new work in progess!
I took my class on a field trip today to see the Vivian Maier exhibit at the Chicago Cultural Center today. I'm sure you have heard of her and the amazing story behind the discovery of her work already. If not, here is a little background. This is not my own critique, rather a shortened version of much of the information currently available.
Vivian Maier was born in New York in 1926 to French and Austrian parents and died in 2009. She moved to Chicago in the 1950's and worked as a nanny for several wealthy families. Technically untrained, she had a passion for photography that was kept secret. She was not known to have made any attempts at exhibiting and was basically a loner. As it is known, she had no intentions of an artistic career.
Maier's point of view is often influenced by her choice of camera - in particular her favored square format Rolleiflex. Her approaches seem to digest the history of photography. Her observation of street life is layered with complexity of several private moments and formal sensibility.
My own discovery of her work could not have come at a better time. Contemplating the past direction and future possibilities of my own career in photography I have been aching for the inspiration to go back to where I started. I first began taking pictures while working with children in Israel and after returning to the States was a nanny while I took my first formal photography course. I love the parallels between my life and hers, however that is where it ends. I am entirely formally trained with a degree in commercial advertising photography. As the years have gone on my own passion has diminished and I have almost entirely stopped shooting for myself.
Viewing the work of a photographer who made images solely for the purpose of her passion is awe-inspiring for many reasons and I suggest it for anyone looking to remember the why of getting into this rapidly changing industry.
"We have to make room for other people. It's a wheel - you get on, you go to the end, and someone else has the same opportunity to go to the end, and so on, and somebody else take their place. There's nothing new under the sun." - Vivian Maier
Vivian Maier was born in New York in 1926 to French and Austrian parents and died in 2009. She moved to Chicago in the 1950's and worked as a nanny for several wealthy families. Technically untrained, she had a passion for photography that was kept secret. She was not known to have made any attempts at exhibiting and was basically a loner. As it is known, she had no intentions of an artistic career.
Maier's point of view is often influenced by her choice of camera - in particular her favored square format Rolleiflex. Her approaches seem to digest the history of photography. Her observation of street life is layered with complexity of several private moments and formal sensibility.
My own discovery of her work could not have come at a better time. Contemplating the past direction and future possibilities of my own career in photography I have been aching for the inspiration to go back to where I started. I first began taking pictures while working with children in Israel and after returning to the States was a nanny while I took my first formal photography course. I love the parallels between my life and hers, however that is where it ends. I am entirely formally trained with a degree in commercial advertising photography. As the years have gone on my own passion has diminished and I have almost entirely stopped shooting for myself.
Viewing the work of a photographer who made images solely for the purpose of her passion is awe-inspiring for many reasons and I suggest it for anyone looking to remember the why of getting into this rapidly changing industry.
"We have to make room for other people. It's a wheel - you get on, you go to the end, and someone else has the same opportunity to go to the end, and so on, and somebody else take their place. There's nothing new under the sun." - Vivian Maier
I have been taking screen-printing classes from the lovely and talented Zissou at Fugscreen Studios. He offers private classes at a very affordable price and is a great teacher. Here are some quick snaps of my first poster. Want one? Email me!
The finished product:
It's important to have hobbies.
I teach Photography as a Communication Tool at Harrington College of Design every Wednesday. We've only recently started the semester and so far it's been great. They have a great faculty and the chair of the Digital Photography department, Dirk Fletcher, couldn't be more amazing. Dirk has created a terrific program for students who are serious about photography.
The purpose of this intro class is to introduce my students to the basic aspects of visual literacy and structure. I do this through critiques, lectures, some technical demonstrations, gallery and studio visits. Being able to critique and speak articulately about visual imagery is a huge part of this class and demonstrates the students knowledge of the building blocks of a strong image. So far I have been very pleased with my students willingness to voice their opinions. As many of you who have worked with me know, I love critiques. This is by far my favorite part of teaching. Giving lectures is slowly catching up to critiques as my favorite part of class. While sometimes hard to keep students attention during a lecture, it helps to be excited about the subject matter; and giving lectures to an intro class provides the opportunity to revisit old subjects and really stay on top of your game.
For this past weeks class the lecture I gave was on Gestalt, a psychology term meaning "unified whole". Gestalt theory relates to visual communication as the form-generating capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves. Artists can use the principles of Gestalt to better present information, knowing how our brain organizes perceptually.
The four main visual ideas to add meaning to your photos are:
The purpose of this intro class is to introduce my students to the basic aspects of visual literacy and structure. I do this through critiques, lectures, some technical demonstrations, gallery and studio visits. Being able to critique and speak articulately about visual imagery is a huge part of this class and demonstrates the students knowledge of the building blocks of a strong image. So far I have been very pleased with my students willingness to voice their opinions. As many of you who have worked with me know, I love critiques. This is by far my favorite part of teaching. Giving lectures is slowly catching up to critiques as my favorite part of class. While sometimes hard to keep students attention during a lecture, it helps to be excited about the subject matter; and giving lectures to an intro class provides the opportunity to revisit old subjects and really stay on top of your game.
For this past weeks class the lecture I gave was on Gestalt, a psychology term meaning "unified whole". Gestalt theory relates to visual communication as the form-generating capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves. Artists can use the principles of Gestalt to better present information, knowing how our brain organizes perceptually.
The four main visual ideas to add meaning to your photos are:
- Closure: The principle of closure applies when we tend to see complete figures even when part of the information is missing.
- Continuance: Continuation occurs when the eye is compelled to move through one object and continue to another object.
- Similarity: Similarity occurs when objects look similar to one another. People often perceive them as a group or pattern.
- Proximity: Proximity occurs when elements are placed close together. They tend to be perceived as a group. When the shapes are given close proximity, unity occurs. While they continue to be separate shapes, they are now perceived as one group.
The subject of Gestalt is rather large and I was only able to touch the surface during a one hour lecture, however I recommend that any visual artist research the principles. The principles of Gestalt can help artists develop powerful compositions. Things are always ‘more than the sum of their parts’. As art is primarily about perception (for example; to see continuity or closure or even perceive movement in static objects), our perception of any art object would depend on these Gestalt principles.
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