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Cruel and Tender Tkit Final THE REAL IN THE TWENTIETH-CENTURY PHOTOGRAPH Sponsored by UBS 5 JUNE – 7 SEPTEMBER 2003 Teacher and Group Leaders’ Kit Information and practical ideas for group visits 1. Introduction to the Exhibition Welcome to Tate Modern and to the Cruel and Tender exhibition. Visiting the exhibition Tickets are available in advance from Tate Ticketing, tel 020 How to use this kit 7887 3959, schools and group bookings line. Price for school This kit aims to help you carry out a successful visit to the groups – £4 each. exhibition. It includes useful contextual information and Please ask Tate Ticketing when you book tickets if you thematic cards to use with your students in the gallery or would like to book lunch and locker space (there is a limited classroom. Although it is aimed primarily at teachers visiting the amount available). exhibition and planning work with school students, Tate Modern As all exhibitions at Tate can be busy, please do not lecture welcomes group leaders from adult education, community to more than six students at a time. If you have a larger group education and many other learning organisations across many we suggest that you divide into smaller groups and use some varied disciplines. We have aimed to write this resource in a of the ideas and strategies we suggest in the kit. way that we hope will be useful to these wide audiences and do welcome your comments. How to structure your visit When visiting we suggest you introduce the exhibition to your The exhibition group in one of the concourse spaces, the Turbine Hall or the Cruel and Tender is the first exhibition at Tate Modern that is Clore Education Centre (see the Tate plan, available throughout dedicated to photography. There are over 600 works on display, the gallery). The information in the kit should help you create an which explore ideas about representing the real through introductory discussion about some of the issues which arise documentary photography. through the photographs on display. Work in small groups For a concise introduction to the exhibition and artists on when you are in the exhibition, using the thematic sheets to show, read the accompanying exhibition guide in this kit. prepare work and discussion topics. You can reconvene later in Complex aspects of photographic practice are explored in one of the spaces suggested above to discuss the exhibition as this exhibition including: a whole group. It is worth ensuring that students do not feel they have to • Portraiture and how to represent a person through photography see every work in the entire exhibition, which is extensive and • The problematic nature of documentary in relation to ideas may be busy when you visit, but instead focus on specific works about truth or series of works, chosen by you in relation to students’ age and subject or project specialism. You can use the thematic • The role of the viewer and how we are implicated in the sheets to focus your choice. images we look at • The use of series of photographs to build the way we ‘read’ works Tate Modern’s approach to learning These ideas are introduced and explored in the historical and Tate Modern‘s approach to learning encourages students to critical context section and also crop up throughout the rest of think not of one correct reading or interpretation of an artwork, the kit. but of plural readings. These will be based on the evidence of the artwork itself as experienced by the individuals viewing it, Please note, some of the photographs on display, for and the awareness of the individual in noting their own example the work of Boris Mikhailov and Diane Arbus, are responses. To construct meanings, therefore, the viewer needs extremely powerful and at times harrowing and disturbing. to be aware of the experiences they bring to looking, as well We suggest that students are supervised during their visit as the information an artwork holds. This methodology and that parts of the exhibition are not suitable for students underpins all our workshop, InSET and study day programmes under the age of 13. here at Tate Modern. This methodology and the ideas mentioned above are Please visit the exhibition on your own prior to bringing developed more fully in the Tate Modern Teachers’ Kit, available students so that you are familiar with the content and layout in the gallery shop. of the exhibition. Booklist Peter Galassi, Walker Evans and Company, 2000, Museum of Modern Art, New York A selection of books are available in the reading areas of the Including work by many of the photographers shown in the exhibition. Particular recommendations are:- exhibition, this book traces the influences upon Evans’ work, including that of August Sander. It goes on to chart Evans’ own Emma Dexter and Thomas Weski, Cruel and Tender influence upon later generations of artists who work in exhibition catalogue, 2003, Tate photography and other media. An outline of the curatorial themes of the exhibition as well as biographies of all the artists included. Liz Wells, Photography: A Critical Introduction 2nd ed, 1997, Routledge Susan Sontag, On Photography, 1978, Penguin This introductory textbook examines key debates in photographic This remains an iconic book in its exploration of the myriad theory, for example photography as art and ‘surveyors and the problems raised by photography and our readings of it. It has surveyed’, placing them in their social and political contexts. It is specific references to the work of August Sander, Walker Evans aimed at students in further and higher education. and Diane Arbus. At times a complex book, it remains essential reading for any student (from approx Year 12 upwards) or Roland Barthes, Camera Lucida teacher of photography. It remains on most reading lists at art Barthes’s last book, this combines a selection of photographs colleges since its publication 25 years ago. with reflections on photography. It examines themes of presence and absence and the relationship between Charles Harrison and Paul Wood (eds), Art in Theory: 1900- photography and theatre, history and death. 1990, 1992, Blackwell An invaluable anthology, this contains part of Walter Benjamin’s classic text ‘The Author as Producer’ (pp 483-489). He raises issues about ethics and morality in relation to photographs that remain pertinent today. Also, he discusses the possibilities of Other current photography exhibitions photographic works becoming commodities and our responses Philip-Lorca diCorcia – A Storybook Life to the subject matter becoming dulled. Whitechapel Art Gallery, London Another relevant essay in this collection is Craig Owens’ ‘The 7 June – 24 August Allegorical Impulse: Towards a theory of Post-Modernism’ quoted in the introduction. Walker Evans (1903–1975) The Photographers’ Gallery, London Catherine de Zegher (ed), Martha Rosler: Positions in the 15 May – 12 July Life World, 1998, Ikon Gallery Published to accompany Rosler’s retrospective exhibition, the book Cindy Sherman gives many examples of this contemporary artist’s commitment to Serpentine Gallery, London art that engages with audiences outside gallery contexts. 3 June – 25 August It contains her classic photo-text work of an area of New York notorious for street drinkers, ‘The Bowery in two Wolfgang Tillmans inadequate descriptive systems’1974-5. Tate Britain, London The book also contains many other examples of her video, 6 June – 14 September photography, performance and installation practice which interrogates many of the issues of documentary, photographic Thomas Ruff – 1979 to the Present truth and ethics discussed in this pack. Tate Liverpool 9 May – 6 July Graham Clarke, The Photograph, 1997, Oxford University Press This book traces the historical development of photography via a series of discussions of the major themes and genres of the medium, including a chapter on documentary photography. It also examines ideas by commentators on photography such as Susan Sontag and Roland Barthes. 2. Historical and Critical Context Photography as a medium and founding influences Craig Owens writing in From the Allegorical Impulse: Towards a Theory of Postmodernism’ (see booklist above) points out: Photography began as a medium approximately 160 years ago. It is not the purpose of this kit to provide a history of photography ‘As an allegorical act ... photography would represent our desire but in relation to the exhibition it is helpful to identify some of to fix the transitory, the ephemeral, in a stable and stabilising the influences on the development of this new medium. image. In the photographs of Atget and Evans, insofar as they Some early practitioners’ work developed out of ideas self-consciously preserve that which threatens to disappear, that relating to the fine art practice of painting. Artists such as Julia desire becomes the subject of the image.’ Margaret Cameron and Alfred Stieglitz (neither in this show) made use of the expressive possibilities inherent in the Impact of photography on modern art practice methods of exposing and developing film to create dramatic The development of photography has had an immeasurable and moody images. Other photographers opted for an effect on modern art practice. A few examples include: ‘objective’ or documentary approach where they tried to represent the world with images they believed shared the supposedly more neutral properties of scientific principles of the • Photography had an impact on the development of abstract day. This type of photography was often referred to as ‘artless’ art as it was seen to be able to capture the real, so painting and was considered to deal with recorded fact rather than a and sculpture needed to find a new direction. more expressive point of view. • Manet used photographs of race horses to prove to sceptical viewers that the horse did lose contact with the ground with Charles Caffin wrote in 1901: all four legs while galloping.
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