seeing things - The Photographers` Gallery

Seeing things
Looking at photography exhibitions with young people
Seeing things
Looking at photography exhibitions
with young people
Project Series
Contents
5
Introduction Brenda Valdés
6
Seeing things Gillian Rose
Case studies and project ideas
18
Photojournalism Juliette Buss
28
Contemporary art/photography Sharon Byrne
38
Documentary photography Jo Booth
50
Fashion photography Rachel Moss
60
Archive photography Kyoko Kaneta
Further information
70
Contributors’ biographies
Introduction
Brenda Valdés
Is there a difference between looking at photographs on the
Internet, in newspapers or in an exhibition? Seeing things: looking at
photography exhibitions with young people argues that the context a
photograph is seen in can make a big difference to how it is received
and understood. Photography exhibitions offer great starting points
for discussion as well as catalysts for independent thinking and doing.
This publication includes five case studies based on resources or
programmes developed with young people. Each case study looks at
a recent photography exhibition in England and relates to one of five
types of photography: archive, documentary, art, photojournalism
and fashion. The case studies are accompanied by a more generic
project idea for working with photography exhibitions of a similar type.
Seeing Things: looking at photography exhibitions with young people
is the fourth publication in a series produced by The Photographers’
Gallery with teachers and group leaders in mind. The Photographers’
Gallery is grateful to Gillian Rose for writing the opening essay as well
as to Jo Booth, Juliette Buss, Sharon Byrne, Rachel Moss and Kyoko
Kaneta for sharing creative, meaningful and inspirational ways of
looking at photography exhibitions.
The gallery is also indebted to the John Lyon's Charity for their kind
support of the production of this publication and an accompanying
three year programme of visits by young people. Finally, our gratitude
is extended to the children and young people who took part in the
projects that are presented here. We hope you are as inspired as we
are by their work.
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Seeing things
Gillian Rose
The French sociologist Pierre Bourdieu pointed out many years ago
that art galleries are not places that everyone felt able, or inclined,
to stroll into and feel at home in. We might think in contrast that
photography galleries are a lot more accessible. After all, they are
rarely located in grand neoclassical buildings, and more people are
familiar with photographs than they are with oil paintings or video
art; indeed, many people actually take their own photographs and
display them in all sorts of creative ways.
However, just because you can walk into a building exhibiting
photographs doesn’t necessarily mean that you get a lot from your
visit. Photography galleries are particular kinds of spaces that in
their design and layout focus most of their visitors’ attention onto
the photographic work itself. Like many contemporary and modern
art galleries in the UK, most photography galleries have white walls
and neutral floor colouring; the lighting focuses on the photographs;
the captions relating to each photograph are often small and
discreet; text panels introduce rooms but don’t often interrupt the
flow of photos; and that flow is usually organised as one photo next
to another, spaced regularly, at the average eye-level of an upright
adult. You can’t touch the photographs or bring food or drink near
them; and it appears from what the other visitors are doing that
you’re expected to walk around quietly studying each one in turn.
All this focuses you on the photographs as images: indeed, on
the photos as precious and powerful images that deserve care
and attention.
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It seems to me though that the more you look at a photograph as
simply an image, the more information it offers up and it becomes
more difficult to say just what it is about or what it is doing.
Reflecting on photographs as images relaying information or ideas
is certainly part of what photography exhibitions invite us to do, and
is part of their pleasure. However, aside from simply looking at what
is revealed or suggested within photographs, there are a lot of other
things visitors might want to consider when looking at photographs
in a gallery context.
In particular, I think it’s helpful if we remember that photographs are
physical objects made by someone using particular technologies in
a specific economic, social and cultural context. How a photograph
is made affects how it looks. But equally important is the way the
photograph has been displayed in an exhibition: its method and
site of presentation is neither neutral nor passive. Here, I suggest
that there are three aspects to looking at photographs in exhibition
contexts that are useful to think through: the image itself, the
initial reason for its production, and how it is being displayed.
An important, related consideration is the effect on a photograph
of moving it from one context into another.
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The image itself
A photograph is a complex artefact in and of itself.
What does it show? Take a good look. What might the photographer
be trying to tell you with this photograph? What is the photograph
actually telling you? What is visible and what might be hidden just
out of view?
What does it look like? Is it colour or black and white? What is it printed
on? Has it been framed, if so, how? How large is it – in relation to you as
a viewer, to any other photographs on exhibit, and to the gallery space?
Where is it placing you as a viewer? Some photographs feature people,
some don’t. What is your relationship to what is depicted? If there are
people, are you positioned as a voyeur, a fly on the wall, a participant?
Where is the camera placed in relation to the subject – above, below,
near, distant – and how has the subject been composed or ‘framed’?
How does it make you feel? Have confidence in your own reactions to
each photograph. But also try to explain why it makes you feel the way
it does. Is there something between you and the photograph that
triggers your reaction?
Is there a style or approach that is apparent? If a photo is one of a series
by the same photographer, are there similar characteristics across a
range or series of photographs?
Opposite: Sandinistas at the walls of the Esteli
National Guard headquarters, Nicaragua, 1979
© Susan Meiselas/Magnum Photos
Magnum photos is a cooperative of photographers
chronicling the world and interpreting its peoples,
events and issues. Many Magnum Photographers,
including Susan Meiselas, have shown their work
in exhibition contexts.
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The production of a photograph
Documentary photography
The circumstances of, or reason for, a photograph’s production
effect what a photograph looks like and also our response to it.
This records social realities and is usually the result of a period of
sustained observation of, and engagement with, a particular subject
or theme. These types of photographs can relate to global issues or to
specific situations – homelessness or environmental disasters – and
aim to bring public attention to these areas. Documentary images are
often published within a series in books or magazines, and are
sometimes shown in small campaigning exhibitions. Photography
agencies, such as Magnum Photos or Panos, specialise in these
images. They are regularly accompanied by written captions or text
to ensure specific information or a message gets across.
What technologies were used to make the photo? Camera
technologies are very diverse. Since photography’s invention,
photographers have experimented with a wide range of chemicals,
papers and other materials on which to print their images. These
make a significant impact on what a photograph can show and
how. The blurry quality of Polaroid images are distinctive in their
look, as are the richness of detail, and often necessary stillness,
in photographs made with a 10 × 8" plate camera.
When was a photograph made, who made it, and why? A proportion
of photographs that are exhibited weren’t intended to be shown in
a gallery context. So there are another set of questions about who
made a photograph, and why. What was it originally intended to do?
This is something that will be picked up again below. However, the
notion of photographic genres is useful here, so –
What photographic genre does it fall into? Photography is used for
many purposes. However, it is also possible to generalise about
some of the most common types of photography. There are
perhaps six photographic genres that you might come across
within an exhibition:
Photojournalism
These are photographs intended for publication in newspapers or
other news media. They are often presented as striking single images
that have immediate impact. Although newspapers’ websites are
increasingly multimedia, printed papers continue to carry
photographs – with many sourced from commercial photography
agencies and image banks now rather than from photographers
on the newspaper’s paid staff. They are usually embedded in the
newspaper’s journalism and their meaning is derived as much
from accompanying articles as from the picture itself.
Art photography
This type of photography is often made for exhibition spaces.
These visual images are often intended to make viewers think or feel
in more conceptual ways about some aspect of human experience.
Sometimes accompanied by a publication, photography as art is
frequently left open to interpretation. It can be the most elusive type
of photography, but can also pose interesting and useful questions.
It makes us work.
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Commercial photography
These are photographs intended for advertising campaigns, and will
usually appear in magazines, newspapers, websites and billboards.
Thousands of images are also taken to be bought by advertising
agencies through image banks. Studio portrait and wedding
photography is another branch of commercial photography – where
a fee is often exchanged for a photograph. However the principle
purpose of commercial photography is to sell products to consumers
– be it clothes, cars or other goods.
Archive photography
Photographs are regularly used as visual records of an event, example
of production or marker of time. Many companies and corporations,
institutions, charities and governmental offices keep digital or
analogue photographic archives. These images are sometimes used
for campaigning purposes but more often are kept out of public view
and used by a relatively small number of people for very particular
purposes – research, annual reports, insurance claims, etc.
Some of the more interesting photojournalists, for example, have
been given exhibitions that enable their work to transcend the
immediacy of journalism featured within newspapers or magazines.
Their photographs move across the genres – from journalism into
art. It’s also possible to understand some photographs are seen as
shocking in the way they move between these genres and confuse
them. In particular, there have been a number of controversies
surrounding women photographers producing imagery of their own
children in what appear to be intimate domestic moments and then
shown the photographs as art. The boundary transgressed here is
between what is acceptable to see in the privacy of the family and
what is acceptable to view in the public space of a gallery.
Vernacular or amateur photography
Family snapshots are a common type of amateur imagery. They
include informal images of happy moments – weddings, birthdays,
holidays – taken by family members, and produced for viewing by
family and friends. They are not always technically ‘accomplished’,
but in the context of their families, particular photos can be very
precious objects. Photographs of friends and family, as well as travel and other hobby photography, also appear on social networking
websites such as Flickr and MySpace. These are regularly taken by
digital camera, webcam or camera phones.
These genres are very broad of course, and the boundaries between
them can be unclear and even controversial. And these boundaries
blur further when they are used as material by artists or exhibited in
a gallery context.
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Above: Aftermath of the Crystal Palace
Fire in 1936 © London Fire Brigade
This image is one of thousands kept in the London
Fire Brigade's photography archive. It featured
in an exhibition at The Photographers' Gallery
in 2006.
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The exhibition of photographs
How a photograph is displayed is crucial to the effect it has, though
the impact of being in an exhibition is very rarely acknowledged
when photographs are discussed. Most importantly, I would argue
that when a photograph is in an exhibition, it has certain demands
laid upon it. In particular, it must bear sustained attention, because
that is what is done in exhibition and gallery spaces. It might bear
that attention by being visually striking or complex, or by being
(or suggested to be) part of a, more-or-less, conceptual reflection
on the human condition or the world we live in.
Many critics would argue that documentary photos are more likely
to have something general to say about humanity than advertising
imagery, though others would disagree. Photographs displayed in
newspapers, on websites, in family albums or within an archive’s filing
cabinet are rarely granted the same amount of a viewer’s attention as
when they are presented on the walls of a gallery. An exhibition helps
to contribute to a photograph’s reputation and sense of importance.
Depending on its exhibition context, a photograph’s meaning can also
shift, as discussed above with images of children. These effects can
be explored by asking some more questions:
What are the effects of the exhibition’s design? I’ve already suggested
that the usual design of photography exhibitions – the white walls,
lighting, framing and captions – all present the photographs as
important and valuable objects. A large part of what the exhibition
space does is to focus your attention on the images on display rather
than on the gallery space itself. However, as Brian O’Doherty asserts
in his book Inside the White Cube, there are also a number of other
things that influence how we look at exhibited work. Importantly
there are often text panels, written by gallery staff, the photographer
or another specialist, that offer certain information about the
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exhibition. In particular, text panels can suggest why these photos
are to be considered 'significant' by hinting at the intentions of the
photographer or the putative effect of the work on display. Often a
contemporary or living photographer will have input into how the
work is shown.
What else has contributed to the work’s reception? It is important
to remember that people rarely visit an exhibition with no idea what
they will find there. There are always other devices that provide a
context for the viewer to understand the work in particular ways:
marketing for the exhibition in leaflet or poster form, press or media
attention and, when available, an exhibition catalogue. There is also
a lot of literature on the history of photography, which some visitors
may be familiar with. Again, all these focus on the significance of the
work on show.
Above: From Wild Beasts, photographed by
Jason Evans, styled by Simon Foxton. Published
in Hanatsubaki, 2008.
This photograph breaks away from the glamour
and body-focused cliché of fashion photography to
highlight a pair of shoes in a fun and unexpected way.
Some of Evans and Foxton's commercial or fashion
work has also been shown in an exhibition context.
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How does looking at photographs in a photography gallery make us
think differently about them? As mentioned above, some of the
effect of photographs in an exhibition may be due to the fact that
they weren’t produced for the public to view them in that way. It can
be useful to consider the differences between their original or
intended purpose and their purpose within a photography exhibition,
and what effects that transposition has created. A photograph taken
for forensic purposes and stored within a police or insurance archive
file becomes an object for a different sort of consideration when
placed in a gallery vitrine. We can also think about how photographs
produced as ‘art’ might be looked at differently within a photography
gallery that has a history of showing a whole range of photography
genres, compared with being shown in an art gallery.
Do the photographs in the exhibition have some sort of common
theme or approach? As suggested above, if all of the images with
an exhibition are by the same photographer, we might want to try to
identify a style or set of concerns. However, if they’ve been collected
together by a curator or another specialist for a thematic exhibition,
how does each photograph begin to, or fail to, address the
exhibition’s theme? If they are part of a collection, either from a
private or public source, is there anything that unifies them in terms
of subject, format or style?
Conclusions
Visiting a photography exhibition to look at photographs can invite
a parodoxical mix of knowledge and wilful ignorance. We may have
advance knowledge about the exhibition and some of the intentions
behind it. At the same time, we may wish instead to focus, in a
concentrated way, on the individual photographs on display. Working
with that paradox is perhaps the best way of reflecting on both the
peculiarity and the power of looking at exhibitions of photographs.
From this position, we might begin seeing things about photography,
ourselves and the world, we’d never imagined.
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case studies & Project ideas
PHOTOJOURNALISM
Juliette Buss
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This project involved photographer
Anthony Lam in working with a group of
veterans and Year 9 pupils.It used a
Brighton Photo Biennial 2008 exhibition
called Iraq Through The Lens of Vietnam,
as well as WWII material from the Mass
Observation Archive and participants’
personal experiences,as a starting point.
Case study 1
Photojournalism
Aims
 Increase pupils’ awareness and
understanding of the impact of 21st
Century conflict
 Explore media manipulation
(propaganda), and the use and currency
of photojournalism, analysing how the
media affects our attitudes towards
contemporary conflict
 Enable pupils to engage with original
artefacts and contemporary
photographic practice
 Promote analytical thinking connected
to personal experience
 Increase pupils’ visual literacy skills,
enabling them to identify and articulate
opinions and views regarding the
portrayal of modern day conflict in
the media
Resources
 Input from a professional artist
 A visit to a photography exhibition
exploring photojournalism in times
of conflict
 Direct engagement with older people
who remember WWII
 Original artefacts – posters, letters,
photographs
 Digital cameras
 Digital voice recorders
Project description
This artist-led, intergenerational project
aimed to support teachers in engaging
pupils directly and meaningfully with
some of the more challenging aspects
of war often reflected in every day stories
in mainstream media. The project made
connections with the subject areas of
History, Politics, Media, Geography,
Citizenship, Art & Design and, of course,
Photography.
Using a Brighton Photo Biennial exhibition,
archive material and personal experiences,
the artist and the participants together
considered the way in which media images
affect modern day understanding of
conflict. The exhibition Iraq Through The
Lens of Vietnam featured examples of photographs that have been used to
stoke and oppose war. Photographs from
different sides of these conflicts were
exhibited. A central premise of the show
was how the wars in Afghanistan and Iraq
were documented very differently from
that of Vietnam – in terms of both the
access photojournalists were allowed
and in the technological and social
changes that have enabled new ways
for images to be taken and disseminated.
Previous page: Installation shot of Najaf,
August 9, 2004. A fighter for the Madhi Army
walks the streets of the old city by photographer
Ghaith Abdul-Ahad/Getty Images, Courtesy of
Brighton Photo Biennial 2008.
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The veterans and pupils together explored
media manipulation (propaganda), and the
role of photojournalism through research,
conversation, writing, art and photography.
The two groups naturally had very
different perspectives, but through the
exchange of ideas and opinions, they
shared their experiences, and began to
understand their own and others’ feelings
about war in the 21st Century.
The group worked together for six full day
sessions. During this time they visited the
Mass Observation Archive held at the
University of Sussex, where they looked
at and discussed some of the material
there such as propaganda posters and
personal diaries from WWII. Later they
visited the Iraq Through The Lens of
Vietnam exhibition, undertook research
and investigation back at school, and
staged a two day public event.
Dialogue and dissemination were central
aims of the project, so extensive discussion and debate took place. At the Archive,
pupils and veterans looked at original
material and used these as starting points
for discussion, culminating in recorded
interviews with veterans. At school, they
wrote poetry and interviewed each other,
made photographic collages, and wrote
blogs for the Biennial website describing
their experiences.
The participants were also asked to plan
a two day public event that enabled
members of the public to take part.
This helped to disseminate their learning
to a wider audience and invited further
contribution. As part of this, the group
compiled and edited the material they
created in the workshops to produce an
eight page, tabloid size paper. A thousand
copies were printed and distributed
during the public event.
The two-day event took place in a
marquee in a pedestrianised square in
the centre of Brighton. Throughout the
day the pupils interviewed people about
their views on conflict, war and peace.
They handed out their newspapers
and balloons (with the slogan YWarY),
managed banner-making workshops,
and invited people to write on their peace
wall. There was even a Speakers’ Corner
with contributors providing thoughts
and debate around the issues of conflict.
The event ended with a noisy, lighthearted parade through the city centre,
led by a samba band. Participants and
members of the public joined in, holding
up their banners and balloons – taking
their messages out into the town.
Opposite: Churchill. Courtesy of The Trustees
of the Mass Observation Archive, University
of Sussex
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Outcomes/Impact
Notes
Pupils’ understanding of conflict
increased along with language and
confidence. They demonstrated
articulate, informed opinions about
the subject by discussing their views
with exhibition visitors. In the lead up
to the public event, teachers expressed
concern over pupils’ ability to do this,
worrying that it was beyond their
capabilities. In fact, the pupils exceeded
their teachers’ expectations. One pupil
began the project keen to join the army,
with a strong schoolboy interest in guns,
but by the end of the project he
appeared on local radio talking about
how this project changed his ambitions
and opinions.
Brighton Photo Biennial is an ambitious
celebration of international photographic
practice committed to stimulating critical
debate on photography in all its forms.
Brighton Photo Biennial 2008, entitled,
Memory of Fire: the War of Images and
Images of War, was guest curated by
Julian Stallabrass and explored
photographic images of war, their
making, use and circulation, and their
currency in contemporary society.
The keynote exhibition, Iraq Through
the Lens of Vietnam, was held at the
University of Brighton Gallery.
Anthony Lam is a photographic artist
whose work examines and explores
notions and (un)realities of boundaries
and borders. A conceptual framework of
difference, dislocation and detachment
informs his projects and are themes
that he actively engages with and
pursues. Lam’s diverse practice is
located within representational and
social concerns, addressing issues of
identity, culture and place from a
personal and socio-political viewpoint.
This project was undertaken with year
9 pupils from Patcham High School
in Brighton during Brighton Photo
Biennial 2008.
An online resource for teachers (including
images, conversations with veterans and
a downloadable teachers’ pack)
accompanied this project. To access
the resource visit www.bpb.org.uk
The Mass Observation Archive is
a unique, internationally renowned
institution based at the University
of Sussex, which holds all the papers
generated by 1930s social research
organisation Mass Observation.
Mass Observation carried out a wide
range of studies during the period of
WWII and continues to record people’s
feelings about war in the present day.
The material includes diaries, letters,
photographs, accounts and artefacts.
Opposite: Post Up parade, Courtesy of Brighton
Photo Biennial 2008
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Project idea 1
Visiting an
exhibition of
photojournalism
Time scale: 2 to 4 sessions including
gallery visit
Suitable curriculum areas: History,
Citizenship, Media Studies,
Photography and English
Photojournalism, like many types of
photography, is readily available to young
people – particularly in newspapers and
on the Internet. Yet involving young people
in a critical reading of photographs taken
for journalistic or reporting purposes
doesn’t occur as easily or readily as might
be hoped for.
Citizen journalism, or photographs taken
by non professional photographers as
witnesses of an event or situation,
has brought a new element to our
understanding of the possibilities,
as well as pitfalls, of photojournalism.
Analysing photojournalistic images
can help develop pupils’ understanding
of photography’s uses and misuses
within the media, putting them in a
position to challenge what is often
presented as ‘fact’ or ‘truth’ in the world.
Exhibitions of photojournalism present
these images in a very different context.
These types of exhibitions can enable
in-depth discussion in spaces designed
for looking, questioning and reflection.
A well designed and curated exhibition
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of photojournalism will not only make
evident the significance of the photographs
at the time they were taken, but will also
shed light on how and why it might be
important to re-look at these images now.
Before the visit
To state the obvious, every photograph
taken for journalistic purposes has been
taken, or is being featured, for a reason.
Sometimes the reason a photograph has
been taken isn’t the same as the reason
it’s shown. For example, a photograph
taken of a politician or another public
figure enjoying themselves at a lavish
party might be accompanied by an article
about tax evasion or a government
expenses scandal. In this way, meaning
can be altered or twisted to suit an agenda.
Pupils could be involved in a discussion of
instances where they feel photographs
were used unfairly by the media.
Photographs can help to paint a picture
of a person or situation in a way that
words simply couldn’t do – ‘a picture
paints a thousand words’. Pupils might
be asked to find a photograph that they
feel says more than the accompanying
article or caption does.
Prior to a visit to an exhibition of
photojournalism, it might also be useful
to take a look at an array of newspapers or
news websites with pupils and to analyse
some different uses of photography
within them.
Finally, if pupils aren’t already aware of
the Five Ws of Journalism, it might be
useful to introduce this concept in order
to make use of it during their gallery visit.
The Five Ws of Journalism
Who? Who was involved?
What? What happened (what’s the story)?
Where? Where did it take place?
When? When did it take place?
Why? Why did it happen?
A final ‘H’ question can also be added
‘How? How did it happen?’
During the visit
The visit could start with a reminder of
the Five Ws of Journalism and how
photographs can play a role in this.
They could also be requested to spend
time looking at each chosen photograph
first, prior to reading any captions or
further information.
Pupils can then be asked to select either
a series or up to five photographs to
delve deeper into and answer the
following questions:
have been aware of the context their
photograph might be used in – either in
a newspaper or in a gallery or museum?
6. Does the exhibition of each photograph
also give you information about what the
original context for it was? How is that
different from the way it’s being
displayed in this gallery or museum?
7. How does each photograph help to
answer the questions within the Five Ws
of Journalism?
8. When looking at photojournalism,
it is also important to ask, who is the
photographer and what is their
involvement, if any, in the subject
depicted?
After the visit
Pupils could develop their own citizen
journalism. Find a topic to cover – either
1. Before reading any written information, of local, national or international interest
– and develop a series of photographs as
look closely and describe what you think
well as a newspaper or internet context
is being depicted in each photograph.
for them. For related project ideas please
Look for as many visual clues and details
request a free copy of The Photographers’
as possible.
Gallery’s Pressing Issues publication,
produced in collaboration with The
2. Now find some information about this
photograph. What does the title, caption or Guardian’s Education Team.
other information tell you this photograph
is depicting? Do you agree with this? Why
or why not?
3. Do you think each photograph needs
words to make its intended meaning clear?
4. Do you think each photograph needs
other photographs with it to make its
intended meaning clear?
5. Do you think the photographer would
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CONTEMPORARY ART/PHOTOGRAPHy
Sharon Byrne
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This series of workshops took place at
Focal Point Gallery in Southend-on-Sea.
It used an exhibition by artist Tris
Vonna-Michell as its starting point.
A small group of children and young
people created stories and short films
in response to the exhibition.
Case study 2
Saturday art club
Aims
 Introduce contemporary art to a young
audience and to provide opportunities
for young people to respond
 Develop analytical and research skills
 Compare new and old technology
 Gain and enhance digital skills
 Stimulate participants’ imagination
and encourage creativity
Resources
 The exhibition
 A DV camcorder and a tripod
 A digital workroom including
computers with film editing and photo
software, internet access, lighting and
a green screen
 Tapes and blank dvds
 Paper, pens and storyboard templates
Project description
Exhibition and Art Club Context:
Tris Vonna-Michell’s exhibition at Focal
Point Gallery took the form of a narrativebased photography installation
enigmatically titled No more racing in
circles – just pacing within lines of a
rectangle. His work uses the tradition of
storytelling, initially through an artist’s
performance, and combines fiction and
non-fiction to explore the passing of
time. His exhibitions often present sound
and imagery using old technologies.
For his exhibition at Focal Point Gallery,
Vonna-Michell used a Telex machine
showing slides of goldfish, amongst
other things, as an introduction to the
exhibition. Inside the single room of the
darkened gallery, two more slide
projections were positioned – featuring
objects, cityscapes and people, with
accompanying soundtracks – at the far
end of the space. Also included was a
reel-to-reel tape recorder with a
pre-recorded, rapid fire monologue by
the artist describing a series of events
or encounters. This could be listened to
using one of two sets of old-fashioned
earphones. A large, marble clock with
hands but no numbers was positioned
face-up on the floor. And what appeared
to be CCTV footage of a stairwell was
screened on a monitor in a corner of the
oblong gallery space.
Previous page: Installation shot from the
exhibition, No more racing in circles – just pacing
within lines of a rectangle, by Tris Vonna-Michell,
2010 © Focal Point Gallery, Photograph by
Andy Keate
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Focal Point Gallery runs a Saturday Art
Club for eight to twelve year olds during
each of its temporary exhibitions.
The five two-hour weekly sessions
organised in relation to Vonna-Michell’s
exhibition focussed on personal history,
world geography and discovering stories
that combine both.
The Gallery is located on the top floor
of the city’s busy library and the building
also houses a small digital workroom
with facilities for making still and moving
image work.
Looking at the exhibition
The Art Club workshops began with
a visit to Tris Vonna-Michell’s exhibition.
The group discovered that the artist is
from their local area and that much of
his work stems from his experiences of
growing up in Essex. They found out that
he travelled to Japan as a teenager and
that the exhibition also related to the
time he’d spent there . This biographical
information was important to establish
at the outset of the gallery visit, in order
to inform the children’s experience of
the exhibition.
The group looked at the images presented
on slide projectors. They discussed the
content, presentation and technology,
comparing this analogue technology to
the now prevalent digital technology they
use on a daily basis.
They listened to the spoken-word
soundtrack that accompanied the slide
projections, emanating from speakers
in the wall. They took turns listening to
the 1970s reel-to-reel machine with
headphones. They looked at the images
presented on the 1970s Telex machine
and walked around a floor-based marble
clock, questioning the notion of time
and place. Standing at various points
on the unmarked clock, they were asked
imagine what it would be like to be in
another time or place, discussing
important historical moments, as well
as various time zones around the world.
Importantly, the group was asked to
think about living in Southend-on-Sea
at this current point in time, relating
specific local or family histories they
were aware of, which they thought were of
importance. They were asked to consider
the dark space in the exhibition and how
that impacted on their imagination.
Opposite: Saturday Art Club participants during
workshops in response to Tris Vonna-Michell
exhibition © Focal Point Gallery
32
33
Workshops
After discussing the exhibition, a world
globe was presented to the group.
Each person was asked to spin the globe
in order to find a place they had either
been to or would like to go to. The resulting
selections included Labrador (Canada),
Queensland (Australia) and Harbin (China).
The choice of locations determined a
natural pairing of the participants who
developed imaginary stories around the
place selected.
Tris Vonna-Michell had been homeless
during his first visit to Japan. The Art
Club participants were asked to consider
feelings of isolation and belonging.
The concept emerged through the
children’s act of developing their own
stories. Beginning with ideas independent
of each other, they worked in pairs and
contributed as a team. They paid
attention to the time schedule of the
workshop and the impact their actions
had on the rest of the group.
The resulting work made social and
cultural references – similar to VonnaMichell’s work. A child who joined the Art
Club later on chose to work individually
in a hometown context, creating zombie
characters, with support from the rest
of the group. The boys who had chosen
Labrador for their imaginary setting
worked on the presentation of a weather
forecast with the prediction that it would
rain cats and dogs. Queensland was the
focus of another pair of participants,
who developed a newsflash on selecting
a queen for Queensland. The girls who
researched China created a giant bowl
of noodle soup to feed many people.
34
On completion of the film work, the
children revisited the exhibition and
were asked to consider their imaginary
stories and images created in relation to
the artist's work. They recapped on
concepts of time and place, technology
used in the exhibition, and on their
subsequent participation in the digital
workroom. To follow on from the thinking
and research skills gained in this Art
Club, participants were asked to prepare
for the forthcoming workshop sessions
by researching local and family archives
for images and stories.
Outcomes
 The children posed and answered
questions about the exhibition,
thoughtfully and with understanding
 A DVD of imaginative and inspiring
short films was produced through
team work
 All participants signed up for Focal
Point Gallery’s next Art Club
Above and opposite: Saturday Art Club
participants during workshops in response to
Tris Vonna-Michell exhibition © Focal Point Gallery
35
Project idea 2
Visiting an
exhibition of
contemporary
art/photography
Time scale: 3 to 6 sessions
including gallery visit
Suitable curriculum areas: Art
& design, Photography and other
subjects that each exhibition might
relate to
Many artists use photography as a
means of expressing ideas about the
world, sometimes in ways that aren’t
as transparent or self-evident as
audiences might expect or hope for.
Artists combine photography with
different media or present it more simply
as a series or project. Some photographs
used by artists haven’t been taken by
the artists themselves, but instead have
been sourced from other places or
commissioned. This can make the idea
of originality or authorship a confusing
one for adults and young people alike.
Like much art of the 20th century,
contemporary photography shown in
galleries is often open to interpretation.
It relies on viewers to form their own
ideas and opinions about its meaning
through their own knowledge and
experience of the world.
36
Before the visit
During the visit
A short, general introduction to a range
of contemporary art/photography in
class can be a great way to prepare
young people for their visit. How have
the subjects or themes in the exhibition
– such as portraiture, landscape or still
life – been approached by other
photographers? How have artists using
other media worked with these subjects?
If pupils have been introduced to some
of the images in the exhibition back in
the classroom, it may be an idea for them
to find this work within the exhibition
first and begin a discussion about how
the work is different – in form and
presentation – from the way it looked
online or within an exhibition leaflet.
This can also lead to a discussion about
how the presentation of the work
changes, augments or detracts from
pupils’ original understanding of the
content of a photograph.
A few examples of artists using
photography whose work has been
shown within a contemporary art context
are: Philip Kwame Apagya, Paul Graham,
Joy Gregory, Catherine Opie, Markéta
Othová, Sara Ramo, John Riddy, Thomas
Struth, Hiroshi Sugimoto and Jeff Wall.
Showing one or two images of the work
the group is about to see – using gallery
leaflets or website material – can also
help build a familiarity of work and themes
within the exhibition, so that there will be
some recognisable imagery upon their
arrival to the gallery or museum.
Another thing that could take place, either
before or after a visit, is to try out some
of the techniques being used by the artist
in the exhibition pupils are about to see.
This might help them build an empathy or
understanding for some of the challenges
and opportunities the artist has had in
order to make their work.
Some general questions during the visit
might be:
 What subject matter is the artist
working with?
 Why might the artist have used
photography, and not another art material
or method, to represent this subject?
 How are the photographs produced and
presented? Discuss the choices the artist
has made in relation to colour,
composition, viewpoint, scale, framing,
proximity to other photographs, number
(if part of a series), title, and whether they
have used a contemporary or traditional
photography method. Then discuss why
these choices might have been made.
 What kind of gallery space or museum
is the work being shown in? What other
exhibitions of photography or art have
been shown here? How might that affect
the reading of the artist’s work?
 What does the work mean to you as an
individual? Why do you think the artist
made it – what is she/he trying to say
about the subject and the wider world
we live in? Have they been successful in
communicating something to you through
the medium of photography?
 Is the work ‘conceptual’ – where the
idea behind the work is more important
that the finished photograph or project
– or is the artist more concerned with
making a powerful, visual statement
using photography?
 Is this art? If so, why? If not, why not?
After the visit
In order for pupils to make sense of their
visit, and as mentioned above, they may
wish to explore some of the subjects or
methods used by exhibiting artists.
Pupils could also be asked to produce
a single photograph or a series of
photographs as a work of contemporary
art, rather than as another genre of
photography. When produced, they
would need to ‘defend’ their work as
contemporary art by writing or
presenting the decisions they have
made about how the work would be
printed, framed and installed, as well
as why they think of it as a work of
contemporary art and which art gallery
or museum they think it could be
exhibited within.
37
documentary photography
Jo Booth
38
39
A trail sheet was produced for
Don McCullin’s In England exhibition.
Staff at Bradford’s National Media
Museum worked to ensure family
groups would visit key photographs
in the show and take away an
impression of the breadth and depth
of McCullin’s personal vision of
England across an array of subject
matter and approaches, and at
particular points in time.
40
Case study 3
A trail sheet
Aims
 Suggest a route through the exhibition
for family groups, as well as other visitors
 Touch on a range of themes and subject
matter in Don McCullin’s exhibition
 Ask questions that develop an
awareness of the particularity of
photography as a visual medium
Trail sheet – a rationale
Don McCullin has travelled the world
capturing images of war, famine and
disaster. Throughout his fifty year
career, he has also photographed
his own country. The National Media
Museum (NMeM) presented In England
– an exhibition featuring a raw, powerful
and compassionate view of an England
rife with social injustice. The photographs
illustrate McCullin’s particular ability
to balance his anger with humanity
and compassion.
The exhibition ran over Summer 2009
and attracted a large number of visitors,
many of whom visited as families.
Staff within the NMeM’s Learning
Department, working alongside curators,
produced a family trail sheet for the
exhibition. The challenge was to produce
something that could operate as an
effective introduction to the exhibition
and that included several of McCullin’s
uncompromising and, at times,
challenging photographs.
Photography exhibitions require learning
resources that are subtly different to
those produced for other types of visual
art exhibitions. The author must consider
photography in specifically photographic
terms. Broadly, photographs have their
own individual characteristics. For
example, questions can be raised about
genre, composition and framing, history
and reference that are quite particular
to the medium of photography.
Previous page: Mother and Son, Bradford 1978
© Don McCullin
Below: Installation shot from the exhibition,
Don McCullin – In England, 2009 © National
Media Museum
41
Trail sheets are flexible and wide ranging
resources which, by their nature, must be
designed to appeal to diverse audiences.
Photography is also the most familiar
visual medium – surrounding us in our
daily lives with a myriad of applications.
Children and young people’s existing
knowledge and preconceptions of the
medium, as well as those of adult
visitors, can both guide and distract them
in their reading of exhibited photographs.
All of the above points were considered
in the production of this trail sheet.
Process
Discussion about the interpretation
strategies, that would be used within
the exhibition, was established at an
early stage. Staff developed a flexible
and responsive style of working together
that was key to the eventual success
of the resource.
A number of photographs were selected
to be included in the trail sheet. It was
important that the selected images
reflected the breadth of McCullin’s work,
so that the relevant photographic ideas
and concepts could be addressed.
Additionally, the photographs needed to
be drawn from all parts of the exhibition,
to enable orientation across the whole
gallery space.
The exhibition curator was supportive
throughout, offering specific information
about the photographer and his work,
and remaining flexible and open minded
regarding the choice and positioning
of certain images. This collaborative
approach ensured that the museum was
able to give visitors a broad introduction
to McCullin’s In England photographs,
and to profile the different approaches
evident in his work, as well as the
common themes.
Staff were able to address the work’s
quality, composition, and the production
and communication of meaning,
ensuring that some of the wider issues
pertinent to photography education
were covered. The curator’s role in the
creation of meaning in the exhibition
was also examined, in particular, how
the arrangement of photographs affects
our reading of them. To this end the
trail sheet included a question about
the juxtaposition of specific works.
Lastly, staff didn’t want to overwhelm
visitors, and therefore the quantity of
the photographs was limited to seven –
a number that comfortably fitted the
final trail sheet format.
Opposite: First page of a Trail Sheet for the
exhibition, Don McCullin – In England, 2009
© National Media Museum
42
43
In order to fulfil these diverse
requirements it was necessary to
produce questions which could be
independently read and understood by
young people aged eight years and above
but which could also be useful to younger
children, with the help of their parents or
carers. The questions also had to offer
meaningful content for adults. A policy
of using clear themes (generally one per
image) and simple, non-specialist
language was adopted, and the length
of the background information and
questions was limited. The sheet was
intended to promote discussion within
family groups. To this end, the questions
were open, encouraging visitors to form
views and opinions about the work.
Form
It was decided to produce the trail
sheets on lightweight board, instead of
paper, helping to ensure that the boards
remained in the gallery space. Their
presence was planned at an early stage
and their design was therefore integrated
into the whole exhibition concept and
layout. They were positioned near the
start of the exhibition, within the first
main space that also acted as an
orientation and starting point. The sheets
were laminated to make them more
robust and worn copies were replaced
as the exhibition progressed.
Responses to the trail sheet
The feedback received by the museum
was very positive, with lots of comments
affirming that the NMeM had achieved
its aim of enabling people to consider
the photographs more closely. Several
comments from adults reported that
the trail had helped children discuss
and come to their own understanding of
McCullin’s work. Many commented that
they enjoyed the background information,
which had helped them analyse the
photographs in greater depth.
One visitor commented that the trail
sheet included some interesting art
criticism. The trail was described
variously as “thought provoking” and
“very useful”. The museum received
criticism from one parent who felt it was
inappropriate to presume that parents
would read the sheet for their children,
and from one young person who felt
that it was not interesting.
Overall, however, staff felt that the trail
had been a success and that the
language and tone had been appropriate.
They were pleased that several
complicated concepts – for example the
creation of drama in a picture, and the use
of composition – had been successfully
addressed. This approach is one the
Museum intends to use again in the future.
Opposite: Second page of a Trail Sheet for the
exhibition, Don McCullin – In England, 2009
© National Media Museum
44
45
Project idea 3
Visiting an
exhibition of
documentary
photography
Planning a trail sheet
Trail and activity sheets are relatively easy
to plan. It’s useful to make a visit to see
how the photographs are installed – their
placement in relation to one another, their
scale and the overall exhibition layout.
 Depending on the age of pupils you will
visit with, what you want them to gain from
the visit and how you plan to engage them,
here are some guidelines for developing a
Time scale: 2 hours plus
trail or activity sheet:
preparation time
 Select five to eight photographs that
Suitable curriculum areas:
History, Photography, Media Studies weave a trail through the exhibition – with
each focussing on a different concept or
and Citizenship
aspect of the exhibition.
 Try to ask a maximum of two questions
Documentary photography is a popular
per photograph, or grouping of
genre. Many photography galleries, as
photographs.
well as museums, show this kind of work
 Look carefully at each photograph –
including the Imperial War Museums
what question(s) does it beg? Are they
(London and Manchester), Side Gallery
(Newcastle) and the National Coal Mining ethical, stylistic or subject specific?
For example, you might ask – How
Museum (Wakefield), to name but a few.
does this photograph make you feel or
think differently about the world or this
Documentary photography can provide a
particular subject? or What story does
window on the world and, when series or
this photograph tell? or How might this
projects by one or more photographers
are presented in exhibition format, visitors photograph be different if it were in colour?
 Ensure the questions you ask are open,
are often afforded a multilayered view of
as opposed to yes/no or closed questions,
a particular theme or subject.
and can lead to further thinking about the
circumstances in which the photograph
Exhibitions of documentary photography
was taken. So, for example, you might
can often be overwhelming for younger
ask – Where was the photographer
visitors. This is particularly the case
standing when he/she took this photo?
if they aren’t already familiar with
How would the photograph be different if
the subject matter through personal
the photographer were closer or farther
experience or their studies.
away from their subject?
Trail or activity sheets can be an excellent  Ask questions that necessitate
looking at, and into, the photographs
way of ensuring pupils have a focussed
for responses. Comparative questions
visit to an exhibition, covering some key
are useful, particularly between two
themes and spending time looking at
photographs presented next to each
photographs in depth.
46
Above and following page: Installation shot from
the exhibition, Jim Goldberg: Open See, 2009–2010
© The Photographers' Gallery, Photograph by
Jason Welling
47
other. Present ways that require pupils to
look for details or clues in relation to the
information the photograph is providing,
but also compositional elements and
technical devices or formats.
 Encourage pupils to locate image
captions for further information
after they’ve spent time looking at
the photograph itself. Titles and
photographer names, but also dates
and other information, often create
further understanding and context for
a photograph.
 Leave space on the trail sheet for
pupils choose a photograph that they
personally find interesting or compelling
and to explain why they’ve chosen it.
In this way, additional, unexpected
responses may arise.
During the visit
Upon arrival, a short introduction to not
only the exhibition but also the museum,
gallery or display space can be useful for
providing a context for the looking,
discussion and written work pupils are
about to do. Many organisations offer
this type of introduction as part of their
educational programmes – either free of
charge or for a nominal fee. Some, such
as the National Media Museum, also
produce their own trail sheets for a
specific age or type of group.
Putting a time limit on each question or
the overall visit can be useful. Depending
on whether the trail needs to follow a
specific order or not, pupils can also be
divided into smaller groups and asked
to each begin working on their trail sheet
at different points. This is particularly
helpful if the photographs on the trail
48
sheet are too small for a large group to
see at one time.
Another option, with older pupils, is to ask
them to plan a trail for others to use by
asking them to do the following:
Look around the exhibition to develop an
overall sense of its subject matter and
breadth. Select five to eight photographs in
the exhibition that you feel are sufficiently
different from one another in style, content
or form. Develop a different question or
discussion point that relates specifically
to each photograph.
After the visit
If the visit was made to correspond with
a particular unit of work, encourage pupils
to incorporate images and responses
made to the exhibition within their written
reports. Exhibition publicity material is
often freely available and, for personal
use, images are often obtainable from
the Internet.
Galleries, museums and other places
where documentary photography
exhibitions take place are often delighted
to see and read conclusions that young
people draw about the work on show.
When possible, they also enjoy sharing
these responses with the photographer
or his/her estate. These responses not
only help organisations understand more
about their audiences, but can be crucial
in guiding their strategy for the types of
information and resources they provide
with each new exhibition.
49
fashion photography
Rachel Moss
50
51
A Closer Me involved young people who
weren’t current visitors to the National
Portrait Gallery, specifically young mums
who were not in education, employment or
training (NEET). They used the gallery’s
displays, in particular Twiggy: A Life in
Photographs, as inspiration for their
magazine cover project led by artist
Marysa Dowling.
Case study 4
A closer me
Aims
 Use a fashion photography exhibition
as inspiration for a project
 Explore issues relevant to the young
women’s lives
 Expand their experience of
photography and design software
 Build confidence, raise self-esteem
and foster commitment to the project,
and in doing so develop key social and
life skills
 Encourage new audiences to visit the
National Portrait Gallery
Resources
 A fashion exhibition
 Fashion photography portraits and
magazine covers
 Large sheets of paper, glue and
collage materials
 Digital cameras, lights, backdrop
 Computers with photo editing and
design layout software
 A printer
 Make-up, hair accessories and clothing
Preparation
Two preparatory sessions took place
before the project started so that the
young mums could meet project artist
Marysa Dowling, visit the National
Portrait Gallery to look at and discuss
the photographic portraiture on display,
and be consulted about their interests
and expectations of the project. This led
to the idea of creating magazine covers
featuring themselves in response to the
portraits of Twiggy and other relevant
photography on display.
Session 1
The group began by working in pairs to
familiarise themselves with the digital
cameras. They took photographs of each
other, considering pose and background.
These were initially full body or midshots,
followed by a series of facial close ups.
They discussed which photographs
they liked most, editing them down to
print out.
Previous page: Twiggy Lawson by Ronald Traeger,
1967 (cibachrome print from a transparency of
vintage print) © Ronald Traeger
52
53
Session 2
Session 3
At the Gallery the group visited Twiggy:
A Life in Photographs and Beatles to
Bowie: the 60s exposed focusing on the
photographic fashion shoot portraits
and the magazine covers. The main focus
was on Twiggy – from aged 16 to the
present day – making links with the
participants’ current age as well as their
own, future development. Seeing the
photographs that had been shot
specifically for fashion magazines was a
good starting point for the project. They
also looked at the layout and font style
of the 1960s magazine covers. The group
discussion covered the quality of the
original, printed photographs compared
with how images appear in magazines
and on the Internet.
The group continued taking photographs.
They looked at those they had taken so
far, thinking about how they wanted to
represent themselves in their own final
portrait. They discussed what they liked
and disliked, what they could improve,
the kind of mood and message they
were trying to convey, and what else
they would need to consider for their
final photo shoot, such as backdrop and
styling. Each printed out an A3 portrait
to use as the basis for creating a cut and
paste collage as a trial magazine layout,
incorporating pieces of existing
magazines into their designs.
The young women’s familiarity with
fashion images meant the exhibition
was accessible to them. It also elevated
the status of fashion imagery for them
as the photographs were framed and on
the Gallery’s walls. Comments included:
“Today made me realise what shots I like.
The camera loved Twiggy!” Back in the
Gallery’s studio, they then worked as a
team using a photographic studio set up,
learning about lighting, focus, camera
angle and aperture. The group varied in
terms of their confidence in front of the
camera so it was good for them to take
on different roles behind the scenes, such
as photographer or stylist. The session
ended with a brainstorm for a magazine
title – resulting in A Closer Me.
Session 4
The next three sessions took place at
an IT studio with a computer suite and
expertise in using Photoshop and
InDesign software. The group was
introduced to photo editing software,
experimenting with cropping and
enhancing their own photographs.
Session 5
The group looked at current magazine
covers and those they had seen in
displays at the Gallery, thinking about
what they liked about the layouts,
including design, text size, font style,
colour and any effects. The group
discussed their own photographs and
what compositions would look best on
a magazine cover, deciding on close-ups
or mid-shots. They then chose a
photograph to put into the design layout
software to create their own cover
layout with the header A Closer Me.
Opposite: A Closer Me: Francillia © the
participants / Marysa Dowling / National
Portrait Gallery, London
54
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Session 6
Session 7
Session 8
Participants chose elements from their
own magazine cover layouts to create
one group template for consistency,
with the idea that each participant
would feature as a different issue of the
magazine. They also came up with a strap
line to put under the header: “We’re more
than just Mums”. Being a mum was very
important to the young women and
they discussed how young mums are
portrayed in the media. They also started
to consider the text that would feature
on their individual covers as if there were
articles inside the magazine, such as
“How the Young Mums’ group changed
my life”.
At the Gallery the group revisited Twiggy:
A Life in Photographs, as well as the
exhibition Irving Penn Portraits, to focus
on pose and composition. They were
joined by the Gallery’s Chief Curator
and focused on the lack of props and
backgrounds in Irving Penn’s work, from
his full length body photographs to his
close ups. This helped them decide on
their own final photograph. Some of the
photographs exhibited on the wall were
presented alongside the final magazine
layouts in display cases, so that direct
comparisons could be made. Following
their exhibition visit, the group looked at
potential magazine cover layouts, before
taking photographs of each other that
they felt would fit well into their design.
Together they also chose an image for
the invitation to their end of project
celebratory event.
The group focused on making decisions
before their final photo shoot. This
included finalising pose, props,
background, lighting, clothing and
whether they would be photographed
with or without their children. Hair and
makeup students from the London
College of Fashion visited to discuss
and try out looks.
Session 9
The final photo shoot took place in three
separate stages. Hair and makeup was
done first, prior to putting on their chosen
outfits. Secondly they worked with
a partner to take each other’s final
photographs in a photography studio.
Finally the portraits were downloaded
and edited down to each person’s
favourite three, considering how these
would fit into their magazine cover layout.
Session 10
Back at the IT Studio, each person chose
their final photographic portrait and these
were uploaded into the group magazine
cover template in InDesign. They then
created their final personalised magazine
cover, changing the font colour in relation
to their final image, individualising text
and adding issue numbers. They also
made a group decision to each put their
name across their cover, mimicking
current fashion magazines.
The project was monitored and evaluated
throughout, ensuring that it was meeting
participants’ needs and recording
comments and ideas along the way.
It culminated in a celebratory event at
the National Portrait Gallery after which
the final magazine covers, enlarged and
mounted, went on display at the young
women’s centre.
Outcomes
 A series of exceptional, original
magazine covers, each with a pertinence
to the individual participants
 Completion of the AQA digital
photography qualification, encouraging
each participant’s future aspirations to
continue into education and employment
 A new group of potential independent
visitors to the National Portrait Gallery
and other museums and galleries
This project was developed as part of
the Young People’s Programme at the
National Portrait Gallery during Spring
2010. The project made use of both the
National Portrait Gallery’s facilities as
well as the City of Westminster North
East Locality Young People Services
Young Parents Group and the Digital
Media Unit, both part of Westminster
Youth Service, and was supported by
Westminster Teenage Pregnancy
Strategy.
Opposite: A Closer Me: Young Mums Project
© National Portrait Gallery, London
56
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Project idea 4
Visiting an
exhibition
of fashion
photography
Time scale: 4 to 6 sessions,
including gallery visit
Suitable curriculum areas: Art
& design, Media Studies and
Citizenship
Fashion photography is widely becoming
a focus of photography exhibitions in the
UK – perhaps in relation to our interest
in designers and models as media
personalities, but also because the UK
has a reputation for innovative, creative
work within this genre.
Venues such as the Victoria & Albert
Museum have regularly shown fashion
photography – as both an art form and
in relation to the field of design. The
Fashion & Textile Museum in London
and the Lady Lever Art Gallery in Wirral,
have also shown fashion photography
exhibitions, as has the department
store Selfridges.
Looking at fashion photographs in a
gallery or museum context can give them
a different status. We are encouraged to
linger over and study them, as opposed
to how we might flip through them in a
magazine. Fashion photography can tell
us a lot about both the time we’re living in
and the talents, tastes and aspirations of
society in the past.
58
Before the visit
Fashion photography exhibitions are
great ways to introduce some of the
technical considerations photographers
make, the kind of teamwork it takes to
produce a single photograph and the
concept of working to a brief.
Some fashion photography exhibitions
will show images within the context they
were originally used. Others will present
the prints as ‘art’. But most fashion
photographs are produced – whether
in the studio, street or elsewhere – as
the result of an intricate collaboration
between three or more people. The
roles of the photographer, the model,
the stylist and, in some cases, the art
director will come into play in order
to create a look for the clothing or
accessories they want to show.
To prepare for a visit to a fashion
exhibition, the group could be divided
into these four roles – with each group
brainstorming the kinds of work they
would have to do to get the right ‘look’
for a fashion photograph.
During the visit
After a general introduction to the
exhibition, the group could once again
be divided into their four roles to select
three to five photographs in the exhibition
where their role has come to the fore.
The four groups could then get together
to discuss their imagined input into the
photograph. This can result in a debate
about who has had more significant
impact in creating the end photograph
which, in reality, can be blurry.
As a whole the group can also make
a decision about which photographs
work best, as fashion images, and why.
A final discussion could also relate to
which images would suit the cover of a
magazine and, if magazine covers are
included in the show, what makes them
successful or unsuccessful.
After the visit
Using a simple, pre-designed template,
as described in the An Idea of Me case
study, pupils could work in teams of
four (with a designated model, stylist,
photographer and designer/art director)
in order to produce a magazine cover.
They will need to consider who they
want the magazine to appeal to and,
after this, what visual and written
messages they want to get across to
their imagined audience through their
choice of cover photograph, magazine
title and cost, and article topics that
might be featured on the cover.
A display of the final covers could open
with a discussion about what type of
audience or buyer others think the
magazine is meant to be attracting.
Each team might also want to argue
why their magazine cover could be
considered original and, if possible,
how it contributes to a new way of
thinking about fashion from a political,
social or ethical perspective.
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ARCHIVE PHOTOGRAPHY
Kyoko Kaneta
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This class project involved three
explorations into archives, including
a visit to an exhibition of archive
photographs. The project began by
exploring pupils’ own family archives,
followed by some of the school’s
photographic records from the 1960s,
currently held in the London Metropolitan
Archive. This led to a planned visit to
Soho Archives at The Photographers’
Gallery, London.
Case study 5
Once upon a time
Aims
 Make connections with archival images
related to pupils’ own and others’ histories
 Provide opportunities for pupils to
respond to an archive exhibition
 Stimulate pupils’ curiosity and
imagination through experiential learning
Resources
 Original or digital copies of archival
images
 A scanner
 Digital cameras
 Computers with photo editing software
 A printer
 Paper or notebooks
 An interactive whiteboard
 A photography archive exhibition
Project description
Personal archive – a class discussion:
Using the theme of ‘identity’, pupils were
asked to delve into their family photo
albums in order to consider an archive
related to their own, personal histories.
Each pupil chose one family photograph
to scan and, using the whiteboard, each
image was projected and discussed
objectively and respectfully as a group.
Details such as clothing, furniture
or architecture, hairstyle and other
information helped them to date each
photograph and think about what its
wider significance might be for future
generations of the family, as well as what
each photograph could or couldn’t tell us.
Previous page: School Archive activity by Bukunmi
Osuntoki, pupil at Twyford CE High School
Below: Installation image from the exhibition,
Soho Archives 1950s & 1960s, 2008
© The Photographers’ Gallery
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School archive – an exercise: Using the
classroom whiteboard, the pupils were
shown a series of archival images from
the 1960s of their school, borrowed from
London Metropolitan Archives. Images
selected from the archive consisted of
exterior shots, uninhabited classrooms
and familiar places around the school
site. Initially, no additional information
was provided to pupils. They discussed
the school’s identity as presented
through these photographs, as well as
when the images were taken, where they
may have come from and how the school
had changed.
Pupils were given the challenge to insert
themselves into history by using photo
editing software. Each pupil chose one
digital copy of a photograph from the
school’s history. Working in pairs, they
photographed each other against a white
backdrop, striking a pose that would
show them interacting with the space
in their chosen archive photograph.
After uploading their portrait, they used
the lasso tool, cut around their image and
inserted it into the archive photograph.
They were asked to consider size and
scale as they did this.
Exhibited archive – a class visit and
comparison: The pupils made a visit to
Soho Archives, an exhibition about Soho
in the 1950s and 1960s at The
Photographers’ Gallery. The exhibition
presented photographs by Jean Straker,
David Hurn and prints made from the
Daily Herald newspaper archives. Pupils
looked at how different photographers
have explored Soho as a source of
inspiration. Alongside thinking about
Soho’s identity, they considered other
themes such as celebrity, scandal and
sexuality. (Prior to the visit, it was
fundamental for pupils to have a
knowledge and understanding of the
exhibition and respond appropriately.
They looked at several photographs in
the show, using publicity material from
the gallery.)
In small groups, they considered a range
of questions about the exhibition
including:
 How is identity represented in a
physical location?
 How do people interact differently in
private and public spaces?
 What is your idea of Soho now
compared with Soho fifty years ago?
Opposite: Twyford CE High School pupil’s
sketchbook
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Looking at some of the exhibition’s
themes in advance worked particularly
well and pupils were able to contextually
engage with what constitutes a taboo
image. Discussions even led them to an
understanding of the male gaze and a
comparison between Jean Straker’s
images and those of Manet’s Olympia.
During the gallery visit, pupils were able
to look at the work in detail, framed and
presented on the wall. The Daily Herald
photographs had been enlarged beyond
their original newspaper presentation.
These displays illustrated the editorial
process by showing wax pencil marks
onto the images where they were to be
cropped for print. Reproductions of the
reverse side of these photographs
provided additional written information.
The differentiated display in the gallery
meant that students were able to
experience works in a variety of ways.
After the visit, students prepared a short
presentation in groups as an informal
assessment. Students considered this
as a starting point for further reflection
of their work. Many gained confidence
through sharing images of their own for
the first time. Some found photographs
from youth culture of the 1950s and
1960s fascinating, comparing it with
themselves as teenagers.
The visit was followed by an afternoon
of photographing London’s Soho.
This enabled pupils to immediately
respond to the themes and locations
within in the exhibition. Some pupils
re-visited Soho at different times of the
day and produced insightful series of
photographs of cultural and street
scenes, inspired by the Daily Herald
photographs. Engaging and responding
to the exhibition also meant that pupils
improved their quality of research.
They were empowered through the
challenge of linking theory and practice
from previous lessons. It also honed
their analytical skills to understand
photography in its wider context.
This project was undertaken with a group
of A Level Photography pupils from
Twyford Church of England High School.
Outcomes
 A rich pot of research related to family,
school and London’s history
 The incorporation of a relevant and
locally determined approach to the
curriculum
 An enriched understanding of how
images are, and have been, used in
different contexts – family, school,
archive, newspaper and gallery
 Ideas for inspiring future art projects
Previous page: Twyford CE High School pupil’s
sketchbook
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Project idea 5
Visiting an
exhibition
of archive
photography
Archival collections are socially and
historically conditioned. They can be used
to build narratives, compare past and
present – enabling connections between
people across generations – or simply
as points of information or intrigue.
Kyoko Kaneta
Time scale: 5 to 8 weeks
Suitable curriculum areas: History,
Art & design and Citizenship
Introduce the concept of a photography
archive – a collection of photographs
that have been conserved or kept for
reasons of record keeping, history or
posterity. Pupils could be asked to do
some library or Internet research and
find an archive in the UK that contains
photographs – for example the National
Archive of Geological Photographs,
TheNation’s Scrapbook – a BBC
collection of people’s family photographs,
or the archive of the Metropolitan Police.
Each pupil could be asked to summarise
the purpose of the archive, presenting
five images that give an indication of its
photographic contents.
Photography galleries, libraries and
other venues regularly hold exhibitions
drawn from archives – some consisting
of photographs, but often with a wide
range of other resources such as written
records, audio or visual material.
The Photographers’ Gallery has exhibited
a range of archival photographs,
including images from the London Fire
Brigade’s Archive, the Harry Price Library
of Magical Literature at Sennett House
Library, London, and the Picture Post’s
archive. A number of artists have also
used photographs from archives to
make their work or created new ones.
These include: Larry Sultan and Mike
Mandel’s project Evidence; Bernd and
Hilla Becher’s photographs of industrial
architecture; and Walid Raad’s The Atlas
Group Archive.
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Before the visit
During the visit
After the visit
Below are some general questions that
might be useful on a visit to an exhibition
featuring photographs from archives.
 When were these photographs taken?
 Who took these photographs?
 What do you think was their original
purpose?
 What additional information has been
provided within the exhibition to give you
further information about both the
individual photographs and the archive
they are part of?
 What meaning would you give to these
photographs if this information wasn’t
available to you or if you simply found a
photograph like this on the street or on
a public bus?
 How would people have seen these
photographs before this exhibition?
Does looking at them in a gallery change
their meaning in any way?
 Do these photographs have a use
or purpose now?
 What might their use be in the future?
 How do you think they are usually
stored? (In a filing cabinet in an office?
In someone’s garden shed? Under a bed?
In a temperature controlled room and a
light tight box?)
 Why do you think they are being shown
in a gallery at this point in time?
 What do these photographs have to say
about our world?
Depending on the curriculum subject and
study level that a visit to a photography
archive exhibition is related to, pupils
could be asked to undertake one or more
practical exercises to conclude this unit
of work, such as:
 Take up to five photographs that could
be added to this archive, either as
fictional inserts or as actual, useful
documents.
 Write a one-page essay about the
historical value of the archive exhibition
you have visited.
 Interview three people from different
generations to your own about a subject
or cause that they are passionate about.
Ask them if they are aware of an archive
related to this subject or cause and,
if they aren’t, try to find an archive for
them! If they do know of a related archive,
see if you can visit it.
 As a group, create an archive of
photographs related to a subject or
theme. Then curate and stage an
exhibition of a selection of photographs
from that archive for others to see.
How will you decide which photographs
to show and how they might be shown
– on the walls, in a case or on a white
board? What information can you include
to help your audiences understand the
archive’s context and significance?
The National Archives are an
excellentsource of information, with
an educational resource included.
Visit www.nationalarchives.gov.uk for
more information.
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Contributors’
biographies
Jo Booth
Jo Booth is a Learning Programmes
Co-ordinator at the National Media
Museum and a Lecturer in Contextual
and Historical Studies in Photography at
Bradford College. She has been involved
with photography education for over
twenty years producing resources and
planning activity programmes. She has
specialised in producing resources to
support the delivery of photography at
Higher Education level.
Sharon Byrne
Since early 2009, Sharon Byrne has been
Education and Outreach Officer at Focal
Point Gallery in Southend. During this
time, she has developed the Saturday Art
Club for 8 to 11 year olds, which offers the
opportunity for children to engage with
each exhibition, as well as developing an
education strand for the organisation’s
new offsite programme. She has also
been involved in several projects as a
creative practitioner.
Juliette Buss
Juliette Buss is an artist and freelance
visual arts education consultant
currently working with Brighton Photo
Biennial for whom she develops and
implements a programme of artist-led
projects with school and community
groups. She is also a trained art teacher.
Previous work includes education
research and evaluation, managing
artist-led programmes, and developing
teaching resources.
Kyoko Kaneta
Kyoko Kaneta trained as a photographer,
typographer and graphic designer at
Kingston University and pursues her
own photographic projects alongside
her teaching. She taught AS/A2 level
Photography at Twyford Church of
England High School and currently
teaches photography to young people
in Japan.
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Janice McLaren
Janice McLaren is Head of Education &
Projects at The Photographers’ Gallery.
She has contributed to numerous
publications and seminars relating to
photography, galleries and art education
both nationally and internationally.
Rachel Moss
Rachel Moss is the Young People’s
Programmes Manager at the National
Portrait Gallery working with 14–21
year olds outside of school hours.
She originally trained as a primary
school teacher before doing an MA in
Museum Studies. Since then she has
worked in museum and gallery education
for over twelve years, including posts at
the Serpentine Gallery and Tate Modern.
Gillian Rose
Gillian Rose is Professor of Cultural
Geography at The Open University,
and her current research interests lie
within the field of contemporary visual
culture. One long-term project has been
examining family photos as visual objects
that circulate between a range of different
practices in the global visual economy,
and another recent project has looked
at the experiencing of designed urban
spaces (www.urban-experience.net).
Brenda Valdés
Brenda Valdés is Schools & Projects
Organiser at The Photographers’ Gallery
where her particular remit is to work with
young people and teachers. She began
her career as gallery educator in Mexico
and has continued in Spain and the UK.
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Seeing Things: Looking at photography
exhibitions with young people
© The Photographers’ Gallery and all
contributors, 2010
Published by
The Photographers’ Gallery
All rights reserved. No part of this
publication may be reproduced, stored in
a retrieval system, transmitted in any form
or by any means electronic, mechanical,
including photocopying, recording or
otherwise, without prior permission in
writing from the copyright holders.
Introduction by
Brenda Valdés
Essay by
Gillian Rose
With case studies by
Jo Booth
Juliette Buss
Sharon Byrne
Kyoko Kaneta
Rachel Moss
The Photographers’ Gallery
16–18 Ramillies Street
London W1F 7LW
Telephone +44 (0)845 262 1618
Fax +44 (0) 20 7734 2884
[email protected]
www.photonet.org.uk
Case study inspired project ideas by
Janice McLaren
The Photographers’ Gallery is a registered
educational charity number 262548
Edited by
Janice McLaren
Brenda Valdés
Jo Healy
ISBN 0 907879 92 6
Cover photo
Installation shot of the work of Thi Bui
© The Photographers' Gallery, photo by
Paige Whitten/Photo Posse
Design by
Anne Odling-Smee, o-sb.co.uk
Printed by
Deckers Snoeck, Belgium
British Library Cataloguing in Publication
Data – a catalogue record for this book is
available from the British Library
This publication is supported by the
John Lyon’s Charity as part of a larger
programme designed to encourage
young Londoners to make visits to
The Photographers’ Gallery.