Image Image Image Image Image Image Image Image Image

SVA Blog - Page 3 of 27 - Society for Visual Anthropology

Kate Hennessy

By

August 14, 2016

Funded Fellowships, Filmmakers Without Borders

August 14, 2016 | By | No Comments

FILMMAKERS WITHOUT BORDERS is offering fully-funded Fellowships for visual anthropology work in Bhutan.

FILMMAKERS WITHOUT BORDERS is a 501c3 nonprofit organization that provides fully-funded overseas fellowships to filmmakers/art educators to teach filmmaking, media literacy, and technology to underserved students in Africa, Asia, & Latin America.

– Live and teach in Thimphu, Bhutan for 10-12 months
– Teach filmmaking, media literacy, & 21st century technology skills to students for ~25 hours/week
– Shoot/edit x10+ video vignettes
– Shoot/edit x2 short film projects

– Flights provided
– Housing provided
– Food provided
– Equipment provided

– Other Fellowships: Bangladesh, Cambodia, Honduras, India, Morocco, Navajo Nation, Nepal, Tanzania, Thailand

Apply at developingfilmmakers.org by September 15th.

 

Kate Hennessy

By

July 27, 2016

VAR SUPPLEMENTS: David Kloos on Future Archives and Everyday Life in Indonesia

July 27, 2016 | By | No Comments

Classroom Activities and Discussion Questions   

David Kloos’s “Living in a Makeshift World: Mobility, Temporariness, and Everyday Life in Indonesia” (VAR 31-2, Fall 2015) uses images from Recording the Future (RtF): An Audiovisual Archive of Everyday Life in Indonesia to analyze the experiences and agencies of domestic migrants in Indonesia. The following set of questions and resources provide teaching tools for use in both graduate and undergraduate courses.

Questions for classroom discussion
Content

  1. How does internal migration change Indonesian society? How do social, economic and political changes, including the forces of globalization, change the practices and experiences of internal migrants?
  1. Is it useful to call Indonesian domestic migrants a class, or – in the words of Johan Lindquist – part of the Indonesian “underclass”? Why (not)?
  1. What is meant with the concept of “everyday life”? How does it differ from other approaches, within anthropology and other disciplines? Do you find the concept useful as an analytical category? Why (not)?

Methods

  1. What information does RtF provide about the lives and positions of internal migrants? How does this information differ from other (oral or textual) types of information, as provided, for example, in policy reports or (written) ethnographic descriptions? What are the limitations of verbal/textual and visual sources?
  1. What can visual sources – and the rich information it contains about dress, built environment, the use of (public or private) space, material objects, and body language – tell us about the expression, salience or relative (in)visibility of class?
  1. What can a resource like RtF tell us about processes of place-making, in Indonesia and elsewhere? More generally, what do you think visual images can tell us about the social relations and meanings involved in the imagination, demarcation, or “making” of particular places (a neighborhood, a village, a house or compound, a harbor, a marketplace, shop or a restaurant, and so forth)?
  1. What are the various levels of mediation in RtF? In your opinion, how should a scholar working with this (or similar) material in order to engage in scholarly analysis, deal with its mediated nature?
  1. RtF – and related projects like the British Mass Observation project (see below) – seek to record or register aspects of human life that are generally seen as self-evident or “ordinary,” and thereby (apparently) unimportant. Can you think of aspects in your own society, that are so ordinary that no one every seems to record it or give it much thought? Would it be worth your or anyone’s while to film or write about it? What if it is forgotten? Would this be bad? Why (not)?
  1. Technology is changing fast. Around the world, many or most people have a mobile phone with a built-in camera and an internet connection. How should this affect longitudinal projects like RtF? Is it still necessary to make these systematized recordings? Is a resource like RtF gradually replaced or made unnecessary by online video archives like Youtube? Why (not)?
  1. What role does sound play in an audiovisual archive like RtF? In the videos, what kind of sounds do you hear? Would it be useful to focus the analysis on sounds, rather than images? What kind of questions might be asked?

Modes of representation

  1. What are the advantages of combining text and image in scholarly analysis? Should there be a hierarchy, or not? How can text engage with image and the other way around? Does it require a particular “writing” style? Does it require particular tools?

Additional information about Recording the Future, sources of inspiration and possible comparisons

For more information about Recording the Future and its various products, see the project website, and this essay by project coordinators Henk Schulte Nordholt and Fridus Steijlen. For more clips from the archive, see the RtF Youtube channel.

Important sources of inspiration for RtF, also useful for discussion in class, are Mass Observation (1937-present, currently housed by the University of Sussex) and Michael Apted’s UP Series (see, among others, this useful debate in Ethnography), with the main difference that RtF follows places rather than people. Recording the Future can also be contextualized in a more recent trend of sensory ethnography projects; See a brief discussion here.

Additional products and related questions

The film “Don’t forget to remember me” (Fridus Steijlen and Henk Schulte Nordholt, 2008) features “a day in the life of Indonesia.”

Questions:

  1. According to one reviewer, the choice on the part of the directors to minimize (textual) context and let the images speak for themselves is both a strength and “a major weakness”? What is your opinion?
  2. This film has been used on multiple occasions for educational purposes, evoking radically different responses. Some viewers appreciated it for its insights and critical approach. Others judged it as “neocolonial.” How can we explain these divergent assessments? What elements in the film might account for these respective judgments?
  3. How does this film compare to Ridley’s Scott/Youtube’s “Life in a Day”?

The documentary “Being prominent in Indonesia,” (Ahmad Baihaki and Fridus Steijlen, 2011) is a portrait of Ibu Mooryati Soedibyo, an influential Indonesian business woman and politician. As, generally speaking, RtF is biased toward the lives of less affluent people, this film shows another, less prominent side of the archive.

Questions:

  1. The article “Living in a Makeshift World” looks at the vocabulary of makeshift, as embedded in senses of transience, improvisation and future dreams and aspiration. How does Ibu Mooryati’s choice of words compare to this? Does it communicate a different kind of temporality?
  2. What kind of spaces does Ibu Mooryati inhabit or use? How are these spaces connected and/or separated from the public spaced inhabited by less affluent people? What information does RtF provide with regard to the (possible) physical interactions between different social classes in contemporary Indonesia?

The short film “A day in the life of a mall,” (Andy Fuller, 2011) makes use of (embedded) written citations in order to make an argument. What do you think of this method? Is this a good way to construct a (scholarly argument on the basis of these images? Why (not)?

Kate Hennessy

By

July 27, 2016

VAR SUPPLEMENTS: Monique Scott on reframing anthropology exhibitions for contemporary audiences

July 27, 2016 | By | No Comments

Monique Scott from Visual Anthropology Review on Vimeo.

Monique Scott’s video interview about her review, “White Walls, ‘Black City’: Reflections on “Exhibition as Residency—Art, Anthropology, Collaboration” (VAR 30-2, Fall 2014), which discusses efforts to resuscitate the image of the anthropology exhibitions for contemporary audiences. Her review specifically considers the exhibition organized by Ethnographic Terminalia at the Arts Incubator in Washington Park, South Chicago, in 2013.

Kate Hennessy

By

July 27, 2016

VAR SUPPLEMENTS: Jennifer Hubbert on the Iconicity and reappropriation of Tank Man

July 27, 2016 | By | No Comments

Jennifer Hubbert from Visual Anthropology Review on Vimeo.

Jennifer Hubbert’s video interview about her article “Appropriating Iconicity: Why Tank Man Still Matters” (VAR 30-2, Fall 2014), which explores the reappropriation of iconic photographs, examining what happens when the iconic “Tank Man” image is modified and repurposed to new political ends.

Kate Hennessy

By

July 22, 2016

Call for Projectionists, SVA Film Festival, 2016

July 22, 2016 | By | No Comments

Dear colleagues,

We are looking for three graduate students, undergraduates, or filmmakers to work as projectionists at the 2016 Society for Visual Anthropology’s Film and Media Festival as part of the upcoming AAA meetings in Minneapolis, Minnesota. The position involves about 10 hours of work projecting an amazing line-up of films. We need people who are technologically savvy and highly responsible. This is a paid position and, in addition, the projectionists will get a AAA registration waiver.

If interested, send a note of interest and a CV to Kathryn Ramey at Kathryn_Ramey@emerson.edu<mailto:Kathryn_Ramey@emerson.edu>

Best regards,
Kathryn Ramey and Ulla D. Berg
Co-Directors, 2016 SVA Film and Media Festival

Kate Hennessy

By

July 21, 2016

Deadline Friday July 22, 2016 — AAA Meeting Logo Design Competition

July 21, 2016 | By | No Comments

Overview

The 116th Annual Meeting of the American Anthropological Association will be held in Washington, D.C. with the theme of Anthropology Matters! Every year the association develops a logo which represents the annual meeting location and/or theme. This year we are looking for your input! We want to see your visual interpretation of the theme.  The winner will work with a committee and a professional designer to produce the final logo.

Eligibility

Contestants are permitted to work in groups, but their entry will be considered as one and will be eligible to win a single prize.

Guidelines

  • Your logo concept should be reflective of the 2017 conference destination, Washington, D.C. and/or the theme for the conference.
  • Your logo concept should not include references, symbols, or messages that may be deemed offensive, discriminatory, or inappropriate.
  • Your logo should include the name of the meeting “116th Annual Meeting of the AAA”, the location “Washington, D.C.,” and the date “November 29 – December 3, 2017.”

Download the official entry form with full guidelines here. 

Selection & Prize

  • A panel comprised of members of the Program Committee, will select one (1) winning entry, and their decision will be final. The winner will be notified by email and announced on the AAA website and social media platforms. The panel reserves the right to declare the contest deserted, to cancel it, or to disqualify any entry that does not conform to the guidelines.
  • Submissions should be made electronically to aaameetings@americananthro.org, including the entry form, and the logo concept in the format described above, as attachments with subject line <Logo Contest 2016>. The deadline to submit entries is July 22, 2016 at midnight Eastern Standard Time (-5 GMT), and decisions will be made by July 31, 2016.
  • Submissions will be judged on their visual appeal, their adherence to the concept and themes outlined above, quality of design, creativity, and ease of reproduction and manipulation.
  • The prize for the winning entry will include:
    • Special recognition during the conference and on the AAA website.
    • One complimentary registration to the 2017 Annual Meeting (up to $444 in value).
    • Four night stay at the conference hotel during the 2017 Annual Meeting (up to $1,300 value).
    • Prizes can are not exchangeable or transferable to other dates, or people and have no cash value.
  • Any queries should be addressed to: aaameetings@americananthro.org.

Timeline

  • June 22 – Logo Contest Launches
  • July 22 – Logo Contest Entries are due
  • July 18-July31 – Committee reviews and selects 2017 LOGO
  • July 25-September 2 – Logo winner works with staff and designer to produce 3 versions of the logo (icon, medium and full size), 3 colors versions (two color, full color, and gray scale) and different formats (.EPS, .JPG, and .PNG)
  • Mid-September –  Logo and theme revealed

 

Kate Hennessy

By

July 19, 2016

Ethnographic Terminalia 2016, Minneapolis: Workshop ––”The Photo-Essay is Dead! Long live the Photo-Essay!”

July 19, 2016 | By | No Comments

Meetings of the American Anthropology Association, 2016
Minneapolis MN
Thursday, November 17, 2016 9:00-4:00

See our Call for Photo-Essayist Presentations here (deadline August 15th)
General participant registration on the AAA Website will be available soon.
Please send inquiries to ethnographicterminalia@gmail.com

Overview
The Ethnographic Terminalia Collective invites submissions by photo-essayists working within an anthropological idiom to present their photo-essays at a full-day workshop at the 2016 AAA Meetings in Minneapolis: “The Photo-Essay is Dead! Long Live the Photo-Essay!” The full-day workshop is designed for creative and engaged participation from both participants and presenters.  It is structured around three sessions each of which features the presentation of a photo-essay, a thought-provoking discussion of photography in Anthropology, and facilitator-led group activity. In the course of the day up to thirty workshop participants and six presenters will collectively contribute to a zine (an open-access and limited print-edition workshop publication) that will be launched and distributed at a reception on Saturday, Nov. 19th. The zine will function not only as a document of the workshop but also a formal object around which we explore the past, present, and future of the photo-essay in Anthropology.

Building on our art-anthropology experiments in off-site locations, this year we return  to the AAA conference site to re-examine the photo-essay within anthropological, photographic, and publishing communities.  Emulating our recent workshop and rapid-publication project (see http://ethnographicterminalia.org/terminus), the Ethnographic Terminalia Collective invites you to join us in actively considering how experimentations at the intersection of art and anthropology might function as prototypes for thinking about the future of the photographic image in anthropology.  We are all literally publishing at the terminus — the end of publishing agreements, the end of print, the end of things as they have been. How might the photo-essay work as a prototype for collectively envisioning a future of visual anthropology?

Rationale
Photographs have been a component of anthropological practice since its earliest formation. Their popularity over the past 150 years in monographs, journals, exhibitions, and now on the Internet, has increased dramatically. While photographs seem to be everywhere there has been little serious and sustained critical engagement with modes of presentation and publication in the context of visual anthropology.  For over a decade, the internet has increasingly become a rapid and inexpensive way to share photographs but there is little discussion about the forms in which they appear and how people engage with them. Due partly to cost, the photo-essay has never become prevalent within academic publications. Furthermore there is little clarity around the definition of a photo-essay especially in the context of anthropology. This is precisely what interests us. Our academic conventions for sharing photographs have been cemented around a limited number of typically black and white images in a journal article or monograph. It is only within the last decade that we’ve begun to see anthropological photo-essays published on-line and these often seem to be either ghettoized within the structure of the journal’s website or overlooked by readers unfamiliar with the genre.  Meanwhile within journalism and documentary photography there has been a surge of experiments and formal endeavours.

We believe that still photographs are on the cusp of finding new importance in anthropology in the form of the photo-essay, in particular as the serial nature of photography is being tested out within digital infrastructures on the Internet. For example, the journal Cultural Anthropology recently launched a photo-essay section of their journal; other major journals, now investing in digital infrastructures, are leveraging the Internet to share photographs. How digital forms and cross-disciplinary engagements with photographic representations are re-shaping aesthetic and ethical commitments to the photo essay remains unclear. However, we do know that more and more anthropologists use cameras in the field and many students are keen to study visual methodologies. As a result, the criteria for evaluating their critical and aesthetic contributions have yet to be fully developed. Further, the creative potential for the photo-essay to be realized in new formats and contexts is as yet generally unexplored. Ethnographic Terminalia has had a sustained engagement with contemporary art since 2009; in the workshop, we will  bring artists and anthropologists together to appreciate the degree of sophistication and variety of experiments in what might be loosely considered the photo-essay.

Workshop Structure
Ethnographic Terminalia is committed to serious play; our workshops are carefully designed to foster lively and generative spaces for critical collective exploration of a topic, thesis, or question.  Facilitated by the Ethnographic Terminalia Collective, up to thirty participants and six presenters will work collectively throughout the day to generate the materials for a zine in the form of a rapid prototype publication.  This workshop is organized into three sessions, each with: 1) an essayist exploring their work in the form of a single photo-essay; 2) a provocateur who will critically explore some element of the photo-essay; and 3) facilitated activities and open time for participant reflection on and annotation of works in progress, discussion, and contribution to the workshop publication.

Before the workshop, photo-essayists  and provocateurs will be asked to submit creatively designed page spreads featuring photo-essays and discussions. These will be included in the zine and printed for annotation during the workshop. Participants are also encouraged to print photographs from their own photo-essay works-in-progress and bring them to work with throughout the day.

During the workshop, presenters’ photo-essays will be installed for viewing and annotation. Participants and provocateurs will be invited to add commentary and other ephemera (using photography, photo printers, drawing, social media posts, annotation, and so on) to further contribute to the conversation. These contributions will be documented for inclusion in the publication. Additionally, workshop participants (who are not official presenters) are invited to bring their own photo essays-in-progress to contribute to the workshop activity, and which may be included in the publication.

After the workshop the Ethnographic Terminalia collective will complete the design and layout of the zine.  We will print copies for distribution on Saturday afternoon (Nov. 19th) at the AAA Meetings at a special event and zine launch supported by the Society for Visual Anthropology.  All participants will receive a copy of the zine, as will a limited number of reception attendees. An open access digital copy of the zine will be archived on the Ethnographic Terminalia website. You can see an example of the publication “Terminus: Archives, Ephemera, and Electronic Art” that we produced at our last workshop in Vancouver, British Columbia in 2015. http://ethnographicterminalia.org/terminus.

Kate Hennessy

By

July 5, 2016

CFP: Documenting the Visual Arts (edited collection; deadline: Nov 1, 2016)

July 5, 2016 | By | No Comments

The proliferation and popularity of visual arts documentaries are a major component of the recent international documentary boom, but they tend to be overlooked in film criticism and scholarship in favor of documentaries framed more explicitly in social and political terms. Yet visual arts documentaries remain on the cutting edge of documentary innovation, from 3D cinema (Cave of Forgotten Dreams) to questioning documentary truths (Exit Through the Gift Shop). Moreover, visual arts documentaries have long played significant roles in various historical formations around documentary politics (e.g. USIA films in the Cold War, the Left Bank essay films of 1950s and Channel Four programming in the 1980s).

This edited collection will examine the significance of visual arts documentaries from a range of critical perspectives and methodologies. The book will explore not only how documentaries from around the globe exploit the formal properties of film and video to illuminate the aesthetic specificities and intersections of other visual arts, but also how they elucidate the material and cultural conditions in which visual arts are produced and experienced (e.g. the discourse of the artist, museums and galleries, activist art, religious practice, commercial design etc.). To complement these interpretative contributions, the book will also include critical analyses of the political economy of visual arts documentaries, especially the geopolitics of the genre. As an interdisciplinary and intermedial project, I am particularly interested in contributions that connect film studies to other disciplines and fields, including anthropology, art history, architecture, communication, rhetoric, performance studies and visual studies, among others. Consideration will be given to submissions about any historical period or cultural/national/regional context (the book aims for genuinely global scope). Contributions may focus on a single film, a body of work (organized around filmmaker, artist or subject) or a particular institutional context. I am defining visual arts broadly to include applied arts, such as fashion, architecture and design, as well as film, video, photography, painting, sculpture, illustration and performance art etc.

Possible topics include (but are not limited to):
• Medium specificity and the visual arts documentary
• Cultural politics of visual arts television programming
• Documentary film and arts education
• Visual arts documentary as cultural diplomacy
• Post/colonial appropriation and resistance in visual arts documentaries
• Representing visual aesthetic practices in ethnographic film
• Documenting performance and collaboration in the visual arts
• Documenting activist art practices
• Discourses of the visual artist in documentary film
• Documentaries about art institutions and markets
• Visual arts documentary as paratext (making of documentaries, exhibition documentaries)
• Relationship between documentary filmmaking and archival documentation of visual arts
• Histories of arts television networks and series
• Film technologies and the visual arts documentary
• Fakery, forgery and mockumentary

Deadline for electronic submission of 350-400 word abstract (plus brief biographical statement and sample 5- item bibliography): November 1, 2016. Notification by December 1, 2016.
Commissioned chapters should not exceed 5,000 words and must be completed by October 1, 2017.
Please send submissions and inquiries via email to Roger Hallas, Associate Professor of English (Film & Screen Studies), Syracuse University, USA: rhallas@syr.edu

Aynur Kadir

By

June 1, 2016

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

June 1, 2016 | By | No Comments

VAR SUPPLEMENTS 2016

VAR 31-2

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Ethiraj Gabriel Dattatreyan’s “Waiting Subjects: Social media inspired self-portraits as gallery exhibition in Delhi, India” (VAR 31-2, Fall 2015) collaboratively curates an ‘accidental’ archive of digital image-making practices by young Somali refugees in India as the site where subjectivities are self-fashioned and ethnographic insights emerge.

Keywords: photography, ethnography, selfie, Somalia, Delhi, photovoice

 

Suggested study questions and activities

Designed for undergraduate and graduate students to address key methodological questions about collaboration and digital affordances.

 

Collaboration: Discussion and/or writing exercise (students spend 10 minutes writing a quick response to the following question).

  • What does collaboration mean to you? How does this concept fit with the ethos of ethnography? How has a collaborative or shared anthropology been imagined? Is ethnography already always collaborative by the nature of its engagement? If so, what does an explicitly shared or collaborative ethnography imply and entail?
  • How might digital technologies reinvigorate, and yet, complicate the possibility for creating collaborative ethnographic projects? What sorts of opportunities/challenges do digital infrastructures (social media, smart phones, digital audio-video technology) create with regard to collaborative ethnography?
  • In the VAR article, “Waiting Subjects,” how does the Dattatreyan utilize the social media inspired photographs of his participants as an ethnographic site?
  • What does the author argue are the limits of these photographs?

 

Shared Anthropology: Assigned film viewing, with discussion and/or writing exercise. Watch this video of Jean Rouch discussing the future of visual anthropology: https://www.youtube.com/watch?v=PvyXCpzpJJs

  • Jean Rouch was one of the pioneers of a shared anthropology that utilizes audio-visual technology. Why do you think he argues that the easily available, inexpensive digital video cameras in our moment aren’t ‘real’ cameras? How does this sentiment impact how we might imagine collaboration in the digital age? What do you think John Rouch would say about the author’s investments in the digital practices of his interlocutors in the field?

 

Social Media: Social media exercise. Read this short primer on “Why we are all digital anthropologists” by Olivia Bellas: http://www.cnn.com/2013/05/29/opinion/mystreet-digital-anthropology/ . Students use social media to find short videos or photographs shot by non-experts.

  • Following Bellas, what do you think of this idea that ‘everyone’ is now an anthropologist with the advent of digital technology?
  • Regarding the virtual artifacts collected from social media, are these objects ethnographic? Why or why not? What can we know from the objects you have retrieved? What remains unknown?

 

 

Additional readings:

Lassiter, Luke Eric (2005). Collaborative Ethnography, Public Anthropology. Current Anthropology 46 (1) pp. 83-106.

 

Boellstorff, Tom (2012) Rethinking Digital Anthropology in Heather A. Horst and Daniel Miller (eds.). Bloomsbury Press. http://www.socsci.uci.edu/~tboellst/bio/Rethinking.pdf

 

Pink Sarah, Horst, Heather, Postill, John, Hjorth, Larissa, Lewis, Tania, Tacchi, Joe (2015) Digital Ethnography, Principles and Practice. Introduction. https://www.academia.edu/18841210/Ethnography_in_a_Digital_World

 

Aynur Kadir

By

May 27, 2016

Zoe Bray on “Anthropology with a Paintbrush”

May 27, 2016 | By | No Comments

Zoe Bray on “Anthropology with a Paintbrush”

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Zoe Bray’s “Anthropology with a Paintbrush: Naturalist-Realist Painting as ‘Thick Description‘” (VAR 31-2, Fall 2015) advances the practice of naturalist-realist portrait-painting as an under-explored method and medium of visual anthropology where slow-paced observations and interaction provide opportunities for making “thick descriptions” on canvas.

Suggested study exercises and questions

  1. Exercise: Take a drawing tool (charcoal, pencil, crayon, or paintbrush..) and paper, and spend about 20 minutes drawing an object of your choice in front of you (this could be simply a cup or a book. Ideally place it in natural light, rather than under artificial lighting. Sit or stand a meter or so away from it – i.e. Not too close and not too far away. Take breaks from time to time). Reflect on this process of visually studying an object.

How has drawing helped you to understand this object? Did taking breaks help you to see better? What effect did standing closer or further away from the object have?

  1. Repeat the exercise, this time spending a little more time, and drawing another person who is willing to sit for you. It can be a friend or a fellow-student you do not know so well.

What happened during the drawing session? Did you chat? What did you pay attention to? How do you feel drawing helped you to see the person? What new knowledge about the person do you feel you got from drawing her or him? Do you feel you know the person better in some way or other?

  1. Hold a mirror to the side of your face and look into it with the eye closest to it. In the mirror’s reflection you can look at your drawing in reverse.

What can you see in your drawing that you didn’t see before? What do you think of your drawn interpretation of the model? How do you think it could be improved?

  1. Look at videos of different artists drawing or painting other individuals live (or better still: observe artists in action!) Two videos of the author Zoe Bray portrait-painting live: https://www.youtube.com/watch?v=TtI0ia13QgI —and— https://www.youtube.com/watch?v=y_ZnO2Njnz8 .

Think about how the artists see what they see, and what they choose to depict. What do you think they are looking out for? How do you think they are transferring this knowledge onto the paper/canvas? What can you speculate about these artists’ particular individual sensibility, and the role that technical skill plays in their way of depicting?

  1. Sit for someone else.

Think about how the person drawing you is looking at you. How does it feel to be represented? What do you think about the drawing done of you? What do you think the artist/student has ‘captured’ of you? Why? Does having sat for someone else help you in your own drawing? How?

Follow us to get the latest updates.

twitter facebook rss