Personal information Career Exploration PaperPersonal information (writer should write the paper based on the following): Despite the previous assignments that we did and the panels that help us to understand more about each of the BBA specialty, I’m still undecided between three specialties: International Business, General Business and Marketing.
Personal information Career Exploration Paper Assignment
Description:
The Career Exploration Paper is a cumulative project capturing the student’s work throughout the semester. The student will reflect upon the knowledge gained from the previous assign- ments to write a paper 2-3 pages long. The paper will include an overview of the specialties dis- cussed by the guest speakers and a personal reflection on a specialty or specialties of interest. Students should also reflect on study abroad options and possible minors.
Personal information
Students will utilize the concepts and knowledge gained from the assignments completed throughout the semester. The paper should include the following:
Reflection on what specialty or specialties and minor(s) you have selected. [2-3 pages]
The reflection portion of the paper should answer the following questions:
What specialty is your top choice and why? If you are choosing multiple specialties, please provide reflection
on each individual specialty and how they will work together. If you have chosen to add a minor, why?
How did the guest speakers influence your specialty decision? How did they broaden your understanding of
the business world?
How did the assignments (Informational Interview & Synopsis, Organization & Job Posting Research Paper) help you understand the career exploration and development process?
Readings
Required: None
Suggested: None
Resources:
Where to find information:
Students are encouraged to review previously submitted assignments for common themes and insight.
Grading:
This assignment will be worth 30 points and graded based on the following criteria:
1. Reflection – 15 points
2. Demonstrated understanding of the course objectives and broad coursepurpose – 10 points
3. Composition, Spelling, and Grammar – 5 points
Students with Significant Cognitive Disabilities Alternate Assessment for Students with Significant Cognitive Disabilities I need the following items in my proposal:
1) The history of the problem.
2) Operational Definitions
3) Statement of the Problem
4) Review of the Literature
5) Research Hypothesis
6) Methods of Study Information
7) Methods & Research Design
8) Methods Data Collection
9) Data Analysis
10) Results of Data Collected
11) Summary of the Findings
12) * A chart or graph if feasible
13) Conclusion and Implications
14) Recommendations
15) References
Students with Significant Cognitive Disabilities Course Requirements
1. Students will be able select a timely and useful topic
(in consultation with the professor).
2. Students will be able to conduct a literature review using ERIC, CIJE, dissertation abstracts, as well as the Internet and other sources.
3. Students will present the results of their literature review.
4. Students will be able to write an APA manuscript based upon their literature review.
5. Students will present the proposed implementation plan.
Advanced Research in Education I & II
3 Credit Hours.
TEXT: Publication Manual of the American Psychological Association, American Psychological Association
Writing for Professional Publication: Keys to Academic and Business Success, Henson, Kenneth T.
Writing the Winning Thesis or Dissertation, Joyner R.L., Rouse, W.A., & Glatthorn, A.A.
RATIONALE: This course is designed to prepare teachers, administrators and support personnel to be creative decision-makers who engage in practical problem solving in relation to schools and school systems. This course should be the last courses taken in the Ed. S. program.
Students with Significant Cognitive Disabilities Course Objectives
Problems I Objectives and Standards:
Standard
Assignment
Learning Outcome 1
Theory and Research
Teachers think systematically about their practice and learn from experience.
Final PowerPoint of action research plan
Learning Outcome 2
Content Pedagogy
Teachers know the subjects they teach and how to teach those subjects to students.
Description of strategies the student will use in the intervention planned for their capstone project
1. Students will be will be able to identify and clarify problems. (LO 1 and NBPTS 4)
2. Students will be able to determine how people and areas are impacted and will be altered by proposed changes. (LO 1 and NBPTS 4)
3. Students will be able to select a representative group
to address the issue or problem. (LO 1 and NBPTS 4)
4. Students will be able to establish parameters for
decision-making in terms of consensus or other means. (LO 1 and NBPTS 4)
5. Students will be able to gather information and establish criteria against which to measure the effect of solutions. (LO 1 and NBPTS 4)
6. Students will be able to generate solutions supported by research and practices. (LO 2 and NBPTS 2)
7. Students will be able to solicit feedback to solutions from people who will be impacted by it. (LO 1 and NBPTS 4)
Problems II Objectives:
8. Students will be able to make and articulate decisions.
9. Students will be able to implement the decision or discuss the level of implementation.
10. Students will be able to evaluate the implementation.
11. Students will be able to modify or adapt the implementation as needed.
Detailed Instructions for Students with Significant Cognitive Disabilities
Objectives Completion: Adv. Research in Ed. I
1. Students will be able to identify and clarify problems. Students will write basic overview of the problem(s) and then add bullet-type set of phrases for specific examples of the problem. This is not a manuscript format and does not require sentences. It is designed for later PowerPoint presentation and not for publication. Next, list the solution(s) in similar format. Be as practical and specific as possible. You and your professor will refine this section many times to be more specific and to address logistical issues.
2. Students will be able to determine how people and areas are impacted and will be altered by proposed changes. Students will list the sets or categories of people who are being impacted by the problem and will be impacted by the solution. This typically may include other students, teachers, administrators, parents, and support personnel depending upon your problem and solution.
3. Students will be able to select a representative group
to address the issue or problem. Students will typically select an individual for each example listed in Objective 2. Usually the individual selected is one who is likely to be supportive or helpful. List the category and specific name. This will make up a task force of which the student is either chair or co-chair.
4. Students will be able to establish parameters for
decision-making in terms of consensus or other
means. Students will describe how the task force will/did meet and then what will be/has been done to achieve consensus.
5. Students will be able to gather information and establish criteria against which to measure the effect of solutions. Students will develop a set of measures to address all aspects of the project such as student improvement, consumer satisfaction, and other issues related to the project.
6. Students will be able to generate solutions supported by research and practices. Students will relate the project to literature found in the literature review and other sources that were used to develop the project.
Significant Cognitive Disabilities
7. Students will be able to solicit feedback to solutions from people who will be impacted by it. Students will present how colleagues, faculty, and the task force and its suggestions were a part of the project in terms of specific suggestions and general ideas.
Adv. Research in Ed. II Objectives:
8. Students will be able to make and articulate decisions. Students will present how they made the decisions relating to the problem and solution. Problems II presentations include objectives 1-7 presented in the past tense.
9. Students will be able to implement the decision or discuss the level of implementation. Students present about the actual implementation
10. Students will be able to evaluate the implementation. Students present the data collected from Objective 5 measures as well as other relevant information about the project.
11. Students will be able to modify or adapt the implementation as needed. Students discuss how changes and modifications were required and made. Students also discuss what they learned and what they would do differently if they were to do the project again.
Advocacy Lobbying and Social Movement Assignment 1: Advocacy, Lobbying, and Social Movement
This module explored the importance of politics in the development of standards that govern human services practices. While many individuals might believe that politics and human services should not exist together, you cannot ignore the fact that political activities influence the way agencies are sustained. This became clearer when funding of human services programs moved from primarily private donations to largely public resource streams. To date, politics at all levels are expected in the everyday practices of human services administrators and service workers. In this assignment, you will further explore and reflect on this concept.
political activities
Tasks:
Using your textbook, the Argosy University online library resources, and the Internet, address the following:
?Discuss the concepts of advocacy, lobbying, and social movement organizations in terms of their effects on service delivery. Specifically, focus on who engages in advocacy, what types of lobbying directly results in public funding, and how social movement organizations function in their efforts to influence policy.
Submission Details:
Your response should rely upon at least two sources from professional literature. This may include the University online library resources, relevant textbooks, peer-reviewed journal articles, and websites created by professional organizations, agencies, or institutions (.edu, .org, or .gov). Write in a clear, concise, and organized manner; demonstrate ethical scholarship in accurate representation and attribution of sources (i.e., APA format); and use accurate spelling, grammar, and punctuation.
Crafting a Brief Message Via Email Need to "Craft a Brief Message ( via email) See Your Task Below.
Course Book is Excellence in Communication;, Eight Edition by John V. Thill and Courtland L Bovee, Chapter 6 &7
Message needs to be based on the following.
12. Your work does matter: Encouraging an unhappy colleague
You certainly appreciate your company’s virtual team policy of
letting employees live wherever they want while using technology
to communicate and collaborate.
Crafting a Brief Message Via Email Essay Instructions
The company is headquartered in a large urban area, but you get to live in the mountains, only a
step or two away from some of the best fly fishing in the world.
Most of the time, this approach to work couldn’t get any better.
However, the lack of face-to-face contact with your colleagues definitely has its disadvantages. For example, when a
teammate seems to be upset about something, you wish you
could go for a walk with the person and talk it out, rather than re-lying on phone calls, e-mail, or IM. In the past couple of weeks,
Chris Grogan, the graphic designer working with you on a new
e-commerce website project, seems to be complaining about
everything. His negative attitude is starting to wear down the
team?s enthusiasm at a critical point in the project. In particular,
he has complained several times that no one on the team seems
to care about his design work. It is rarely mentioned in team teleconferences, and no one asks him about it. That part is true, actually, but the reason is that there is nothing wrong with his
work?some critical technical issues unrelated to the graphic de-sign are consuming everyone?s attention.
company’s virtual team
Your task:After a couple of unsuccessful attempts at encouraging
Grogan over the phone, you decide to write a brief e-mail message
to assure him of the importance of his work on this project and
the quality of his efforts. Let him know that graphic design is a
critical part of the project?s success and that as soon as those technical issues are resolved and the project is completed, everyone
will have a chance to appreciate his contribution to the project.
What Causes Monomorphic Disease Assignment 3: What causes disease?
Please follow the instructions on this page. Submit your answers to the What Causes Monomorphic Disease Assignment drop box on your Moodle Webpage.
Please write a 1-2 page paper for this What Causes Monomorphic Disease assignment. Follow normal expectations for a college paper:
Please, write full sentences.
Monomorphic Disease
All papers have to be type-written, spell-checked, and proofread. The fond should be 12, line-spacing 1.5. You are expected to use an appropriate format for citations and references, if applicable (ASA style – a brief outline of ASA style is posted on your Moodle). Students should retain a copy of the paper. Please, put your name and the title of the course on the paper.
Evaluation Criteria (Total: 20 points)
1. Completion of assignment – answering conclusively all questions (12 points)
2. Concise and clear argumentation (4 points)
4. Format. Name, title of paper, date, spelling, proofreading, grammar, correct and complete references (if applicable). (4 points)
The topic of class this week is disease, the view of bodily afflictions by scientific medicine. This What Causes Monomorphic Disease assignment was designed to illustrate the monomorphic disease model underlying modern biomedicine.
What Causes Monomorphic Disease and Health Information
Please go to health information webpage of the Mayo Clinic at http://www.mayoclinic.com/health-information/
Under disease and conditions, select 5 random diseases (under each letter, you will find a long list of diseases).
Start with the first disease you selected.
– Read the definition of the disease on the first page when you pull up the disease information.
– Go to “Causes” – the link is on the left side of the text.
– Read the information on the causes of the disease and answer the following 12 questions:
• Is there a known cause of the disease?
• Is the “exact cause” known?
• Is there one cause or several possible causes?
• Could the same cause (e.g. bacterium) cause other diseases? (you might have to do some further research on this question)
• Could the disease occur without the described cause?
• Do other conditions in the host or the environment need to be present to trigger the disease?
• Which body parts, organs, hormones, chemicals, or cells are mentioned in the description of the cause? How many of these are visible to the eye?
• Can you trace the “web of causation” – the chain of events leading to the disease based on the information?
• Does the description of the cause also mention social or cultural factors? What Causes Monomorphic Disease
• Are there any implicit social or cultural factors in the general description of the disease or the description of the causes?
Please repeat the questions for the next 4 diseases you selected.
Look across the information you gathered.
• Does the information you gathered conform to the monomorphic disease model? What Causes Monomorphic Disease
• Could another disease model explain the disease (e.g. Chinese medicine, Shamanism)? You might want to do a little research to look for alternative causal models.
A Play Report on Rabbit Hole by David Lindsay Abaire Brief Summary
A Play Report on Rabbit Hole by David Lindsay Abaire a) brief plot summary (one short paragraph)
b) short analysis of conflit (no more than 3/4 page)
c) a director’s concept for a production you might direct it. What role would the audience be? How would you express the concept in the staging? Trasition? A Play Report on Rabbit Hole by David Lindsay Abaire
d) Your ideal cast
e) analysis of two major characters’:objective, obstacle, and stakes
f) ideas for 2 of the following:sets,lights,costumes,sound,music a) brief plot summary (one short paragraph)
b) short analysis of conflit (no more than 3/4 page)
c) a director’s concept for a production you might direct it. What role would the audience be? How would you express the concept in the staging? Trasition?
d) Your ideal cast
e) analysis of two major characters’:objective, obstacle, and stakes
f) ideas for 2 of the following:sets,lights,costumes,sound,music a) brief plot summary (one short paragraph) A Play Report on Rabbit Hole by David Lindsay Abaire
b) short analysis of conflit (no more than 3/4 page)
c) a director’s concept for a production you might direct it. What role would the audience be? How would you express the concept in the staging? Trasition?
d) Your ideal cast A Play Report on Rabbit Hole by David Lindsay Abaire
e) analysis of two major characters’:objective, obstacle, and stakes
f) ideas for 2 of the following:sets,lights,costumes,sound,music
1 Catastrophic
2 Critical
3 Marginal
4 Negligible
PROBABILITY (Likelihood of Occurrence):
A Frequent
B Probable
C Occasional
D Remote
E Improbable
RISK CODE:
H High
S Serious
M Medium
L Low
Economic Sociology Short Question This is an in class exam questions. So please write to me question for half to one page short answer. Please read a very carefully that Two of Mackenzie’s reading file? and lecture slide file then answer the Question.
Two of Mackenzie’s
Your answer must be based on Two of Mackenzie’s reading file? and lecture slide file. You can`t use any outside sources. First cheek ‘Question and Direction’ This is an in class exam questions. So please write to me Economic Sociology Short Question for half to one page short answer. Please read a very carefully that Two of Mackenzie’s reading file? and lecture slide file then answer the Question. Your answer must be based on Two of Mackenzie’s reading file? and lecture slide file. You can`t use any outside sources. First cheek ‘Question and Direction‘ This is an in class exam questions. So please write to me Economic Sociology Short Question for half to one page short answer. Please read a very carefully that Two of Mackenzie’s reading file? and lecture slide file then answer the Question. Your answer must be based on Two of Mackenzie’s reading file? and lecture slide file. You can`t use any outside sources. First cheek ‘Question and Direction’
Source Evaluation Research Project about AIDS in Africa 1st step: login on www.hsdl.org Source Evaluation Research Project about AIDS in Africa
2nd: Type in AIDS in Africa on search
3rd: Find the article “AIDS in Africa
AIDS in Africa
Article to use : https://www.hsdl.org/?view&did=730241.
Considering the source (just need to copy and past the link above to your browser and it will automatically open the pdf file) assigned to the research project about AIDS in Africa, you will be asked to write a Source Evaluation Research Project about AIDS in Africa of 600 words. To demonstrate that you are working toward competency in the use and documentation of the source, you must incorporate materials in a variety of ways: (a) Factual information from the source, (b) paraphrased material, (c) a brief, in-text quotation, and (d) a long set-off quotation. Obviously, you may use some of these techniques more than others. Source Evaluation Research Project about AIDS in Africa Use parenthetical notes to acknowledge your source in the paper itself, according to MLA style.
Content: You should introduce the source by describing the type it is, leading to a thesis on its quality. In the body of the paper, you should use the following pattern:
-General criteria:
.qualifications of the author
.the source’s accessibility for someone at your basic level of expertise
.the kind of information that will help you
The evaluation should look at both positive and negative aspects of the source. Source Evaluation Research Project about AIDS in Africa It is also very important to include the ways this source could help you develop and support your thesis, or if you are still searching for a focused thesis the ways this source might help you to formulate one. Source Evaluation Research Project about AIDS in Africa
A written analysis of a photograph must be descriptive, evaluative, and interpretive. It must argue a thesis (a defined point of view), but it can only do this well from an informed perspective. You are encouraged to include some biographical information on the artist and a discussion of other work by that artist, but only when it is directly relevant to that one work.
History and Criticism of Photography Secondary Source Material
What I do not want is a watered-down version of secondary source material (a generalized summary of the artist?s life and his/her body of work).
The purpose of this paper is to offer a close ?reading? and interpretation of the artwork, not to regurgitate biographical information (?Ansel Adams was born in? blah, blah, blah). Try to keep focused on answering the question, ?what does it mean to photograph this subject in this way, in this context?? DO NOT add useless filler- this is not a book report.
While the paper is primarily focused on a single work, you are free to make whatever connections you think are relevant to understanding the work. References to influential books, historical events, societal changes, philosophical shifts in the culture at large may help to invigorate your interpretation of the work.
If relevant, you are encouraged to quote the artist’s own words or cite passages from art critics. You can trace specific influences or draw parallels to developments in other art forms, such as music, literature, theatre, film, television, or you could look for links between art and science, philosophy, technology, media, etc. In other words, there are many ways to move outward from the art and many paths that can lead you closer into the art itself. Since you cannot possibly do them all, you are free to follow your own path?but keep it focused, making the connections you feel are most significant.
Spend time with the work, look closely and with great care, so that you see, experience, and consider all that it has to offer (if possible, it?s a good idea to choose a work that you can experience in person). I would also encourage you to choose an artist/work that will be interesting, challenging, and relevant to your own work.
History and Criticism of Photography Criteria
Consider these three criteria to good art criticism that you should keep in mind:
quality of visual analysis (how well you ?work? the visual characteristics of the art)
o quality of ideas (your thesis, your angle of approach, the connections you make)
quality of writing (how well you structure your paper, your sentences, and how effectively you choose your words).
To help you out, I am providing a list of works (attached) that have a wealth of existing criticism and research to work from. You may choose a different work, but must have it approved by the professor first to ensure you are choosing a critically significant work, not just a personal favorite.
Requirements:
Choose a single photograph or photographic artwork to write about.
You need to reference at least 2 source texts: books or journal articles (internet sites not acceptable sources for this paper! Use the internet ONLY for preliminary research and to help you find books and journals.) USE LINK +
You need to argue a thesis: you need to present an interpretation or ?reading? of the work and argue for why the work should be interpreted in that way
You need to include a reproduction of the artwork ? scan or high-quality jpeg.
Your paper needs to be a minimum of 1500 words, maximum of 2000 (4-5 pages)
See Formatting information on the next page.
This is a formal academic paper that you can use toward your Writing Competency, however- these responses don?t need to be stuffy and without personality. They best papers will have your own voice in them, and will reflect a genuine wrestling match with the art.
Consider any other disciplines or fields of study (literature, history, philosophy, economics, quantum physics, etc.) that you could use to make sense of what you are experiencing.
This paper will be due at the beginning of the class session on _______________. Emailing it to me later in the day will be considered LATE. This is not a studio class response exercise, it?s a serious academic paper.
Suggested Photographs to write about:
These are just a few photographs that have raised issues or been written about extensively in the history of photo criticism. You are free to choose any photographic work from any photographer/artist in any period of time, but you will want to be sure to choose the image of theirs that has a wealth of critical research available to you, not simply your favorite one.
(note, most of these will NOT be covered in class lectures prior to the due date of this paper- the burden of research is on YOU.)
Timothy O?Sullivan, The Harvest of Death, Gettysburg, 1863
Julia Margaret Cameron, The Kiss of Peace, 1869
Alfred Stieglitz, The Steerage, 1907
Alfred Stieglitz, Equivalents (series- choose one), 1930
Andr? Kert?sz, Satiric Dancer, 1926
Brassa?, Bijou of Montmartre, 1932
Henri Cartier-Bresson, Behind the Gare Saint-Lazare, Paris, 1932
Margaret Bourke-White, Breadline During the Louisville Flood, 1937
Dorothea Lange, Migrant Mother, Nipomo, California, 1936
Ansel Adams, Moonrise, Hernandez, New Mexico, 1941
Richard Avedon, In the American West, 1978-1985 (choose ONE)
Diane Arbus, Child with a Toy Hand Grenade in Central Park, 1962
Diane Arbus, Jewish Giant at Home in the Bronx with Parents, 1970
History and Criticism of Photography Criticism Papers Guidelines for Formatting
1. HEADER: At the top of the first page please include the following:
o Your Name
o Criticism Paper
o Artist, Title (date)
2. FORMATTING OF THE PAPER:
Your paper needs to be a minimum of 1500 words, maximum of 2000 (4-5 pages)
Your paper must be double-spaced (not single or 1.5).
All citations/footnotes need to use Turabian formatting (examples are on the following pages)
Use Times New Roman font in a standard 12 font size for your text (and please do not italicize or boldface the entire text).
Margins should be 1 inch all the way around: top, bottom, left, and right.
Indent (about five spaces) the beginning of each paragraph. Do not leave an extra space between paragraph blocks; that is a practice used in formal business letters and documents.
Align text to the left; do not justify the right margin.
3. CITATIONS:
Citing other sources (the artist, respected art historians, etc.) can be a wonderful way of making your paper (a) powerful (because it will be well-informed) and (b) clear (because it will wrestle with specific facts and opinions, rather than just operating on generalizations).
As you do this, it is very important to cite all the sources that you rely on and/or quote. Citing one’s sources is not simply a defensive move (to keep from plagiarizing) as much as it is the way in which scholarship generates further research. Your reader must be able to retrace your steps in order to recover your sources.
Document your sources in the following format:
Use footnotes at the bottom of the page (endnotes, which follow the last page of your text, are also acceptable, but I prefer footnotes).
In these footnotes, give complete references using the Turabian format (see The Chicago Manual of Style by Kate Turabian). See example on next page.
No Bibliography is necessary for these shorter Criticism Papers
(Examples of FOOTNOTES)
Do not invert the author’s name in a footnote (or endnote):
1 Arthur Danto, After the End of Art: Contemporary Art and the Pale of History (New Jersey: Princeton University Press, 1997), 45.
2 Karen L. Kleinfelder, ?Welcome to the Hyperreal,? in The Great American Pop Art Store: Multiples of the Sixties, edited by Constance W. Glenn (Santa Monica: Smart Art Press, 1997), 96.
3 David Pagel, ?Visual Stimulation in L.A.: Painting from Another Planet,? Flash Art 31, no. 201 (Summer 1998), 117.
4 Mark C. Taylor, ?What Derrida Really Meant,? University of Chicago Press Online; available from https://www.press.uchicago.edu/books/derrida/taylorderrida.html; Internet; accessed 27 November 2006.
The citation should always cite who is speaking. For instance, if you want to quote Warhol, but you found the quote in someone else’s text, the citation should read as follows:
2 Andy Warhol, quoted in Carter Ratcliff, Andy Warhol (New York: Abbeville Press, 1983), 55.
For repeated references to a single text, simply list the author’s last name and the page number (do not use ?p.?). If the next reference that follows is from the same source, then use ?Ibid.? and the page number. Or if the next reference is from the same source and page, then simply ?Ibid.? will suffice:
1 Kleinfelder, 96.
2 Ibid., 97.
3 Ibid.
(Example of a page of text with properly formatted citations, block quote, and footnotes)
from solemn gazes. The longer a viewer stares back at Marshall?s somber figures, the more any condensation of this group into a monolithic ?flat? category seems to break down. Indeed, despite their flat, monochromatic skin tones, a distinctive and complex personality seems to emerge from each figure. In constructing his black figures in a way that would elicit this conceptual tension, Marshall proposes what he sees to be an important distinction:
The problem was how to bring that figure close to being a stereotypical representation without collapsing completely into stereotype. I was playing out the boundary between a completely flattened-out stereotype, a cartoon, and a fully resonant, complicated, authentic representation?a black archetype, which is a very different thing. The archetype allows for degrees of complexity that the stereotype always minimizes or undermines.12
By pushing the representation of his figures as closely to stereotype as possible?without entirely collapsing into one?he attempts to delineate between stereotype and archetype.
As Marshall holds the two in tension, we see the thinness of the stereotype undermine itself; but does this necessarily suggest that anything like a racial ?archetype? emerges here? Strangely, we do seem to get glimpses of a ?fully resonant, complicated, authentic representation? within Marshall?s flat figures, but to attribute this to the operation of a ?black archetype? seems to suggest a kind of racial essentialism that threatens to justify a different?though equally problematic?kind of stereotyping.
The title of this work is in itself a helpful key to further our understanding of this problem. Initially, the title De Style plays off of (a) the painting?s barber shop setting and the distinctive hairdos that adorn Marshall?s figures and (b) common black vernacular: ?it?s de style.?
However, the title also operates as a pun on the name of an early twentieth-century Dutch abstract art movement, de Stijl. Piet Mondrian, the most prominent artist in the de Stijl movement, provides the model on which Marshall structured this composition. 3 De Style has a very distinct underlying grid with
CRITICISM PAPER TIPS & SUGGESTIONS (adapted from Jonathan Anderson)
History and Criticism of Photography Basic Questions
In order to closely ?read? a work of art, you must ask good questions about the work. To help you out, here are three sets of basic questions that you should get in the habit of asking.
They are meant to help you pry open a work of art?to open up meanings?not to close them off. By asking these questions, don?t expect to find simple answers; instead, expect them to allow you to dig deeper into the work, prompting further questions and, thus, thicker meanings.
1. WHAT is it? WHAT do you see?
what did the artist make? what is this object?
is the surface slick, textured, thin, thick, glossy, matte, rough, reflective, raw??
what materials are these? where do these materials come from, or what are they associated with?
how big is it? is it monumental or intimate? does it engulf you or does it correspond to the size of your body?
is it an object that stands in your space, or does it seem like a ?window? that you peer through?
what references or representations does it make? (is it composed to look like something other than what it is?)
in these references, do you recognize any stories, characters, objects, words, etc.?
in looking at the composition as a whole and comparing its parts, what is large; what?s small? what’s high; what?s low? what is light/dark? warm/ cool?
what is in the center of the image and what is on the edges?
what path do you notice your eye taking as you continue looking at the work? do you find yourself continually looking at certain parts/areas/sections of the work?
does the work unfold/change over time or is it static? is it temporary or is it supposed to last indefinitely? is the passage of time significant to the way you experience this?
if there are human forms, what are they doing and in what direction are they looking or moving? do they seem graceful and proportionate, or dismembered and distorted?
Photography
what is the title? does it seem like the title is important to the artist?
2. HOW was it made? HOW is it constructed, arranged, composed?
what photographic medium was used to make the work and how is that significant to the meaning of the work or how we view it?
Where did the artist make this image? might that be significant?
Is it part of a series/body of work, or a single image?
what do you imagine the artist?s shooting process would have looked like? was it slow, meticulous, quick, violent, careless, haphazard, exhausting, isolated, collaborative??
what kind of technology was necessary for making?or viewing?this work?
did the artist make this work for a specific context, or simply for any viewing space or location?
is this thing primarily a document of an event that happened somewhere specific?
what other artworks might this artist have had in mind while making this?
how is color (or B/W value) used? is it realistic or emotional? natural or artificial? what does the color/value remind you of?mud, blood, winter, bubblegum, advertising, plastic, a computer screen?
3. WHY does is matter? WHY was it made? what does it mean?
does it seem to have dark emotions or is it humorous? is it ironic or dead-serious? is it celebratory, critical, mournful??
does it seem to be responding to other artwork(s) that you are aware of?
does this way of working potentially change the ways that we think about art-making?
when was it made? what historical, social, political, religious, economic, geographic context did it come out of, and in what ways is it dialoguing with that context?
who made the work? what is his or her story/background? what do we know about this person? what other work did this artist make before and after this? was this work made early or late in his or her career? how does this fit in that longer trajectory?
what other disciplines, activities, or fields of study could you use to make sense of this work (literature, history, philosophy, economics, quantum physics, taxidermy?)?
