Draft-outline & revised formatted bibliography

Research project // History of Photo II
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HISTORY OF PHOTOGRAPHY II: 19192019
AH 285/485 PPC 424 // Spring 2019 // Jacob W. Lewis
Research proposal (paragraph identifying topic, scope, & research question, along w/ 3 sources):
Wednesday, February 13 IN CLASS
Project, draft-outline & revised formatted bibliography: Wednesday, April 3 IN CLASS
Final research project: Wednesday, May 8 as PDF via EMAIL
OPTION 1: write a research paper of 810 pages (for graduate students, 1215 pages), which
presents a careful analysis of a single photographic work (image, series, portfolio, or photo-book) in
keeping with the historical parameters of the course (19192019). The paperits thesis, argument,
evidence, and conclusionis to be based on individual research using published sources. In the
process of making a decision on the topic of your paper, consider photographs, photographers, and
ideas that immediately strike you as interesting and that, upon some quick research, have published
sources in the form of academic journal articles, essays, book chapters, and entire books. Its best to
choose a work that youve experienced in person, either within an exhibition or as part of an
accessible collection. In choosing, decide on a work that suggests an open dialogue with the concepts
discussed in class and explored in the content of the assigned readings, and one that demands a close
reading that includes description, analysis, and comparison with other works. Then, bring a primary
question to your work. You can consider a few or many of the dimensions of your primary work: its
content, style, significance, and social function, its technical production or material makeup, the
artistic, social, and cultural position of its maker, the works circulation in the market, its place in the
museum world, its typical or unusual character, or its theoretical resonance. The paper must include
tombstone information on the primary work, as well as a high-definition scan or digital image in
display resolution (i.e., not pixelated). In your paper, discuss supplemental images, texts, or ideas
that illuminate and support your argument in relation to your primary work, especially those that
allow for comparative analysis with your chosen work. With the comparative images that you
introduce in your paper, they can be by the same author as your primary work, but I find that
comparison with images by different authors provides a fuller understanding of your primary
photographic work. Further information on paper format will be distributed in the first few weeks of
the semester. For more information on the research paper format, please see the following work on
reserve at the UR Art & Music Library:
Barnet, Sylvan. A Short Guide to Writing about Art, 11th ed. Upper Saddle River, NJ:
Pearson Education, Inc., 2015.
OPTION 2: write a selection of catalogue essays (five or more) on a group of related photographs, a
photo-album, or a limited-edition photo-book or portfolio accessible for study in a collection in or
near Rochester. It is required that the work or works be made after 1919. The most significant
collections of photographs in our area include Special Collections at Rush Rhees Library, the
George Eastman Museum, and the Visual Studies Workshop, but one may also work with other
public or private collections as determined in advance with the instructor. The catalogue essay
format offers a close formal and technical analysis of the image, a full list of publications and
exhibitions in which the specific work (this print as opposed to other/all prints of the same image)
has featured, and a brief essay per image, each of which offers general information on the work, its
historical context, and its possible significance. Catalogue essays must include tombstone
information on each work consulted, as well as high-definition scans or digital image in display
resolution (i.e., not pixelated) for each work on the list. Further information on the catalogue entry
format will be distributed in the first few weeks of the semester.
Research project // History of Photo II
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Guidelines for the Paper (Option 1)
In your papers introduction (i.e., in the first one or two paragraphs), be sure to offer a primary
question or thesis that motivates your paper and addresses the key social, cultural, historical, or
theoretical concerns. At the end of the paper, your conclusion should return to some key issues
raised in the introduction to address your findings.
Be sure that your inquiry is both historical and critical. In other words, your readings of images,
artworks, theories, or concepts should take into account the context in which they were produced,
and should consider how other scholarly or critical sources interpret those same objects of study.
When using quotes and paraphrases from other sources, be sure to engage this information.
Remember, texts require your interpretation just as much as images. Dont let your quotes speak for
themselves. Be sure to integrate and examine your citations and quotes so that your reader knows
why it is relevant.
Make concise visual analyses of each image that is relevant to the argument of your paper. It is
helpful to consider how other authors interpret the same image or work, but bear in mind that this
paper is about your analysis, which should be based on past sources that inform your own original
contribution.
Define your key terms and be consistent in their usage. This is especially true for ideas that are
discussed at length in class and will feature prominently in your analysis: instantaneity, feminism,
indexicality, documentary, authenticity, post-conceptualism, formalism, the unconscious, technical
practice, modernism, postmodernism, the list goes on and on. In this regard, the best way to keep
consistent in your paper is to keep a running list for your own purposes outlining the essential
concepts that you employ throughout your paper. In your list, supply concepts with pithy definitions
to remind you and help you articulate precisely what youre saying and how to say it.
Paper & Citation Format
Chicago or MLA is perfectly fine, but its most important to be consistent. That said, here is my
handy guide for what I find to be the best and most consistent format for the paper (Chicago).
Page & file formatting: Use a 12-point serif font and double-spaced paragraphs with indents on the
first line of each paragraph. The exception is that block quotes from authors (i.e., those longer than
three lines) should be separate from the body text, indented, and single-spaced. The paper body
should always be formatted to one-inch margins. Page numbers should be included at the bottom
right of the page, in the same font as the body, in 10-point size. The final paper should be saved as a
PDF and emailed directly to me on or before the due date. If the file size is too large due to the
illustrations included therein, you can compress the images, convert them to gray-scale, or minimize
the entire file into a zipfile using compressor software.
Title: On the first page (not on a separate cover page) add a title that encapsulates or addresses your
subject. Do not title your paper Research Paper or Helen Levitt. Be specific! You may gain
some ideas about how to title your paper from the range of sources we covered in this course. Take a
look back at the syllabus for reference. Some examples: Capturing Light: Photographing the
Universe, or Whats in a Face? Blankness and Significance in Contemporary Photography, or
The Photographic Activity of Postmodernism. Come up with a few for your own paper and
Research project // History of Photo II
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choose what you think is the snappiest and most concise. Its best to avoid puns and gerunds, but
most of all, a good title matters!
Illustrations: Include any and all illustrations that you find relevant to discuss in your paper. The
first instance that you introduce an image, indicate a figure number like so: (fig. 1) or [fig. 1]. Include
a digital image for each figure number at the very end of your paper, separate from the main text of
the paper. Include tombstone information on each figure in the following format: Artist Name,
Title of Work, Date. Medium. For example:
Fig. 1: Cindy Sherman, Untitled Film Still #54, 1978. Gelatin silver print
Fig. 2: Martn Chambi, Gadea Wedding, Cuzco, Peru, c. 1927. Gelatin silver print
Footnotes, citations, & bibliography: For this paper, the use of footnotes is entirely preferable to
endnotes or in-text citations. Footnotes generally should be smaller in font size than the body of the
paper10-point font size, as opposed to the main text bodys 12-point font size. The first time you
cite a source in the footnotes, include all bibliographic information. Afterwards, refer to the source in
your footnotes with an abbreviated reference. Use the following examples as templates for your own
citations, and for other kinds of sources like newspaper articles, films, and websites, consult MLA or
Chicago style manuals.
Books or book chapters by a single author
1 Christopher Lasch, The Culture of Narcissism: American Life in an Age of Diminishing
Expectations (New York: Norton, 1978), 9697.
Abbrv.: Lasch, The Culture of Narcissism (1978), 9697.
Essay in an edited anthology
2 Christopher Pinney, Notes from the Surface of the Image: Photography, Postcolonialism,
and Vernacular Modernism, in Photographys Other Histories, eds. Pinney and Peterson
(Durham, NC: Duke, 2003), 220.
Abbrv.: Pinney, Notes from the Surface, (2003), 220.
Section essay from exhibition catalogue
3
Clment Chroux, Photographs of Fluids: An Alphabet of Invisible Rays, in The Perfect
Medium: Photography and the Occult, exh. cat. (New Haven: Yale University Press, 2004),
114116.
Abbrv.: Chroux, Photographs of Fluids, (2004), 114116.
Journal article
4
Ruth Iskin, In the Light of Images and the Shadow of Technology: Lacan, Photography
and Subjectivity, Discourse 19, no. 3 (Spring 1997): 43.
Abbrv.: Iskin, In the Light of Images, (1997): 43.
**NOTE: you do not necessarily have to differentiate between digital or online journals and in
print journals in your footnote citations. If theres any way to avoid pasting long hyperlinks
into your footnotes, by all means avoid it!
At the end of the paper, before your illustrations, include a bibliography of all relevant works
consulted. Some of these may not have been quoted in the body of the paper, but it is important to
include these related sources to indicate the scope of your research. Below is how the bibliography
should appear, organized in alphabetical order by author surname. Pay close attention to the
Research project // History of Photo II
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differences between footnote citation format and bibliographic format (i.e., last name first, use of
periods, less parentheticals, where to put page numbers for part of a multi-author book).
Bibliography
Chroux, Clment. Photographs of Fluids: An Alphabet of Invisible Rays. In The Perfect
Medium: Photography and the Occult, exh. cat., 111122. New Haven: Yale University
Press, 2004.
Iskin, Ruth. In the Light of Images and the Shadow of Technology: Lacan, Photography
and Subjectivity. Discourse 19, no. 3 (Spring 1997): 1122.
Lasch, Christopher. The Culture of Narcissism: American Life in an Age of Diminishing
Expectations. New York: Norton, 1978.
Pinney, Christopher. Notes from the Surface of the Image: Photography, Postcolonialism,
and Vernacular Modernism. In Photographys Other Histories, eds. Pinney and
Peterson, 127133. Durham, NC: Duke, 2003.
Guidelines for the Catalogue Entry Essays (Option 2)
Write a determinate number of catalogue entries (at least 4 individual catalogue entries; 6 for
graduate students) on a group of related photographs, a photo-album, or a limited-edition photobook or portfolio accessible for study in a collection in or near Rochester. Think of this assignment
as a curator would an exhibition, and the entries as a more scholarly take on the wall text format. It
is required that the works you choose be made after 1919, and that the works together have some
artistic or thematic relationship that can be explained in your introductory essay to the project. For
instance, you may choose to write about a particular artists series of works, a group of works
acquired by the institution as part of a specific purchase or gift, a published album of photographic
or photomechanical prints, a family photograph album, a collection of images related to a specific
social or cultural topic, or a set of works demonstrative of a special technique or technical research.
Try to limit yourself to a body of 510 individual works (there are exceptions to this approximate
number, please see the instructor for ). The most significant general collections
of photographs include Special Collections at Rush Rhees Library, the George Eastman Museum,
and the Visual Studies Workshop, but one may also work with other public or private collections as
determined in advance with the instructor. The catalogue entry format offers a close formal and/or
technical analysis of a work, and a list of relevant publications and exhibitions in which the work has
featured.
The core of the catalogue entry is a brief essay (300400 words), which should accompany an object
or several objects in your determined set of works. Each individual catalogue entry can be devoted to
1) a single work in your group of objects, 2) a few works that share strong affinities, or 3) a mixture
of both, some devoted to a single work, others devoted to a few similar works. Most students chose
to do a mix dependent on the organization of their chosen set of works. Each essay should offer
general information on the work, its historical context, and its potential significance. Entries must
include tombstone information on each work consulted, as well as high-definition scans or digital
images in display resolution for each work on the list. In addition, in a three-to-four-page
introductory essay, analyze the body of workbe it acquisition, collection, album, or portfolio
with a historical overview and an explanation of the grouping. In the introduction, provide a
justification as to why these works should be considered together.
In your introductory essay, offer the reader a historical overview and a well-reasoned analysis of the
body of work and its shared themes, answering how and why they should be considered as a group
of related works, where they fit within the institutional or personal collection, and what makes them
Research project // History of Photo II
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a significant body of work in the history of photography. Just as it is in a research paper option, it is
paramount that you articulate what motivates your project by addressing key social, cultural,
historical, or theoretical concerns relevant to your objects of study. Looking to library resources and
the syllabus will help you craft your analysis. In the introduction as well as in the individual entries,
be sure to write for an , with professional and succinct prose.
Nevertheless, writing for the museumgoer does not preclude you from introducing complex ideas
into your introduction and your individual essays.
Be sure that your essays are both historically and technically accurate, and professionally written. In
other words, your readings of images, artworks, theories, or concepts should take into account the
context in which they were produced, and should consider how other scholarly or critical sources
interpret those same objects of study. For works by a well-known photographer, it is best to seek out
primary sourcesartist statement, exhibition catalogue introduction, published interviewso as to
shed light on the artists intentions, or how the work fits into the artists oeuvre as a conceptual
whole.
When using quotes and paraphrases from other sources, be sure to engage this information.
Remember, texts require your interpretation just as much as images. Dont let your quotes speak for
themselves. Be sure to integrate your quotes so that your reader knows why it is relevant.
In each catalogue entry essay, make concise visual and historical analyses of each work. It is helpful
to consider how other authors interpret the same image or work, but bear in mind that this paper is
about your analysis, which should be based on past sources that inform your own original
contribution.
Define your key terms and be consistent in their usage. This is especially true for ideas that may be
discussed at length in class: identity, Conceptualism, instantaneity, technical practice, modernity,
Modernism, photomontage, the list goes on and on. In this regard, the best way to keep consistent is
to keep a running list for yourself of the essential concepts that you employ throughout your paper.
With your own pithy definitions of each term for your own purposes, you are better able to
articulate what youre saying and how to say it.
Catalogue entry formatting
Page & file formatting: Use a 12-point serif font and one-inch margins throughout your introduction
and entry essays, and use double-spacing for the essay body text. Entry essays require no paragraph
indentation. Page numbers should be included at the bottom right of each page. The final paper
should be saved as a PDF and emailed directly to me on the due date. If the file size is too large due
to the illustrations included therein, you can compress the images, convert them to grayscale, or
minimize the entire file into a zipfile using compressor software.
Title: On the first page of your introductory essay (not on a separate cover page) add a title that
encapsulates your subject. Do not title your entries Research Project or Color Photographs. Be
specific! You may gain some ideas about how to title your paper from the range of sources we
covered in this course. Take a look back at the syllabus for examples. Most importantly, you need to
convey the theme of the grouping of works that you have chosen. If you were to propose exhibiting
this group of works or collection of images, what would be the exhibition title on the gallery wall?
Brainstorm with one of your peers, and strive to be both original and informative. Come up with a
few for your own paper and choose what you think is the snappiest and most concise. A good title
matters! You can aim for wit, but avoid puns, please.
Research project // History of Photo II
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Image: For each catalogue entry, include a high-definition scan or digital image in display
resolution. Be sure to take a photograph or scan directly from the work, not from an online source
that may or may not be the same print or object as the one you examine in person. If possible, ask
for a high-quality image from the host institution or collector.
Tombstone information: For each object in your chosen group of works (even those that do not have
an individual catalogue entry essay!), provide label information about the object in the following
format:
Your own catalogue number
Artist (Nationality, 19002000)
Title of Work, YEAR
Medium, dimensions in cm
Credit line (if applicable)
Institution/collection
Accession number (if applicable)
Cat. 4
Cindy Sherman (American, born 1954)
Untitled Film Still #88, 1978
Gelatin silver print, 20.3 x 28 cm
Gift of Reginald Feckminster, 2003
Cleveland Museum of Art
2003.17.1
The information that you provide in this format should resemble an exhibition label containing
tombstone information or the base information necessary to know about this objects author, title,
date, medium, size, and location. For entries on albums, limited-edition books, and coherent
portfolios, see comparable examples published in historical scholarship to know how to format your
catalogue entries, and always ask the instructor for more information.
Provenance & exhibitions: At the end of each individual entry, briefly list the provenance of the
work starting from the first known owner/collector/gallery, to the current owner. Include any notice
about auction sales that featured this particular object or print. This information may be accessible
through conversations with a collection manager or files related to the work (such as in museum
database platforms like TMS). Provide a list of exhibitions in which this print/object has featured. A
good rule of thumb: the provenance and exhibition list relate to the actual object or print that you are
studying. Some objects or works may not have a large pool of provenance, exhibition, or
bibliographic information, but it is nonetheless the students responsibility to be as thorough as
possible in their attempts to locate this information.
Bibliography: In addition to listing the relevant exhibitions for each object, include at the very end of
your project a bibliography of scholarly sources (i.e., exhibition catalogues, monographs, journal
articles, critical reviews) that discuss the works, as well as those that were integral to your research.
The bibliography should follow the last individual catalogue entry, not each catalogue entry. Keep in
mind that the bibliography details sources that discuss either the work or image (either the print that
youve analyzed or others that are comparable and have been reproduced in publication). In the
bibliography, you may find it necessary to include citations of museum or collection websites that
have entries on a print or proof of the same work that you discuss; see Chicago style guide on how to
cite museum websites. On formatting citations for footnotes and bibliographies, see pages 3-4 of
this document.
Visual Template
The concluding pages below offer visual templates for the paper (pp. 78) and the catalogue entry (pp.
910). NOTE: these texts do not reflect wholly accurate information.
Research project // History of Photo II
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Jane Q. Doe
History of Photography I: 18391919
December 20, 2017
Out of Work:
Oscar Rejlander, Production, and Industry
[]
Although written about a specific image, Rejlanders essay is useful in understanding
his photographic practice at large, including his composition for Hard Times (fig. 1).
Throughout the essay, Rejlanders repeated description of his artistic process as production is
particularly striking. As he writes, the various points that strengthen an image, such as
lighting and costume, are essential to the production of a perfect picture.1 He goes on to
allusively describe the production behind the composition of Two Ways of Life and concludes
by stating his desire for artwork to be judged by its merits and not by the method of its
production.2 Despite his efforts, when critics were given the opportunity to respond to
Rejlanders defense, they continued to inquire about his works mysterious production.
While Two Ways of Lifes composition of more than thirty separate negatives is
fascinating to consider on its own, the critics obsession and anxiety regarding Rejlanders
practice can lead one to speculate further questions regarding photographys relationship to
production, consumption, and capitalism.3 For example: what does it mean to discuss a
photograph in terms of its production and what can one gather from this method of inquiry?
1 Oscar G. Rejlander, On Photographic Composition; with a Description of Two Ways of Life, Journal of the
Photographic Society of London 4 (1858): 192. 2 Ibid., 195.
3 See also Jordan Bear, Disillusioned: Victorian Photography and the Discerning Subject (University Park, PA: Pennsylvania
State University Press, 2015).
Research project // History of Photo II
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These questions seem to underscore Rejlanders critics interest, but perhaps Two Ways of
Life is not the comprehensive image that can provide them with definite answers.
[]
Bibliography
Bear, Jordan. Disillusioned: Victorian Photography and the Discerning Subject. University Park,
PA: Pennsylvania State University Press, 2015.
Dimock, George. Children of the Mills: Re-Reading Lewis Hines Child-Labour
Photographs. Oxford Art Journal 16, no. 2 (1993): 3754.
Joyce, Simon. The Victorians in the Rearview Mirror. Athens, OH: Ohio University Press,
2007.
Kracauer, Siegfried. Photography in The Mass Ornament: Weimar Essays, ed. Levin, 4763.
Cambridge, MA: Harvard University Press, 1995.
Illustrations
Figure 1: Oscar Rejlander, Hard Times, ca. 1860. Albumen print
Research project // History of Photo II
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Cat. 7
John Shaw Smith (Irish, 18111873)
Ruins of the Temple of Venus, c. 1850
Calotype negative, 17.3 x 21.9 cm.
Gift of
George Eastman Museum
1981.1683.0138
Shaw Smiths image, Ruins of the Temple of Venus, presents an unorthodox view of a
single side of the temple and the array of buildings located behind it. Pompeii is uniquely
difficult to photograph due to the textured walls of various heights, broken columns and the
overall density of buildings.4 By shooting from a higher vantage point, Shaw Smith
attempted to reconcile some of these aspects of visual confusion together in order to present
a legible pattern. From this line of sight, he is clearly aware of the repetitive symmetry of the
mountain range, tree line, destroyed walls, and rows of columns, closing with several empty
pedestals in the foreground.
Due in part to this compositional choice, the image and its expansive depth of field
provides little spatial context, as if the ruin of the temple and surrounding area are flattened
in space and isolated from the immediacy of time. Michael S. Roth observes that when we
frame an object as a ruin, we reclaim that object from its fall into decay and oblivion and
4 Claire L. Lyons, ed., Antiquity & Photography: Early Views of Ancient Mediterranean Sites (London: Thames &
Hudson, 2005), 59.
Research project // History of Photo II
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often for some kind of cultural attention and care that, in a sense, elevates its value.5
Pompeii was a relatively small town that had a little economic and cultural impact on the
Roman world. After the eruption, it was abandoned and forgotten for centuries. Through its
excavation in the eighteenth century, it became a representative for ideals and myths about
antiquity that were far from true of the actual historical place. However, in Shaw Smiths
photograph, we are also able to witness the total aftermath of a horrific natural disaster as
well as civilized societys hubris in the face of such violence, moving us well beyond a
neutral description of an ancient city lost to time.
Provenance:
John Shaw Smith; John Augustus Smith; Lewis Shaw Smith; Unnamed Grandson of Lewis
Shaw Smith, 1948; Helmut Gernsheim, 1948; Alden Scott Boyer; George Eastman
Museum.
Exhibitions:
None
5 Michael S. Roth, et al., eds., Irresistible Decay: Ruins Reclaimed (Los Angeles, CA: The Getty Research Institute, 1997),
1.

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You communicate with the writer and know about the progress of the paper. The client can ask the writer for drafts of the paper. The client can upload extra material and include additional instructions from the lecturer. Receive a paper.

4. Download the paper

The paper is sent to your email and uploaded to your personal account. You also get a plagiarism report attached to your paper.

GET A PERFECT SCORE!!!