NOTE: Remember to choose an iconic work of art for your next paper soon! Once you pick an image, everything will get so much easier. Start researching slowly, reading an article or a website here and there. Before you know it, you'll have enough to write a paper--or two!
Answer two of the following:
Q1: In talking to some of the experts, one of them tells Morris that photographers at that time sought "the kind of expression people are supposed to wear in documentary photos dealing with social problems" (161). What kind of expression is he talking about? How might this relate to the Migrant Mother image we looked at in class on Wednesday?
Q2: Morris quotes the photographer Walker Evans who claimed that "what matters in photography isn't the camera, it's your eye. It's seeing what's beautiful" (163). So if every picture is a document of what a photographer finds beautiful, how does this also complicate the idea of "true" and "false" in an image? What other questions do we have to ask?
Q3: Another famous photographer, Rothstein, claimed that "Photographs concern belief, not truth" (170). What's the difference between the two? How can a picture be "false" but contain a "true" belief?
Q4: How does the modern picture of Florence Thompson and her grown children change the context (or belief) of the Migrant Mother photo? If we put them side by side, what would we now see? Should we know the future (or the past) of an image? Or just its present?
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