate in the first two days I will
 consider you a no show and give your spot to
 someone on the waiting list. So do the
 syllabus quiz so I know you are here. You can
 be dropped for non-participation.

 Academic Integrity – Cheating and plagiarizing
 (taking the writing or ideas of someone and
 passing them off as your own) are serious

History and Aesthetics of Photography                4

issues in colleges and universities. Use
 attribution (i.e., give credit) to the person you
 are quoting or whose ideas you are using. This
 can often be done in the text of a paper or in a
 footnote.

 Students who cheat or plagiarize will receive
 an F for the assignment. Additional disciplinary
 action may be taken by the college. I will use
 software to check your work. You will also be
 required to complete a plagiarism activity.
 When you become a Pierce student you agree
 to the Academic Integrity Policy listed in the
 catalog. Make sure you read and understand it
 before you begin your classwork. The
 academic integrity policy is in the
 announcement section of Canvas also. “I
 didn’t know” is not a valid excuse for cheating.
 Writing assignments will go through Vericite, a
 computer program which searches for
 plagiarism.

  The quizzes and final exam will be remotely
 proctored, you will be video recorded taking
 the exam.

         You will be asked to provide an ID that
          shows that the person registered for the
          class is taking the exam.
         They are not open notes! You cannot
          use any notes or have any materials
          with you, no books, papers, sticky
          notes, smart watches or smart phones,
          headphones, earbuds, water bottles,
          etc. may be out during the exam.
          You cannot open any other windows on
          your computers while taking the exam.
         You cannot have other people nearby
          giving you answers. You should be
          alone in the room (unless you are at the
          library) and cannot have conversations
          during the exam.

         No cheating.

History and Aesthetics of Photography                5

   Please have the lights on in the room
          you are taking the tests in, so you can
          be seen clearly. If I can’t see you, you
          will not receive credit for the quiz.
         At the beginning when you hold up your
          ID, make sure you hold it horizontally.
         You will not be able to take breaks from
          your exam, step away from our
          computer or look away from your
          computer for long periods of time
          during the exam.

               Proctorio Tech Support:

                      866-948-9087

 For more information about Proctorio, check
 their FAQ page:

 https://proctorio.com/faqs

 Your grades are earned by you, the work you
 do and the effort you put into the class and
 completing all assignments on time. I do not
 decide what grade you will get – you earn it.
 It is your responsibility to pay attention, read,
 learn, study, do thoughtful writing and ask for
 help when you need it. It is up to you and the
 work you do. I am happy to help you with any
 questions you have and want you to be
 successful in this class.

                    Class Components:

    Note: In Canvas, activities you need to
  complete (such as discussions, quizzes, tests
     and papers) are usually indented and
     reading/viewing material is flush left.

          Indicates an assignment

 Lectures: New material will be presented each
 week though lectures, videos and links. You
 are expected to read and take notes on all

History and Aesthetics of Photography                6

material presented and create your own study
 guide. One will not be provided for you.

 Weekly quizzes- weekly quizzes will be given
 for each topic. Quizzes count for 25% of the
 final grade. You must take the quiz by
 deadline. Missed quizzes cannot be made up
 and will count as a zero. No grades will be
 dropped.

       Indicates a test/ quiz

 Discussion- You will be given discussion
 questions each week. You are required to
 answer the questions yourself and comment
 on three of your classmate’s answers.
 Discussion counts for 10% of your grade. You
 must post your comments by deadline for
 credit.

          Indicates discussions

 Final exam - There will be a final exam. The
 final exam counts for 25% of the course. It
 will be cumulative. It will be remotely
 proctored by Proctorio. I will not create a
 study guide for you. You are expected to
 take notes each week and create your
 own study guide. You will be expected to
 recognize significant photos we learn about in
 class on the test.

 Field trip – Students will be asked to visit a
 photography exhibit from a list provided below
 by the instructor. Students will turn in a
 write-up of their visit. The instructor will

History and Aesthetics of Photography             7

provide directions for this assignment to guide
 the student write-up. Please follow the
 guidelines (on Canvas) for full credit. The
 museum assignment counts for 20% of the
 course. This must be all in your own words
 with citations of the sources of your
 information. Please use the DIET technique
 (Describe, Interpret, Evaluate, Theorize) as
 explained in the course materials. You can
 look at the rubric to see how it will be graded.
 If you would like to read about this method in
 more detail, the book Criticizing Photographs
 by Terry Barrett is on reserve in the library on
 campus or you can get your own copy.

 DO NOT GO TO A LOCATION OR EXHIBIT
 OTHER THAN THE ONES ON THE LIST.

  IF YOU ARE NOT IN LOS ANGELES, EMAIL ME
 REGARDING AN ALTERNATE
 VENUE/ASSIGNMENT. OTHERWISE YOU MUST
 GO TO A PHOTOGRAPHY EXHIBIT ON THE
 LIST. You can’t go to any random art exhibit
 you feel like, well you can, but not for credit
 for this class. I have chosen these exhibits
 with specific criteria related to the class in
 mind. You will get a zero if you go to an
 exhibit besides the ones listed, without prior
 permission from the instructor. Do not
 plagiarize. All information must be cited, using
 MLA style. Submit your paper as a PDF.
 Check Canvas for the grading rubric and follow
 it.

 Documentary Photographer Biographic book
 report – From the reading list provided,
 students will select a book to read and will
 write a 3-5 page review based on questions
 provided by the instructor. The book write-up
 counts for 20% of the course. Do not
 plagiarize! You do not want to get an F for
 20% of your grade. Use your own words and

History and Aesthetics of Photography               8

cite the source of your information. Whichever
 citation style you are comfortable with is fine.
 There are resources for citing courses in MLA
 style on the Pierce library website and on the
 internet. Use quotations and indicate the
 source of your material as indicated in the
 plagiarism activity. Submit your paper as a
 PDF. Check Canvas for the grading rubric and
 follow it. If questions from the rubric are not
 answered in the book, you may use additional
 research materials, just list them in your
 works cited page.

 Extra credit: You may watch a film from the
 list provided on your own and give your
 opinion of the film and how it influenced you
 and how it relates to the topic we have been
 studying of documentary photography. (Most
 of the films cost a few dollars, many of you
 may already have Amazon Prime
 memberships, Netflix memberships, etc.
 Netflix also has a free one-month trial.) There
 is one free one also. The paper should be 3-5
 pages, in your own words, with citations. This
 is worth 10 extra points. Use quotations and
 indicate the source of your material as
 indicated in the plagiarism activity. Submit
 your paper through Vericite as a PDF. It can
 be done any week but must be turned in by
 the last day to receive credit.

 Grading scale:

              90-100 = A

              80-89 = B

              70-79 = C

              60-69 = D

              Below 60 - F

History and Aesthetics of Photography               9

Class Schedule Outline

 This is a general class outline, you can
 find specific submission dates in Canvas.
 Make sure to check Canvas at least a
 couple times each week, some items may
 be added as we go along. If you see any
 discrepancy between the syllabus and
 Canvas, email me and follow what it says
 in Canvas, which is frequently updated
 during the semester. Email me if you
 have any questions at
 conneljp@piercecollege.edu. xs

                            Week 1

              First day of class: July 16

         Early Documentary Photography

 Textbook Reading: Ch 1. Activism: Practice
 and Process

 Introduction to the class, the syllabus,
 introduction to documentary photography,
 Roger Fenton, Jimmy Hare, Jacob Riis, Lewis
 Hine, Matthew Brady, Edward Curtis, ethics of
 documentary

 Please take the syllabus quiz to remain
 enrolled in the class.

 Last day to drop without a grade of
 “W”                                        July 18

 *Last day to drop with a grade of
                                            August
 “W”
                                            11

 Please do the plagiarism module before you
 submit any written assignments. You will need

History and Aesthetics of Photography                 10

to have the certificate of completion
 emailed/forwarded to me:
 conneljp@piercecollge.edu

 ASSIGNMENT: SELECT A BOOK TO READ
 FROM THE CLASS BOOK LIST AND START
 READING. IT IS DUE Week 4. Email me and
 let me know what book you have chosen.

                            Week 2

          Social Documentation to 1950

 Textbook Reading: Chapter 2. Moments in
 Time

 Also look at the list of exhibits and see which
 exhibit you want to go to in week 3.

 Flash, Camera and Processes, Halftone,
 Tabloids, candid images: Erich Salomon and
 smaller cameras, Weegee, Wire Services, Doc
 Edgerton,

 FSA – Dorothea Lange, Gordon Parks, Walker
 Evans

                            Week 3

    Documentary Photography since 1950

 Gallery/Museum assignment on your own –
 See a photography exhibit on your own and
 write up a review using the questions in the
 rubric on Canvas. The list of exhibits is below.
 A detailed explanation of this assignment is on
 Canvas also. Make sure to answer all
 questions from the grading rubric.

 Robert Capa, Henri Cartier-Bresson, LIFE
 magazine, Margaret Bourke-White, W.
 Eugene Smith, “The Family of Man”, WWII

History and Aesthetics of Photography               11

(Eisenstaedt, Mydans and Rosenthal)

 Critiquing Photographs: the DIET (Describe,
 Interpret, Evaluate, Theorize)

                            Week 4

           The Concerned Photographer

 Textbook reading: Ch. 3 Constructing A Better
 World

 Book REPORT DUE

 Magnum, National Geographic, Wire services,
 Pulitzer Prizes,

 National Geographic

 Vietnam (Capa, Adams, Ut, Burrows,
 Kennerly)

 Civil Rights (Charles Moore, Bruce Davidson,
 Leonard Freed, Danny Lyon, Gordon Parks,
 Moneta Sleet Jr. )

                                Week 5

           Modern Documentary Photography

 Mary Ellen Mark, Elliot Erwitt, James
 Natchwey, Eugene Richards, McCullin,
 Meiselas, Salgado, VII, Donna Ferrato, Lauren
 Greenfield, Sam Abell, appropriation, Lauren
 Greenfield (Queen of Versailles), Time
 magazine’s Most Influential Images of All
 Time, digital photography, the internet and
 social media, Humans of NY

 Bang, Bang Club, Tim Hetherington
 (Restrepo), War photographer Don McCullin

 Street Photography (Atget, Steiglitz, Strand,

History and Aesthetics of Photography            12

Brassai, Kertesz, Levitt,Freidlander, Arbus,
 Winnogrand, Maier, Meyerowitz, Gilden, Parke,
 Webb)

 FINAL EXAM

 Last day of Class August 19

 No work accepted after August 19.

 Technical Requirements:

 Firefox and Chrome are the recommended
 browsers to use with Canvas. Some of the
 movies will only play with the recommended
 browsers. Internet explorer doesn’t work with
 Canvas.

 However, to take quizzes and tests you will
 need to use Chrome for the browser.

 If you are having technical problems please
 call the help desk for tech support. The
 number is available on the left navigation
 where it says help. It looks like this:

 M-F during the day you can also call tech
 support at Pierce 818-710-4261.

  Evenings and weekends you will need to
 call 844-303-5595. They go through the
 problem over the phone step by step. (I
 cannot do tech support, as I am not able to
 see your account except - for the work you
 turn in and a log of how much time you spend
 online on each lecture/assignment.) If you are
 having a technical problem you need to
 document it by contacting tech support,
 just telling me is not sufficient.

                          Exhibit List

History and Aesthetics of Photography             13

Below are museums/galleries where you can
 go and see exhibits to write your photography
 review about. You can go anytime you
 want in weeks 1-3 but your report is due
 by deadline listed in week 3. Do not go to
 one of the museums below and see
 exhibits other than the ones selected.
 Check the dates to make sure the exhibit
 you want is there when you go. Some of
 them will not be open the entire 3 weeks.

 If the work is documentary photography, you
 can write about how the work is similar to
 work we have viewed in class. If it is not,
 contrast the style of photography to the
 documentary images we have been studying
 in class.

 Several of the museums have apps and self
 guided tours. It is a good idea to download the
 app before you go and make sure your phone
 is charged.

 NOTE: You must go in person to the museum
 and also include a photo of yourself at the
 exhibit. Not just outside the museum, by
 something that shows the exhibit name.
 Not just a picture of the exhibit, you must
 be in it also. No photo = no credit.

 NOTE: Some require advance tickets, plan
 your visit.

 Below are 3 museums where you can go and see exhibits to write your
 photography review about. You can go anytime you want but your
 report is due by deadline listed in week 3. Do not go to one of the
 museums below and see exhibits other than the ones selected.
 Check the dates to make sure the exhibit you want is there when
 you go.

 If the work is documentary photography, you can write about how the
 work is similar to work we have viewed in class. If it is not, contrast
 the style of photography to the documentary images we have been
 studying in class.

 Several of the museums have apps and self guided tours. It is a good
 idea to download the app before you go and make sure your phone is

History and Aesthetics of Photography                                      14

charged.

 NOTE: You must go in person to the museum and also include a
 photo of yourself at the exhibit.

 NOTE: Some require advance tickets, plan your visit. Below are the 2
 museums you may do your review on. Please make sure to go see the
 specific photography exhibits mentioned, not paintings or sculptures or
 other art.

  1. Annenberg Space for Photography

  This museum is dedicated to photography and they have a less traditiona

  https://annenbergphotospace.org

  Annenberg Space for Photography

  2000 Avenue of the Stars

  Los Angeles, CA 90067

  HOURS/ADMISSION

  Wed - Sun: 11am - 6pm

  Mon - Tue: Closed

  Free Admission

  Tel 213.403.3000

  NOT AN OSTRICH: AND OTHER IMAGES FROM AMERICA
  Apr 21, 2018 - Sep 09, 2018

  Not an Ostrich: And Other Images from America’s Library is the result o
  curator Anne Wilkes Tucker’s excavation of nearly 500 images—out of
  permanently housed at the Library of Congress.

  2. The Getty Center

  The Getty has beautiful grounds and architecture. There are several othe
  photography one. It is definitely worth a trip.

  For GPS and maps use

  N Sepulveda Blvd & Getty Center Drive

  Los Angeles, CA 90049

History and Aesthetics of Photography                                        15

Mailing address

  1200 Getty Center Drive

  Los Angeles, CA 90049

  Tuesday–Friday and Sunday 10:00 a.m.–5:30 p.m.

  Saturday 10:00 a.m.–9:00 p.m.

  Closed Mondays

  Parking lot opens 9:30 a.m.

  Admission is always free.

  Parking and Access Parking is $15; $10 after 3:00 p.m.

  You can get there from Pierce using the orange line.

  You must see the listed photography exhibits. Don’t go and see paintings or sculptures or other exhibits for
  the class paper.

  LA #UNSHUTTERED

  Teens Reframing Life in Los Angeles

  June 20–September 9, 2018, GETTY CENTER

  This special installation showcases the work of 23 Los Angeles-area high school students who lifted their
  cameras and their voices to advocate for social justice in a program called Getty Unshuttered. Each of the
  students identified a social issue of personal importance to explore through photography, addressing
  questions of identity, trauma, representation, and equity. The images displayed in this installation represent
  their stories of life in Los Angeles.

  OR

  In Focus: Expressions

  May 22–October 7, 2018, GETTY CENTER

History and Aesthetics of Photography                                                                              16

In photography, the human face has always been a subject of intense fascination. Initially after the medium’s
  invention in the early nineteenth century, technological limitations and portrait conventions constrained
  sitters’ expressions. Eventually technology caught up, and photographers could evoke personality through
  countenance and pose, or explore facial features to understand a subject’s state of mind.

  Drawn from the Museum’s collection, this exhibition includes posed portraits, physiognomic studies,
  anonymous snapshots, and unsuspecting countenances, offering a close-up look at the range of human stories
  that facial expressions—and photographs—can tell.

  OR

  Icons of Style: A Century of Fashion Photography, 1911–2011

  June 26–October 21, 2018

  This exhibition surveys the rich and varied history of modern fashion photography, exploring the ways in
  which photographers whose careers have been closely associated with the industry have shaped evolving
  notions of style and beauty. Drawn from the Getty Museum's permanent collection and supplemented by
  loans from private and public sources, Icons of Style features more than one hundred-sixty photographs
  presented alongside a selection of costumes, illustrations, magazine covers, videos, and advertisements.

  http://www.getty.edu

  3. Museum of Contemporary Art (MOCA)

  www.moca.org

  Real Worlds: Brassaï, Arbus, Goldin

  The Museum of Contemporary Art, Los Angeles (MOCA), presents Real Worlds: Brassaï, Arbus, Goldin, an
  exhibition that brings together the works of three of the most influential photographers of modern life.
  Drawn largely from MOCA’s extraordinary collection of photography, the exhibition provides a remarkable
  opportunity to explore the ways in which Brassaï (Gyula Halász) (b. 1899, Brassó, Hungary (now Romania);
  d. 1984, Èze, France), Diane Arbus (b.1923, New York; d. 1971, New York) and Nan Goldin (b. 1953,
  Washington, D.C.) use the camera to reflect and transform the world around them. Real Worlds features an
  exceptional trove of approximately one hundred works by the three artists, including Brassaï’s unforgettable
  images of the nocturnal denizens of Paris, Arbus’s most memorable and unsettling portraits, and Goldin’s
  searingly poignant documentation of herself and her community. The exhibition is structured around
  MOCA’s nearly comprehensive collection of photographs that appear in three legendary photobooks:
  Brassaï’s The Secret Paris of the 30’s (1976), the posthumous Diane Arbus: An Aperture Monograph (1972),
  and Goldin’s The Ballad of Sexual Dependency (1986).

  Curator: Lanka Tattersall
  Curatorial Associate: Rebecca Matalon

  Architect Arata Isozaki designed MOCA Grand Avenue in 1986 with classical architecture and Los Angeles

History and Aesthetics of Photography                                                                             17

popular culture in mind. Today this location hosts the museum's main galleries, Lemonade café, the flagship
  location of the MOCA Store, and staff offices.

  Hours
  Mon 11am - 6pm

  Tues Closed

  Wed 11am - 6pm

  Thur 11am - 8pm

  Fri       11am - 6pm

  Sat       11am - 5pm

  Sun 11am - 5pm

  Admission

  Members: Free
  General Admission (valid all day at both DTLA locations): $15
  Students with I.D.: $8
  Seniors (65+): $10
  Children under 12: Free
  Jurors with I.D.: Free

  Admission is free every Thursday from 5pm to 8pm.

  DOS AND DON'TS AT MOCA

            Food and drinks may not be carried into the galleries or auditorium.
            Please do not touch the artwork; even a slight touch can damage the surface.
            Personal items larger than 12x12 inches cannot be carried into the galleries. Please check these
             items in, free of charge, at the welcome desk.
            Backpacks cannot be worn in the galleries, please check them in at the welcome desk.
            Unless otherwise noted, photography in the galleries is allowed for personal, non-commercial
             uses purposes, only. The use of flash, tripods, and selfie sticks is prohibited.
            As a courtesy for all museumgoers, cell phone conversations should be conducted outside of
             the galleries.
            Service animals are welcome at MOCA. Please note that pets and emotional support animals
             are not permitted. Service dog fraud is a crime. California Penal Code 365.7(a). Emotional
             support animals are not ADA Service Animals.
            For note taking and sketching, pencils are allowed. Ink, charcoal, markers, or oils are not
             permitted.
            Smoking and e-cigarettes are not permitted anywhere within the building and within 20 feet of
             the building’s entrance.

History and Aesthetics of Photography                                                                           18

4. Bergamont Station

  2525 Michigan Avenue, Santa Monica, CA 90404

  https://visitbergamot.com

  ABOUT

  Bergamot is an internationally renowned creative arts complex, boasting some 30 venerable galleries and
  creative businesses. The fine art galleries present regular and diverse rotating exhibitions featuring artists
  from all over the globe and across all mediums. Bergamot is a unique and unparalleled collection of fine art
  galleries. Throughout the year Bergamot hosts vibrant community and cultural activities and facilitates
  educational, non-profit and charitable events. Originally, the arts center was established in 1994 as Bergamot
  Station. In 2018, the Santa Monica City-owned property went under new management and was renamed
  simply, Bergamot. From 1875 to 1953 the site served as a railroad station for the Los Angeles and
  Independence Railroad, then later the Santa Monica Air Line. The property returned to its roots on May 20,
  2016 with the opening of the Expo Line and the adjacent 26th Street/Bergamot stop situated at the North end
  of Bergamot.

  FAQ

  Q: Is Bergamot wheelchair accessible?
  A: Yes! All of the galleries and businesses at Bergamot are wheelchair accessible.

  Q: How much does it cost to park?
  A: It is FREE to park at Bergamot.

  Q: How much is admission?
  A: There is no admission fee to visit the galleries and businesses at Bergamot.

  Q: What are the hours of operation?
  A: Each gallery and business has it's own operating hours. You can refer to the individual gallery
  pages for more information.

  THE FASHION SHOW

  June 16 – October 20, 2018

  Fashion, by definition, is the predominant style of a particular time and place, an entity that
  provides posterity with a window into cultural values both past and present. Thanks to the pioneering works
  of fashion photographers such as George Hoyningen-Huene, Lillian Bassman, and William Klein, fashion
  has been preserved through the ages and continues to in uence the world around us.

  To honor the history of fashion photography, Peter Fetterman Gallery proudly presents The Fashion Show,
  an exciting display of elegance and artistic talent created through the lens of a camera. Fashion as we know
  it—a collaboration of designers, brands, models, and consumers—has been transformed into an artform
  because of photography. This exhibition, curated from the gallery’s permanent collection, features a
  phenomenal range of artists who helped solidify fashion’s importance—photographers such as Frances

History and Aesthetics of Photography                                                                              19

McLaughlin-Gill, Horst P. Horst, Karen Radkai, and Brian Duffy, to name a few.

  The influential fashion photographers on view transcended their commercial roles to create unique artworks
  of dazzling creative expression. Each artist’s individual style speaks volumes. And many of them still remain
  ahead of their time, even to contemporary viewers.

  http://www.peterfetterman.com/exhibitions/the-fashion-show

  LOCATION

  Born in London, Peter Fetterman has been deeply involved in the medium of photography for over 30 years.
  Initially a filmmaker and collector, he set up his first gallery over 20 years ago. He was one of the pioneer
  tenants of Bergamot Station, the Santa Monica Center of the Arts when it first opened in 1994.

  The gallery has one of the largest inventories of classic 20th Century photography in the country particularly
  in humanist photography. Diverse holdings include work by Henri Cartier-Bresson, Sebastião Salgado, Steve
  McCurry, Ansel Adams, Paul Caponigro, Willy Ronis, André Kertesz, Manuel Alvarez Bravo, Lillian
  Bassman, Pentti Sammallahti, Sarah Moon and Jeffrey Conley.

  Peter and his colleagues are committed to promote the awareness and appreciation of the most powerful of
  the mediums in an intimate, user-friendly salon environment.

  PETER FETTERMAN

  Peter Fetterman Gallery

  Bergamot Station
  2525 Michigan Avenue Gallery A1
  Santa Monica, CA 90404
  T . 310 453 6463
  F . 310 453 6959
  Hours:
  Wednesday - Saturday 11am - 6pm
  and by appointment.
  General Inquiries:
  info@peterfetterman.com

 History of Documentary Photography

                            Reading List

    You need to choose any one book from this
  list to write about. (See assignment directions
  above.) Make sure to answer the questions on
           the grading rubric on Canvas.

History and Aesthetics of Photography                                                                              20

Important Photographers’ Lives

 By reading about how other photographers
 lived, those starting out can get perspective
 for themselves and can perhaps avoid some of
 the mistakes by those who have gone before
 them. *Some of the books are available in the
 Pierce College Library (marked with an
 asterisk.)

 *Witness in Our Time: Working Lives of
 Documentary Photographers, by Ken Light,
 Smithsonian Institution Press

 By reading this book photographers learn
 challenges of making a successful life in
 photography have been consistent over the
 decades. This one is a classic.

 *Life Photographers: What They Saw, by
 John Loengard, published by Little, Brown &
 Company, 1998

 In this one volume this former director of
 photography at LIFE magazine lets us see in
 the careers of several leading photographers.

 Henri Cartier-Bresson: The Biography by
 Pierre Assouline The twentieth century was the
 century of the image and Henri Cartier-
 Bresson (1908-2004) was the eye of the
 century.

 Weegee: The Autobiography by Arthur
 Fellig Weegee not only captured the gritty
 underbelly of New York City in his explosive
 photographs, but he lived it as well.

 Short Nights of the Shadow Catcher: The
 Epic Life and Immortal Photographs of
 Edward Curtis by Timothy Egan

 Edward Curtis was charismatic, handsome, a
 passionate mountaineer, and a famous

History and Aesthetics of Photography             21

portrait photographer. Curtis spent the three
 decades documenting the stories and rituals of
 more than eighty North American tribes.

 W. Eugene Smith: Shadow and Substance,
 by Jim Hughes, published by McGraw Hill,
 1989 - For those who want a in-depth
 biography of Smith, this is the volume.

 W. Eugene Smith: Let Truth Be the
 Prejudice, by Ben Maddow, published by
 Aperture, l985 - A fine book with many
 pictures that draws on Smith’s letters.

 *Margaret Bourke-White, by Vicki
 Goldberg, published by Harper and Row, l986
 By reading this biography, photographers can
 fill in some of the gaps found in Bourke-
 White’s autobiography covering the same
 material.

 Gordon Parks - (Note - Gordon Parks wrote
 his biography several times under different
 titles. Any of them are worth reading.)

 A Hungry Heart: A Memoir by Gordon
 Parks, published by Washington Square Press,
 2007

 To Smile in Autumn: A Memoir, by Gordon
 Parks, published by University of Minnesota
 Press, 2009

 Voices in the Mirror: An Autobiography,
 by Gordon Parks, published by Harlem Moon,
 2005

 *A Choice of Weapons, by Gordon Parks,
 published by Minnesota Historical Society
 Press; 2nd edition, 2010

 Voices in the Mirror: An Autobiography,
 by Gordon Parks, published by Doubleday and
 Anchor Books, 1992

History and Aesthetics of Photography             22

Fire in the Wind: The Life of Dickey
 Chapelle, by Roberta Ostroff, published by
 Ballentine Books, 1992 - Chapelle was a
 woman photographer of considerable courage
 who worked for National Geographic and other
 publications and who was killed in Vietnam.

 *Dorothea Lange: A Photographer’s Life,
 by Milton Meltzer, published Farrar, Straus,
 Giroux, 1978

 Marion Post Wolcott: A Photographic
 Journey, by F. Jack Hurley, published by The
 University of New Mexico Press, 1989

 Looking for the Light: The Hidden Life and
 Art of Marion Post Wolcott, by Paul
 Hendrickson, published by Alfred A. Knopf,
 1992

 Shooter, by David Hume Kennerly, published
 by Newsweek Books, 1979 - An inside look at
 TIME magazine, covering the White House as
 the president’s official photographer, and
 winning the Pulitzer prize for work done in
 Vietnam.

 Slightly Out of Focus, by Robert Capa,
 republished by The Modern Library, 1999 -
 Capa admits not every word in his
 autobiography is necessarily true, but it his
 the tale told by the photographer himself.

 Robert Capa, by Richard Whelan, published
 by Alfred A. Knopf, 1985 - This is the
 biography of Capa by a knowledgeable
 historian.

                      Magnum Photos

 Founded as a cooperative at the end of World
 War II, this organization went on to become

History and Aesthetics of Photography            23

one of the most important organizations in
 photojournalism.

 Magnum: Fifty Years at the Front Line of
 History, by Russell Miller, published by Grove
 Press, 1997 - Here is a history of Magnum
 Photos in which the reader will see it is a
 miracle the organization has managed to
 survive so long.

 *Get the Picture, by John Morris published
 by Random House, 1998 - The author writes
 about some of the key moments in
 photojournalism history, including Robert
 Capa’s coverage of the D-Day invasion, are
 covered by this former director of photography
 at LIFE magazine and former executive
 director of Magnum

                    Understanding War

 Many photographers have made a name for
 themselves by finding the most interesting
 current war and then going to cover it.
 Photographers who want to understand what
 happens in conflict zones through the life
 experiences of other photographers can look
 at the following titles

 Unreasonable Behaviour: An
 Autobiography of Don McCullin, published
 by Knopf, 1992 - This is an excellent look at
 what it takes to photograph in war zones by a
 photographer who was “everywhere” when
 things were at their worst. He even survived
 capture by the forces of dictator Idi Amin.

 The Bang Bang Club, Greg Marinovich and
 Joao Silva. Published by Basic Books, 2000. -
 A group of news photographers cover the
 passing of apartheid in South Africa. Several
 people are killed, several Pulitzers are won.

 *Shutterbabe: Adventures and Love and

History and Aesthetics of Photography             24

War, by Deborah Copaken Kogan. Published
 by Random House Trade Paperbacks, 2000. -
 A young college grad decides to try
 photojournalism and goes to the hot spots
 around the world: Afghanistan, Zimbabwe,
 Romania, Moscow during the fall of
 communism. Despite a potentially misleading
 title, she is a serious photographer who does
 good work in challenging conditions.

 My War Gone By, I Miss It So, by Anthony
 Lloyd, published by Atlantic Monthly Press, in
 2000 - This is a no-holds-barred look at the
 war in Bosnia, and what a novice British
 photojournalist discovered in covering this
 brutal conflict.

 Under Fire, Great Photographers and
 Writers in Vietnam, edited and compiled by
 Catherine Leroy, published by Random House,
 2005 - Leroy was one of the women of great
 courage who went to Vietnam and did great
 work. She understood the importance of
 writers and photographers.

 Uncommon Valor, Common Virtue: Iwo
 Jima and the Photograph That Captured
 America, by Hal Buell, published by Berkley
 Publishing Group, New York, 2006 - The story
 the most famous picture from World War II
 and the battle where it happened. With so
 many WWII veterans having passed away,
 fortunately this amazing story is capture here
 reminding us many fine pictures were made
 during this time.

 Shooting Under Fire: The World of the
 War Photographer, edited by Peter Howe,
 published by Artisan, New York, 2002

 *Dorothea Lange: A Life Beyond Limits by
 Linda Gordon

History and Aesthetics of Photography             25

*Magnum Stories, edited by Chris Boot

 Believing Is Seeing: Observations on the
 Mysteries of Photography by Errol Morris

 Here I Am: The Story of Tim
 Hetherington, War Photographer by Alan
 Huffman Tim Hetherington (1970-2011) was
 one of the world's most distinguished and
 dedicated photojournalists, whose career was
 tragically cut short when he died in a mortar
 blast while covering the Libyan Civil War.

 *It’s What I Do by Lindsey Addario

 War photographer Lynsey Addario’s memoir
 It’s What I Do is the story of how the
 relentless pursuit of truth, in virtually every
 major theater of war in the twenty-first
 century, has shaped her life. (This book is
 planned to be made into a movie with Jennifer
 Lawrence.)

 Extra credit film list (See assignment
 directions above):

     1. Coming to Light: The Edward S. Curtis
        Story
        “The dramatic story of eminent
        photographer Edward S. Curtis and the
        creation of his monumental portfolio of
        Native American images. Descendants
        of his photographic subjects tell stories
        about the photos and reveal their
        meaning to Indian people today.”
        Available on Amazon (for $2.99)

         https://www.amazon.com/Coming-
         Light-Edward-Curtis-
         Story/dp/B00A6KTO8S/ref=sr_1_1?s=in
         stant-
         video&ie=UTF8&qid=1467041253&sr=1-
         1&keywords=edward+curtis

History and Aesthetics of Photography               26

2. Bill Cunningham, New York
        This beloved doc profiles street
        photographer Bill Cunningham, editor of
        the Sunday Times column that every
        fashion forward New Yorker secretly
        hopes to end up in.This 2011
        documentary follows Bill Cunningham
        who, at 80 years old, still pedals
        through New York on a bike to
        photograph what people are wearing.
        You’ll get an inside look at how Bill
        manages to get a stunning shot every
        time, in high-, low-, and no-brow
        situations. Best of all? Bill’s outlook on
        life is every bit as inspiring as the
        images he captures. Watch it if…you’re
        a Humans of New York fan. Bill
        Cunningham’s been photographing New
        York’s boldest and brightest since before
        HoNY’s Brandon Stanton was born.”
        Note: RIP Bill recently died on June 25,
        2016.
        Available on Amazon:
        https://www.amazon.com/Bill-
        Cunningham-York-Richard-
        Press/dp/B012XRUR6E/ref=sr_1_5?s=in
        stant-
        video&ie=UTF8&qid=1467050238&sr=1-
        5&keywords=photographer

        Also available on Netflix as a DVD
 rental.

     3. American Masters: Pedro E. Guerrero
        Discover the remarkable life and work of
        Pedro E. Guerrero, a Mexican American,
        born and raised in segregated Mesa,
        Arizona.
        https://www.amazon.com/American-
        Masters-Guerrero-Photographers-
        Journey/dp/B015KHW66I/ref=sr_1_30?
        s=instant-
        video&ie=UTF8&qid=1467050611&sr=1
        -30&keywords=photographer
        This one is free, embedded in Canvas
        also.

History and Aesthetics of Photography                27

4. The Salt of the Earth
         Photographer Sebastiao Salgado
         embarks on the discovery of pristine
         territories and of grandiose landscapes
         as part of a huge photographic project
         which is a tribute to the planet's
         beauty.”
     https://www.amazon.com/Salt-Earth-
     Juliano-
     Salgado/dp/B011D2W7A4/ref=sr_1_63?s=i
     nstant-
     video&ie=UTF8&qid=1467050764&sr=1-
     63&keywords=photographer

     5. War Photographer
        “Documentary about war photographer
        James Nachtwey, considered by many
        the greatest war photographer ever.”
        Available on Vimeo on Demand for
        $3.99
        https://vimeo.com/ondemand/warphoto
        grapher

          Available streaming on Netflix:
             6.CONFLICT,

 “ A new redfitz original documentary
 miniseries, takes the audience behind the lens
 of some of the world’s best conflict
 photographers to witness their personal and
 professional battles. The photographers
 featured in the first season of this miniseries
 are Pete Muller, Joao Silva, Donna Ferrato,
 Nicole Tung, Robin Hammond and Eros
 Hoagland – united by their hope to make the
 world a better place by bearing witness. The
 miniseries shows diverse, interwoven stories
 following the photographers’ attempts engage
 with, understand, capture and present
 different forms of conflict.”

 7. Everybody Street

 “Everybody Street illuminates the lives and
 work of New York's iconic street

History and Aesthetics of Photography              28

photographers and the incomparable city that
 has inspired them for decades.”

 8. Finding Vivian Maier

 “A documentary on the late Vivian Maier, a
 nanny whose previously unknown cache of
 100,000 photographs earned her a
 posthumous reputation as one of the most
 accomplished street photographers.”

 9. Tales By Light

 “Glimpse the minds of the world’s top
 photographers, who go to physical extremes
 to gather breathtaking images.”

 10. Refugee

 “Five acclaimed photographers travel the
 world to provide detailed insight into the
 difficult conditions faced by refugees who
 dream of a better life.” Features: Tom
 Stoddart, Graciela Iturbide, Lynsey Addario,
 Omar Victor Diop, Martin and Schoeller

       The following are Available on Netflix as
       DVDs to rent:
 10. Henri Cartier-Bresson: A Life in Focus

 “Exploring the life and work of influential
 French photographer Henri Cartier-Bresson,
 this captivating documentary tells the story of
 a camera-shy photographer whose vision
 quietly shaped the emerging field of
 photojournalism. Focusing primarily on the
 artist's career from the 1940s to the '60s, the
 film features memorable images of Marilyn
 Monroe, Henri Matisse, the liberation of Paris
 and the death of Gandhi.”

 12. National Geographic: Through the Lens

 “With a focus on extreme photography, this
 documentary is an insider’s look at the

History and Aesthetics of Photography              29

creative process of National Geographic’s
 finest photographers. This film is a crash
 course in getting the shot you need, even
 when there’s just a split-second window to
 capture it. The bold risk taking these
 photographers endure might make you cringe
 a little, but it will also empower you to be
 more bold in your own photography. Watch it
 if…you’re not just into looking at jaw-dropping
 images — you’re equally interested in the
 behind-the-scenes work it took to capture
 them.”

 14. Annie Leibovitz: Life Through a Lens

 “This documentary takes an in-depth look at
 the influential career of iconic photographer
 Annie Leibovitz, from her earliest artistic
 efforts to her storied tenure at Rolling Stone
 and Vanity Fair magazines and beyond.
 Intimately filmed by Annie's sister Barbara
 Leibovitz, the program features interviews
 with the artist as she works at home, along
 with telling insights from many of the
 celebrities she has photographed, such as Mick
 Jagger.”

 Review of class important dates:

 First day of class: July 16

 Last day to add class with a permission # July
 18

 Last day to drop without a grade
 of “W”                           July 18

 *Last day to drop with a grade of
                                              August 11
 “W”
 Last day of class:                     August 19

                                #

History and Aesthetics of Photography                     30

History and Aesthetics of Photography   31