Sherman 1

National Art Education Association

Photo Opportunities: Contemporary Photographers Cindy Sherman and Jeff Wall as Modelsfor Artistic and Teaching IdentitiesAuthor(s): Emma Gillespie Perkins and Ann AndaloroSource: Art Education, Vol. 61, No. 2 (Mar., 2008), pp. 102-107Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/27696285 .

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PHOT

Emma Gillesoie Perkins

pportunities: Contemporary Photographers CINDY SHERMAN and JEFF WALL as Models for Artistic and

^Teaching Identities

A mm*

\

i."

quickreviewofimagesonMySpace ,

personal web pages, and dormitory kwalls reveals student constructed

identities enthusiastically exhibited in

public space. No longer glued black-and

white images on a static page, contempo

rary photography in art and in everyday life is evolving as quickly as the next

digital innovation. This article describes an

art unit taught to preservice art teachers that

incorporates contemporary narrative photography as a lens to critically review

mass media, personal role models, and art production. The preservice teachers

examined photographic content, recalled familiar images of their childhood, participated in a video event, and critically examined their awareness of personal

images. Art teachers are searching for instructional content that links student

understanding with contemporary artists, and while this article describes an all

female preservice classroom, the unit provides possibilities for both genders as well

as for middle and high school students.

Photographer Cindy Sherman and her black-and-white "film stills" series was the initial art inspiration for

this unit. In these works, Sherman referenced film images in photographs of herself in a variety of female

roles, dressing up and posing as stereotypical media portrayed females. In addition to Sherman, the

photographs of Jeff Wall yielded expanded connections to cultural storytelling and popular culture. Wall is famous for making big color transparencies that are cinematically staged and mounted to light boxes so

that the pictures glow like a movie screen. Both artists address many contemporary issues that interweave

artistic and personal symbol making such as: identity construction, assumed photographic personas, social

commentary, and the role of media codes or bodies of ideas presented through media.

Contemporary photographers include references to popular media and cultural issues that can encourage students to become more visually literate. In this unit, the students examine internalized popular images and then process the re-viewed images as personal artistic symbols. As Peter Galassi (2007) observed in his

discussion regarding Jeff Wall, "All good artists are intellectuals?not because they read a lot of books, but

because they refuse to accept received wisdom about issues that matter to them" (Galassi, p. 15). My

strategy encouraged students to refuse, negotiate, and re-examine the media codes referenced in contempo

rary photography, how these role models contribute to personal meaning making, and possible applications for PreK-12 art classrooms. In order to further integrate photographic perspectives as a part of the learning process, a colleague who teaches electronic media agreed to document and to participate in the project

during key presentation days.

102 ART EDUCATION / MARCH 2008

Mass Media and Personal Snapshots The differentiation between mass media, personal

snapshots, and art can

sometimes be unclear to

classroom students.

Incorporating popular culture

and contemporary photog

raphy as an instructional

approach acknowledges the

reality of living in a world in which we often automatedly view and internalize multiple

images as portrayed in mass

media. Sturken and

Cartwright (2001) broadly defined mass media as

television, movies, and

advertisements that convey a

body of ideas regarding social

roles, perceptions of people and places, based in fact,

fiction and/or a combination.

Using this definition, the class discussed how personal artwork might be influenced

by images seen daily and

repeatedly. Connecting the

artwork of Sherman and Wall, we discussed the ways both artists redefined mass media

in self referential art produc tion. The student-centered

discussion focused upon the

facility and ability to share

images through digital cameras, cell phones, and

MySpace . We examined the

ease with which digital participants manipulate

everyday images into

idealized public personas. As



artists who teach, it is important that we understand these multiple

images that represent who we are as a culture and define us as

individuals. Visual literacy with regard to artwork and mass media

encourages classroom students to understand the artist and/or

creative process behind represented images. The following classroom

questions were intended to move the preservice teachers from broad

media issues to specifics of individual constructions:

In general, what do you feel Images reproduced by mass media

say about societal roles of women, men, teachers, media

personalities, etc.?

How do the artists examined, Cindy Sherman and Jeff Wall,

represent mass media codes and role models in our culture?

Who is the most important model(s) in your own life?

How would you represent yourself in a Wall or Sherman inspired

photograph or still moment?

These questions guided the preservice teachers to self-reflect upon

personal visual and textual narratives in their own early childhood.

The introduction of narratives as an instructional strategy can assist students to evaluate the meanings and the whys of their lives (Greene, 1995, p. 165). Olson (1998) observed that visual and verbal narratives, in the past and newly presented, are

valuable tools in the art classroom, prompting students to reflect

upon their identity and placement within society. Jeff Walls elabo

rately constructed still scenes or vignettes reflect a social or literary

period in time and place and are excellent examples of visual

storytelling filled with cultural codes. For example, Wall s piece titled,

1947, depicts a child's birthday party complete with balloons, in a

1940s- style living room. The children and adults are captured in a

moment, dressed in the period and transfixed on the central

entertainment, a ventriloquist and dummy. We discussed Walls

Personal role model film still in process by G. Duncan.

constructions regarding the timelessness of birthday parties, '40s

technology, lifestyle portrayed in the scene, and what ways these

images refer to our own lives. The class explored children's entertain

ment media, past and present. The students evaluated the differences

between current technology and images and those available in the

time of Wall's depicted youthful baby boomers. The preservice students discussed in what ways entertainment media might change in art classrooms of the future.

Narratives help students in the art class room make connections to artwork from a variety of different times, places, and Cultures. In order to provide instructional strategies for the

preservice students, I introduced media literacy activities applicable to grade levels 3-12. The activities included discussion of Disney revisions of cultural stories, comparing the actual inspired story sources and the possible whys for reframing narratives for entertain

ment within the context of changing popular culture. For example, the preservice teachers compared similarities and differences in the

story of the Chinese girl warrior Hua Mu Lan retold in The Ballad of Mulan (Zhang 1998) and the Disney animated version oiMulan

(Wan and Cheng, 2004). This comparison of Mulan stories is a

successful strategy for both male and female students as the discus

sion includes gender stereotypes and role model expectations.

Beyond Disney movies, social narratives, and images contained

within television ads can present internalized ideals of body image for

males and females. Assisting classroom students to become aware of

the unreal and artificial ideals of advertising techniques in mass

media can help students accept more realistic self-identities and body

images (Wilksch, Tiggemann, & Wade, 2006). In addition, in

elementary classrooms, texts and images may transfer content to

students through the portrayal of stereotypes and non-equal social

relationships between the sexes (Brugeilles, Cromer & Andreyev, 2002). When crafting art instruction, preservice teachers will need to

consider and understand the internalized visual symbols and

narrative identities of their students.

We moved from the narratives of childhood to the images conveyed in mass communications and entertainment throughout life. In

search of media based role models within memories, we defined a

media personality or character as one whose life or portrayed activities influenced an idea of self-identity for the students. As Cindy Sherman noted regarding the art process for her film stills photo

graphs, "I wasn't working with a raised "awareness," but I definitely felt the characters were questioning something?perhaps being forced into a certain role..." (Sherman & Galassi, 2003, p. 9). Sherman

(2003) identifies films and television role models as the references

within her photographs. I encouraged the class to reflect upon

contemporary art, films, icons, actors, characters, advertising, and

television ideals. During discussion, the preservice teachers

commented that media images influenced their artwork, and that

they often represented the images of objects and other less personal media issues, rather than draw attention to concerns about them

EMMA GILLESPIE PERKINS WITH ANN ANDALORO / PHOTO OPPORTUNITIES 103



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they felt pressure to look x) lose weight, but most felt that

e media. Much like Sherman, the

Upon mass media or contemporary art with a raised

preservice teachers to become aware of artificial ideals and to re-evaluate past

upplied guided questions in preparation for classroom discussion. The three-section

t is titled, Media Magic, Characters in our Lives:

How do I describe myself? Do I feel I look like individuals in the media? Indicate similarities and differences. How do I see myself fitting within media role models that I view in television, movies and on MySpace ? What role models do I see in my memories? What is my relationship to the past and past models? How do I relate to those models in my memory?

What images do my future students see? How might this influence my teaching practice?

List your favorite movies and television shows from the past and present. Your answer may be specific such as Spiderman, Mutant Ninja Turtles, Survivor, etc. or include a type of movie (genre) such as science fiction or fantasy, comedy, musical, action, or animation. Include movies that are important in your life and that 'say' something you think is valuable.

During what age or grade level did you enjoy this media? Summarize each media source listed and provide a brief description. For

example, Harry Potter young outcast boy learns that he is special and has

magical powers and then escapes to wizard school and exciting adventures.

Why do you think you like the media stories you listed? List a characters) or media personality that you like best. Why is s/he your favorite?

Would you like to modify a character (change gender, add powers, etc.)? Is there a character or characteristic in your selected story that you would like to see? If you could be in a movie or television show based upon one or all of your

media favorites, what character would you be? In what ways would you like to be like this character? Do you know someone in your life that demonstrates the qualities of this character or qualities you would like to see in the character? List positive and negative characteristics of your selected character.

The media characters and narratives

selected by the preservice teachers

included media icons such as film star

Marilyn Monroe, Loretta Lynn, Florence Hendersons Mrs. Brady,

Wonder Woman, and Oprah. Each of

these characters conveyed key traits for

the students. A preservice teacher still

struggling to overcome poverty and

disadvantage perceived Loretta Lynn as

someone who, through talent and hard

work, emerged from the student s

shared Eastern Kentucky coal culture.

One preservice teacher who selected

Marilyn Monroe did so because she

thought that Marilyn Monroe was a

little heavy and shared her weight problem. Oprah Winfrey was perceived as someone who reached heights from

humble beginnings and who uses her wealth to improve the fate of others.

Wonder Woman was valued as a

powerful, magical, and fun character.

Other television characters, such as

Mrs. Brady, were seen as women who

were kind, loving, and strong. During

previous units, male students selected

media models that included action

character actors such as Bruce Willis

and Arnold Schwartzenegger, comic

heroes such as Spiderman, and sports

figures.

Once the media role models were

selected, I asked students to reframe

those media messages into a personal self-reflection and identify a personal and/or familial real life role model based upon Sherman's film still series.

When one student shared the story of

her mother's challenge with breast

cancer, I introduced Jo Spence's breast

cancer photographic series. My electronic media colleague and I

decided to videotape the role model

Media role film still

by C Stamaties.




Personal role model film still by C. Stamaties.

What role models do I see in my memories?

What is my relationship to the past and past models?

How do I relate to those models in my memory?

Personal role film still in progress by B. Parsons.

assignment and asked the preservice teachers to write a one paragraph

description of the role model and in what

ways that individual influenced their

personal construction of identity. The

students presented the paragraph

description as my colleague coached and

captured their performance on video. My

colleague edited the video for viewing by the preservice teachers who evaluated

similarities and differences shared within

the group selections. In order to create

classroom trust, both my colleague and I

shared our own role models during the

videotape production. Daughters often

identify mothers as important role

models, particularly with reference to

career and attitude (Basow & Howe,

1980). The preservice teachers within this

all female class selected a maternal figure,

grandmother, or mother as a role model; one student also included her grandfa ther, who, along with her grandmother, cared for her. In prior media units,

college and high school male students

selected fathers, male relatives, coaches,

and teachers.

Personal Film Stills Inspired by Jeff Wall's transparent photographs mounted on light boxes, the

student's 'stills' art production evolved as

a collage affixed to mylar within a film

still style black frame. Referring back to

Cindy Sherman, the preservice teachers

were asked to create an artwork that

conveyed the way a Hollywood film

maker would describe their life and

include the images of role models that

further define their script. The preservice teachers selected symbols from popular culture, text, and home photos, then

scanned and manipulated the selected

images to create personalized meanings for their film still. The transparent mylar, visible between the selected images, became a symbol not only for a translu

cent celluloid 'film still' but also as a

visual metaphor for the internalized

meanings that invisibly overlay their

memories. The film still collages translated our discussions into a self

referential narrative artwork about

identity. The students were free to include

media and personal images and could

create two film stills, one for media and

one for real life models, if they chose.

EMMA GILLESPIE PERKINS WITH ANN ANDALORO / PHOTO OPPORTUNITIES 105



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Film stills project with student artist, C. Stamaties.

Contemporary

photography

captures a still, an

idea in a time or

moment that can

provide a vehicle for

preservice teachers

to look away and

see the integration of their professional

roles as an

intellectual artist

and teacher.


! Final Reflections _?r^" My video colleague took j,|jUiBtagerpen?dically fer?ughout the process, and upon

corry)]filioiroflft^ the final critique and presentation. The ~ " "

requirements for the final presentation included:

Present the film stills collage, discussing process and selection of images.

Identify media and real life role models within the artwork.

Evaluate the media codes and value systems within their own lives and the collage.

Highlight in what ways the information would help in students' teaching practice. Reflect upon changes in perception regarding each preservice teacher s individual personal

identity.

As part of the closing activities, I asked for an evaluation of the project. The preservice teachers commented that the unit changed their feeling about contemporary photography and

in particular the subject matter selected by artists. One student commented that contemporary

photography is "so much more complex than I thought. It moves beyond capturing a moment

in time to being about an idea in a time." Responses to the question about integration into

their teaching practice brought a resounding re-evaluation regarding Disney, videos, and

narratives. One student observed, "I feel this will make me think about the power of images and stories before presenting them to my art class." (G. Duncan, personal communication,

April 20,2006). Throughout the film stills project, several of the preservice teachers asked that

I join them in the art department hallways to view exhibited student work, including their

own, and to discuss mass media inspired or internalized images. During these informal hall

exchanges, the questions centered upon whether the exhibited student artwork was a

thoughtful reference to visual culture, an integrated personal symbol, or just a media replica without development. The answer was often difficult to discern with individual student work.

The preservice teachers decided that Wall and Sherman are understood because they make

clear references to media stereotypes and cultural stories through artists' statements, writing, and interviews. When referencing mass media codes in an artwork, the preservice art teachers

felt that they would require an artist statement or oral presentation for their future students in

order to clarify authentic connections. Finally, I asked if the unit changed their perceptions

regarding their own personal identity; they unanimously indicated that it did not One artist

teacher commented, "The project did not change what I thought about myself, but it did make me think about why I think it." ( C. Stamaties, personal communication, April 27, 2006).



Conclusion The project provided the preservice teachers

with opportunities to develop a self

referential view of their own artwork and

symbol making, an expanded understanding of contemporary photographers, and the

ways popular culture images inform their

present and future art room and art practice. The preservice teachers looked back to their

memories in order to locate themselves

within art and education. They commented

that they did not feel the inundation of mass media images within their culture was

negative, but rather expressed empowerment,

feeling that they, as individuals, have the

choice to frame and define personal assumed

roles. As Barthes (1981) wrote, "Ultimately? or at the limit?in order to see a photograph well, it is best to look away or close your

eyes" (Barthes, 1981, p. 53). Contemporary

photography captures a still, an idea in a time

or moment that can provide a vehicle for

preservice teachers to look away and see the

integration of their professional roles as an

intellectual artist and teacher. This unit

assisted the preservice teachers in looking

away from internalized images in order to

reflect upon ways media images of popular culture emerge in art production, frame

personal identity, and inform instructional

practices in the art classroom.

Emma Gillespie Perkins is Associate

Professor of Art, Morehead State University, Morehead, Kentucky. E-mail: e.perkins@moreheadstate. edu

Ann Andaloro is Assistant Professor of Mass Communications at Morehead State

University, Morehead, Kentucky. E-mail:

a. andaloro@moreheadstate. edu

1

REFERENCES Barthes, R. (1981). Translated by R. Howard. Camera lucida, reflections on photography. New

York: Hill and Wang. Basow, S., & Howe, K. (1980 summer). Role model Influence: Effects of sex and sex-role

attitude in college students. Psychology of Women Quarterly, 4(4), 558-572.

Bell, A. (1970). Role modelship and interaction in adolescence and young adulthood.

Developmental Psychology, 2, 123-128.

Brugeilles, C, Cromer, I., & Andreyev, M. (2002, March-April) Male and female characters in illustrated children's books or how children's literature contributes to the construction of

gender, Population (English Edition 2002), 57(2), 237-267.

Cruz, A., Smith, E., Jones, A., 8c Sherman, C. (2000) (Second Edition). Museum of

Contemporary Art California, Museum of Contemporary Art, Chicago. Cindy Sherman:

Retrospective. New York: Thames and Hudson.

Galassi, P. (2007) Jeff Wall New York: Museum of Modern Art.

Greene, M. (1995).Releaseing the imagination. San Francisco: Jossey-Bass Publishers.

Olson, J. (1998) Encouraging visual storytelling. In J. Simpson, J. Delaney, K. Carroll, C.

Hamilton, S. Kay, M. Kerlavage, & J. Olson, Eds., Creating meaning through art: Teacher as

choice maker, 163-182. Upper Saddle River, NJ: Prentice Hall.

Sherman, C, & Galassi, P. (2003). The Complete untitledfilm stills, Cindy Sherman. New York: Museum of Modern Art.

Spence, J. (2005). Jo Spence: Beyond the perfect image: Photography, subjectivity, antagonism. Barcelona: Museu d'Art Contemporani de Barcelona.

Sturken, M., 8c Cartwright, L. (2001). Practices of looking: An introduction to visual culture. New York: Oxford University Press

Thornton, A. (May 2005). The artist teacher as reflective practitioner. International Journal of Art & Design Education 24(2), 166-174.

Wan, G., 8c Cheng, H. (2004). The media savvy student: Teaching media literacy skills, grades 2-6. Chicago: Zephyr Press.

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Zhang, S. (1998).77ie ballad of Mulan. Scarborough, Ontario: Pan Asian Publications.

AUTHORS' NOTE All photographs by Ann Andaloro.

ERKINS WITH ANN ANDALORO / PHOTO OPPORTUNITIES 107



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