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A) About the Exhibit
Page through the 36 photographic images in the
exhibit. Use your general impressions of the
photographs to answer these questions.
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1. If you had to generalize, what would
the three central themes of the exhibit be?
Write a few paragraphs to justify your
answer.
2. Get a book about the Texas/US Border
out of the library. Notice some suggested
titles under Bibliographic Links
listed below. Think about what images of
border culture you would add to the Border
Studies Exhibit if you wanted to portray
other elements of the border. Write a few
paragraphs to justify your suggestions.
3. Read the text "About the
Exhibit" reproduced below. This text
accompanies the exhibit of photographs upon
which this lesson is based. List three things
that you learned about the exhibit from
reading this text.
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About the Exhibit
Border Studies
A photographic exhibition of the
Texas-Mexico Border featuring works
of eight outstanding photographers
organized by Texas Humanities
Resource Center supported by Texas
Commission on the Arts and the Trull
Foundation matching support by Texas
Council for the Humanities a state
program of the National Endowment for
the Humanities
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B) This exhibit of photographs
from the Texas/Mexico border was organized by the
Texas Humanities Resource Center in 1994.
It includes
the work of Bruce Berman (images #5,6,7), Peter Goin
(images #8,9,10), Deborah A. Garza (images #11,12),
Ave Bonar (#13, 14, 15, 16, 17, 18), Julianne H.
Newton (images # 24, 25, 26, 27), Sharon Stewart
(images # 28,29,30,31,32,33,34) and Magdalena Zavala
(images # 35,36,37,38,39,40): eight photographers
with different goals, preferences and techniques.
There is more information on them in the Artist
Information section, found below.
Review the photographs in the exhibit and choose a
favorite photographer. Answer the following questions
based on that photographers work.
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1. What unifies the work of the photographer?
What makes you know that each of the pictures was
taken by the same person?
2. What do you find unusual or special about
this person's work?
3. Out of all the photographs taken by this
artist, which is your favorite photo? Explain
why. Is the photo black and white or color? How
does this factor enhance the message conveyed by
the image?
4. Read the page of information provided on
the photographer in the Artist Information section
below. It will list any current publications or
websites which include the person. Write a few
sentences to summarize what you have learned.
5. If you had a chance to interview this
photographer, what question would you ask about
their life and personal background? What question
you would ask about their artistic motivation or
vision?
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C) Outside Learning
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1. Find a definition for the term
photojournalist. Review your local newspaper and
cut out good examples of photojournalism for a
scrapbook. Explain why you think they are good
examples of photojournalism.
2. How do photographs function as historical
documents? Examine a favorite old family snapshot
and write a few paragraphs about how it is a
record of family history as well as a document of
how things have changed in styles or fashions.
Now look at an old photograph of your city from a
book or newspaper. Can you notice things that
have changed? Make a list of things that you
notice about the photograph which are reminders
of a past time. What have you learned from the
photograph?
3. Go to a camera store and find out something
about these photographic materials:
| single lens reflex camera |
light meter |
electronic flash |
contact sheet |
| camera filters |
photographic paper |
panorama |
exposure |
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D) You Be the Photographer
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1. Your job is to take a set of photographs
which capture the feeling of your community. Make
a list of at least five shots which you would
like to take. Write a paragraph for each proposed
shot, explaining why you feel it is an important
aspect of your community and what message you'd
like your photograph to convey.
2. Buy a disposable camera or a roll of film
for a camera you already have. Decide if you want
to make color or black and white prints. Film
comes in rolls of 12, 24 or 36. Note that
disposable cameras are usually just available
with color film and have 15 or 27 exposures per
roll. It is also possible to purchase a
disposable camera which takes extra-wide
panoramic shots. These cameras take 15 exposures
to a roll.
3. Take photos of your area based on your
list. Also take some free shots, of things that
you just like but had not planned on
photographing. Then develop the roll.
4. Once you get your prints back, write a
paragraph about each. Mention how it reflects
your intentions at the time you took it. Is it
successful or not? What new elements have emerged
in the photograph which you had not planned? Add
a sentence or two about how the photograph
reflects your community.
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E) Plan an Exhibit
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1. Collect several photographs from each of
your class members. You can choose them with the
help of a jury of teachers, parents and students
from your school, or you could involve community
members (artists, photojournalists, historians).
2. Have each of the student photographers
write an artist's statement for the exhibit. You
can consult the artist's statement written for
"Border Studies" in the Artist
Informations section below.
3. Talk to your teacher and school
administration about a good and secure location
and a good date for the exhibit to open. Will you
have an evening opening? Do you plan to serve
refreshments? How will they be paid for? Decide
how long the exhibit will run.
4. Once you have confirmation on the exhibit,
set up several committees to handle different
aspects of the exhibit. These committees should
meet together several times to coordinate their
activities. These could include:
a. publicity committee(see section
"G")
b. exhibit design and installation crew
c. crew to take down exhibit and return work
to students
d. crew to make labels and collect work prior
to installation
e. crew to collect props, books or artifacts
if these are used in the exhibit
f. team to produce panels or informational
signs about the exhibit
g. exhibit opening committee (if you decide to
have one) |
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F) Schedule a Community
Scholar Symposium relating to your exhibit
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1. Design a panel discussion about your
exhibit and your community with about four
speakers. One could be a historian, another could
be an artist, another could be a poet and another
could be someone who works for your city to
maintain safety and vital services (for example,
a police officer, traffic engineer, sanitation
worker, housing authority employee).
2. Talk to your teacher and school
administration about a good date for the
symposium. It should coincide with the dates of
your exhibit. Find a good location for your
symposium and decide how many people you want to
attend and whether they will need to call in
advance to reserve a place. Decide if there will
be refreshments and how they will be supplied.
3. Contact your chosen speakers and confirm
the date with them. Once they have consented to
participate, provide them with information on the
exhibit. Give them the packet of information
which your publicity committee has assembled
regarding the show (see section "G"
below). Class members could take them on a tour
of the exhibit prior to the symposium or simply
be available at an earlier date to discuss their
work. Tell participants what you want of them:
ask them to share their thoughts about the
exhibit and its representation of your community
with symposium members.
4. When you attend the symposium, pay
attention to what each community scholar says.
a. what does the historian say? what does
a historian look for in photographs?
b. what does the artist say? what do
artists look for in photographs?
c. what does the poet say? what do poets
look for in photographs?
d. what does the city worker say? what did
he/she look for in the photographs?
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5. Write up class reports on the discussion.
If the timing is right, the publicity committee
could use important quotes from the community
scholars in publicizing the show. The team on
informational signs might want to add quotes to
the exhibit signs.
6. Write letters of appreciation to all the
community scholars and those who helped with the
symposium.
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G) Publicize your special events.
Exhibit publicity is a must. If you are also planning
a Community Scholars Symposium you could publicize
both events at the same time.
The publicity committee could divide their
energies in several directions. As always, it is
important to work in close contact with teachers,
parents and school administrators in planning these
special events.
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1. Design a poster/flyer giving basic
information on the exhibit: title, brief
description, location of exhibit with address,
inclusive dates for the exhibit. If you plan on
doing a symposium you can include information
such as: title, date, time, precise location,
phone number for more information (including
hours to call). You may wish to limit attendance.
If this is the case, indicate on your
poster/flyer that registration is required.
Brighten up your poster/flyer with color and
illustrations.
2. Get a local contact person. The person who
is listed as the phone contact will be designated
to take names of registrants. If this is a school
employee, make sure to provide them with adequate
information on the symposium and on registration
procedures.
3. Contact the media. If you want your
community to know about the exhibit, write up a
press release. You could include all the
information on the poster/flyer, plus some copies
of the photographs or artist's statetements. Once
your school has approved the press release
packet, send a copy to your school newspaper,
local newspapers and radio stations. If your
class/school has a website, plan to scan in the
information on your poster/flyer along with
several photographic images from the exhibit.
Symposium information can be posted here too.
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Artist Information
BRUCE BERMAN (images #5,6,7)
BIOGRAPHY
A native of Chicago, Bruce Berman began his
photographic career documenting what he saw in the
streets of Chicago. He studied at the University of
Oklahoma School of Journalism, the School of the Art
Institute of Chicago, and the Andersen Ranch
Photography Workshops, Snowmass, Colorado. His work
has appeared in such publications as The New York
Times, Newsweek and Texas Monthly. A resident of El
Paso for more than 20 years, Berman works as an
independent photographer, documenting the border and
its baffling contradictions. The Rio Grande/Río
Bravo, he says, is "The river that allows people
of one culture to look across its scant fifty yards
and see into an eternity of misunderstanding. The Rio
at El Paso/Juarez is more than water. It is pure
metaphor and there isnt a purer riverfor
this purposein the world."
PHOTOGRAPHS
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The Rio Grande at El Paso/Juarez |
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El Paso/Asarco Copper Smelter/Mt. Cristo Rey |
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The Rio Grande near El Paso (with tree and
clouds) |
PETER GOIN (images #8,9,10)
BIOGRAPHY
Peter Goin is a Professor of Art in photography
and video at the University of Nevada, Reno. He is
the author of three books, including Tracing the
Line: A Photographic Survey of the
MexicanAmerican Border (limited edition artist
book), Nuclear Landscapes (The Johns Hopkins
University Press, 1991), and Stopping Time: A
Rephotographic Survey of Lake Tahoe (University of
New Mexico Press, 1992). He served as editor of Arid
Waters: Photographs From the "Water in the
West" Project (University of Nevada Press,
1992). His photographs have been exhibited in more
than fifty museums nationally and internationally,
and he is the recipient of two National Endowment for
the Arts Fellowships. He lives with his family in
Reno, Nevada.
PHOTOGRAPHS
A series of nine aerial views of the
Rio Grande within the Big Bend Border area |
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Water hoses heading into Mexico through the
dry
Alamo Arroyo near Ft. Hancock, east of El
Paso/Ciudad Juarez |
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| International Ferry at Los Ebanos |
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DEBORAH A. GARZA (images #11,12)
BIOGRAPHY
Deborah Garzas photographs present the
immigration process from the point of view of the
Border Patrol, a federal agency empowered to uphold
US Immigration regulations. The agency patrols the
border by foot, horseback, jeep, boat and helicopter.
The photographs selected here are intended to show a
range of experiences. Drivers are questioned, papers
are examined, and vehicles and luggage are sometimes
searched for illegal drugs at the US checkpoints.
Many immigrants have attempted to cross the border
before and are known to Border Patrol personnel. A
native of Corpus Christi, Garza became interested in
the subject because her brother works for the Patrol.
She is a Photo Assistant at Ervin Thayer Studios and
serves as a Board Member of Houston Center for
Photography.
PHOTOGRAPHS
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Checkpoint on Highway 281, south of
Falfurrias, Texas |
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Searching Illegal Aliens on the Border of
Brownsville, Texas |
AVE BONAR (images #13,14,15,16,17,18)
BIOGRAPHY
Ave Bonar began photographing in the Lower Rio
Grande Valley in 1984 when she was commissioned by
the Texas Historical Commission to be one of fourteen
photographers represented in the book Contemporary
Texas: A Photographic Portrait, published by Texas
Monthly Press in 1986. Her interest in people of all
economic stations is reflected in this body of work.
Bonar has also documented other areas through
photography, including a small town in Ecuador and
her own neighborhood in Austin. In 1990 she
photographed Ann Richards successful
gubernatorial campaign, subsequently producing a
book, With Ann: A Journey Across Texas with a
Candidate for Governor. Bonar received a Bachelor of
Journalism from the University of Texas at Austin and
has remained based in the capital city working as an
independent photographer.
PHOTOGRAPHS
| Ferrymen, Los Ebanos International Ferry |
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| Woman in Kitchen, Alamo |
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| Cantaloupe picking for Griffin & Brand,
near Rio Grande City |
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| Church of Our Lady of the Valley, San Juan |
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| Curandera, Brownsville |
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| Miss Edinburg Beauty Pageant, Edinburg |
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MARY LEE EDWARDS (images
#19,20,21,22,23)
BIOGRAPHY
A native of Corpus Christi, Mary Lee Edwards lived for 20 years in Sinton, Texas,
before moving to Austin in 1978. She received a BFA from the University of Texas at Austin
in 1984. She worked as a free-lance photographer in Austin until her death in 2001. Her
works have been exhibited in Austin, San Antonio, Lubbock, and Houston, and at the
University of Mexico, Mexico City. They are included also in numerous collections. Edwards
became interested in photographing the border as a result of travel and her love of
culture. "Through my pictures," she said, "I can communicate my respect and admiration
for other cultures and people without language."
PHOTOGRAPHS
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Tres Hermanas, Rock & Roll Dance, West of
Matamoros |
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Atonement for El Niño Fidencio Constantino,
S/SW of Nuevo Laredo |
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Cocina de Alma, due West of Reynosa |
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Es La Cosa Verdad, Espinoza, Mexico |
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Noble Viejo de la Tierra, West of Sabinas
Hidalgo |
JULIANNE H. NEWTON (images #24,25,26,27)
BIOGRAPHY
Julianne H. Newton, Ph.D., former head of photojournalism at UT-Austin's Department of
Journalism, now teaches at the University of Oregon, Eugene, OR. She has more than twenty
years of journalism experience, and her photographic work has been shown in more than 50
exhibitions in the United States and Mexico. Born in Dallas, Newton spent the early part of
her life in Colombia and Ecuador. She was drawn to the life spirit in the people and
community of Zaragoza, Coahuila, for a documentary project that spans years, which she
partially attributes to an old saying: "If you drink from the water of Zaragoza, you
will always return."
PHOTOGRAPHS
| Peinandose (Woman combing her hair),
Zaragoza, Mexico |
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| La calle (Zaragoza street scene) |
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| Bailando (Dancing in elementary school
graduation festivities), Zaragoza |
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| Nava Christmas Eve: Abuelita (Grandmother
& Texas great-granddaughter) |
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SHARON STEWART (images
#28,29,30,31,32,33,34)
BIOGRAPHY
Born in Edinburg, Texas, Sharon Stewart is a
self-taught photographer who continually explores the
landscape and people of her native Rio Grande Valley.
Initially drawn to recording the Magic Valleys
exotic lushness, she has in recent years taken to
interpreting its cultural landscape which reveals
itself through subtle observation and recollection.
Explaining why she is drawn to photographing the
border, she says: "The dual agricultural and
spiritual influences have graced the Valleys
languid cadence of living since its settlement. These
photographs form a memory of life lived from the
earth and from the spirit and may become a testament
of a time lost to the economic pressures of tourism
and maquiladora manufacturing."
PHOTOGRAPHS
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Sunflower field south of Mission, Texas |
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La Lomita Mission of Oblate Fathers, Mission |
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Votive room at the Virgin de San Juan del
Valle Shrine, San Juan, Texas |
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Pulling the Los Ebanos International Ferry
across the river near Rio Grande City |
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Entrance to Colonia Roma, home of 350-500
people |
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Burning of extra leaf on sugar cane in
preparation for harvest |
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Valley Fruit and Vegetable Packing Shed,
Pharr, Texas |
Magdalena Zavala
(images # 35,36,37,38,39,40)
BIOGRAPHY
A native of Taylor, Texas, Magdalena Zavala
received a Bachelor's degree in Photojournalism from
the University of Texas at Austin in 1988 and did a
photography internship with Newsday in New York. She
attended the first annual Eddie Adams Workshop in
Jeffersonville, NY, before returning to Texas. From
June 1990 to January 1995, she worked full-time as a
photojournalist with the Laredo Morning Times. Zavala
now works for the New Orleans Times Picayune. Because
she is a product of both Mexico and the United States
and is fluent in both cultures and languages, she
seeks through her pictures to express a deep
understanding of the two very different worlds that
meet at the Border.
PHOTOGRAPHS
| A teenage couple listen to the heartbeat of
their unborn child |
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| A young couple perform daily chores as their
newborn child sleeps in makeshift crib |
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| Guns N Children: A Deadly
Combination |
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| High Rent Victim |
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| Linda Duetch, a member of Laredos elite
Martha Washington Society, reminds her pet Labrador not to jump on
her dress |
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| CASA HOGAR: Where Angels Sleep. Orphan girls prepare for lunch in their Nuevo Laredo orphanage
home, Casa Hogar |
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