Sara E. Thomas
After students have compared maps, developed their own, and created a PowerPoint presentation of their neighborhood, we will begin looking at photographs of their chosen neighborhoods. In order to interpret the photographs successfully I will teach Feldman’s method as a framework for our discussions. It is a process that entails four steps: describe, analyze, interpret and decide. When students are first presented with this model they are eager to interpret the artwork first and foremost. I encourage them to record these initial feelings towards the artwork they are viewing, however I also model for them a new more in depth way of viewing a piece of artwork. (Simpson 124)
First, I ask students to describe the artwork. In order to try to teach the students
not
to interpret I encourage them to describe
only
things that are obvious in the artwork. I stress this by having them only list things they see, if they cannot recognize any objects, then they should begin to describe shapes and values instead of assuming what subject they artist was trying to express. For example, when looking at an image of the Church on the Green a student might say, “The people who attended there were all rich,” as a part of his or her description. I would explain to the student that s/he is assuming what the make up of the congregation is, and should say instead, “The church boxes have numbers to allow for specific seating.” This offers a more accurate description and does not begin to interpret the work, which is a later step in the process. I have only used this process before for paintings, sculptures, etc. and I am curious to see the results it has for architectural photography. I often start the discussion using this question: If you wanted your friend to go to the art museum and find this specific piece of artwork, how would you describe it for him/her? Initially, we complete this process as a class. I am at the front of the class recording all of the students’ suggestions on the white board, or sometimes I will choose a student recorder. If students do not compile a detailed enough description I will read them the description they have recorded so far, and explain to them another piece of artwork that could fit that description. This prompts them to continue describing. If a work is very large and detailed I may also break it down into four quarters, which we will discuss one at a time, so that the students have a more specific area to focus on to be sure they create a complete description. It is important for students to create a detailed description because they pick up on details that they might have missed upon first glance. The first few times we participate in this analysis it is difficult for students to refrain from interpreting the artwork, but as they become familiar with it they become very adept at describing the artwork.
Next, students analyze the artwork using the elements and principles of design. Students discuss composition, use of value, and which particular techniques the artist has used in the artwork. Because students come to me with a very limited vocabulary, they become exponentially better at this process as the class continues, as they begin to learn more about the elements and principles of design. They have a better understanding of identifying and applying these principles. I will go into much greater detail about the elements and principles as they relate to architectural photography later on.
The third step asks students to interpret the artwork. After describing the artwork in detail they have a full arsenal of details to use to formulate an interpretation. I will ask students to hypothesize what the artist was thinking about when s/he created the piece of art, and why they think this -- this is where supporting evidence becomes important. The first few times we use Feldman’s method we do it out loud as a class so that students gain an understanding of how the process works. I will have students look at their black and white copy of the image and prompt them to highlight or circle symbols in the artwork that tell them something about the particular neighborhood. This way they can easily reference the supporting evidence in the artwork. I will ask students to list ten different things they can interpret about the neighborhood and the symbols they have highlighted. Once students have completed their own individual lists of ten traits about the neighborhood, students will be given a chance to share their interpretations. I will record their answers on the board using a two-column grid. One column will have the heading “Interpretation,” the second column will have the heading “Evidence.” It is important for students to understand that as long as they can support their claim using evidence, there are no incorrect interpretations.
The final step in this process is decide how you as the viewer feel about the artwork. Usually decide means students must decide whether or not they feel it is a successful piece of artwork. For these exercises I will be asking them to decide whether or not they think the photograph is an accurate representation of the neighborhood. Again, they will need to use supporting evidence.
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