Today Shana Lindsay and I made four 5-minute videos using Jing about four different photographers. The videos are also available at the smARThistory site.

Click here to watch a video about Diane Arbus’ Boy with a Toy Grenade (1962).


Click here to watch a video of Henri Cartier-Bresson’s, Behind the Gare Saint-Lazare, Paris (1932).


Click here to watch a video about William Eggleston’s Red ceiling, or Greenwood, Mississippi (1973).


Click here to watch a video about Sherri Levine’s (Untitled) After Edward Weston (1981).

Click here to watch a short video podcast about Millais’ painting Christ in the House of His Parents, 1850 (Tate Britain)
Millais, Christ in the House of His Parents, 1850 (Tate Britain)

Click here to watch a short video podcast about Millais’ painting, Ophelia, 1852 (Tate Britain)
Millais, Ophelia, 1852 (Tate Britain)

My online students got into a heated discussion about how Enrico Scrovegni, the patron of Giotto’s frescos in the Arena Chapel, asked Giotto to depict him handing the chapel to the angels and Virgin Mary in heaven — thus implying a kind of virtuousness about himself, that the students felt to be a kind of potentially false representation.

So, we made this vodcast about how images can be used to support specific political agendas, focusing on the famous painting by Goya, The Third of May, 1808.

Warning: There are some difficult images in this video that may not be appropriate for all ages.

Click here to see a larger version.

 
icon for podpress  Goya, Third of May, 1808 (1814) [17:07m]: Play Now | Play in Popup | Download

Monet’s Gare St. Lazare

August 31st, 2007

 
icon for podpress  Monet, Gare St. Lazare, 1877 (Musee d'Orsay) [5:00m]: Play Now | Play in Popup | Download

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