Activity Set Six:

by:  Emily Socolov

Exhibiting Photographers: Design and Personal Vision

A) About the Exhibit

Page through the 36 photographic images in the exhibit. Use your general impressions of the photographs to answer these questions.

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.

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

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.

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?

C) Outside Learning

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

D) You Be the Photographer

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.

E) Plan an Exhibit

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)

F) Schedule a Community Scholar Symposium relating to your exhibit

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?

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.

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.

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.

 

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 isn’t a purer river—for this purpose—in the world."

PHOTOGRAPHS

The Rio Grande at El Paso/Juarez
El Paso/Asarco Copper Smelter/Mt. Cristo Rey
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 Mexican–American 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
Water hoses heading into Mexico through the dry
Alamo Arroyo near Ft. Hancock, east of El Paso/Ciudad Juarez
International Ferry at Los Ebanos

DEBORAH A. GARZA (images #11,12)

BIOGRAPHY

Deborah Garza’s 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

Checkpoint on Highway 281, south of Falfurrias, Texas
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
Woman in Kitchen, Alamo
Cantaloupe picking for Griffin & Brand, near Rio Grande City
Church of Our Lady of the Valley, San Juan
Curandera, Brownsville
Miss Edinburg Beauty Pageant, Edinburg

 

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

Tres Hermanas, Rock & Roll Dance, West of Matamoros
Atonement for El Niño Fidencio Constantino, S/SW of Nuevo Laredo
Cocina de Alma, due West of Reynosa
Es La Cosa Verdad, Espinoza, Mexico
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
La calle (Zaragoza street scene)
Bailando (Dancing in elementary school graduation festivities), Zaragoza
Nava Christmas Eve: Abuelita (Grandmother & Texas great-granddaughter)

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 Valley’s 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 Valley’s 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

Sunflower field south of Mission, Texas
La Lomita Mission of Oblate Fathers, Mission
Votive room at the Virgin de San Juan del Valle Shrine, San Juan, Texas
Pulling the Los Ebanos International Ferry across the river near Rio Grande City
Entrance to Colonia Roma, home of 350-500 people
Burning of extra leaf on sugar cane in preparation for harvest
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
A young couple perform daily chores as their newborn child sleeps in makeshift crib
Guns ’N’ Children: A Deadly Combination
High Rent Victim
Linda Duetch, a member of Laredo’s elite Martha Washington Society, reminds her pet Labrador not to jump on her dress
CASA HOGAR: Where Angels Sleep. Orphan girls prepare for lunch in their Nuevo Laredo orphanage home, Casa Hogar