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art section 3

  1. 579. How do we generally view photographs?
    as truthful representations of reality (UARG:58,1,1)
  2. 580. How did the 1930s general public perceive photography?
    as a documentary tool (UARG:58,1,1)
  3. 581. How did 1930s photographers perceive photography?
    as a form of art (UARG:58,1,1)
  4. 582. the two most popular genres of photography
    portraiture and landscape (UARG:58,1,3)
  5. 583. What factor did smaller cameras sacrifice for greater portability and faster photography?
    image quality (UARG:58,1,2)
  6. 584. During which decade did photography make its debut as an art form?
    the 1930s (UARG:58,1,3)
  7. 585. Why did some photographers continue to use large‐format cameras in the 1930s?
    higher quality images (UARG:58,1,2)
  8. 586. two popular genres of artistic photography in the 1930s
    landscape and portraiture (UARG:58,1,3)
  9. 587. context in which the public viewed photography in the 1930s
    journalism (UARG:58,2,0)
  10. 588. Samuel Morse
    inventor who brought the daguerreotype to the United States (UARG:58,2,1)
  11. 589. two reasons the American public preferred daguerreotypes to painted portraits
    cheaper and more accurate in portraying a likeness (UARG:58,2,1)
  12. 590. What purpose did photography play during the Civil War?
    documentary (UARG:58,2,2)
  13. 591. Mathew Brady
    a photographer who organized documentary efforts during the Civil War (UARG:58,2,2)
  14. 592. two popular subjects of Civil War photography
    life of soldiers in the camps and the aftermath of battles (UARG:58,2,3)
  15. 593. two kinds of media used to portray the action of the Civil War
    lithographs and photographs (UARG:58,2,3)
  16. 594. Why did the public prefer photographs of the Civil War to prints?
    photographs seemed more realistic and trustworthy (UARG:58,2,3)
  17. 595. What technological limitation prevented Civil War photographers from capturing live action?
    long exposure times (UARG:58,2,3)
  18. 596. two groups who sent photographers to the western territories
    the United States government and private patrons (UARG:59,1,1)
  19. 597. Timothy O’Sullivan
    a survey photographer of the late 1800s (UARG:59,1,1)
  20. 598. three formats in which survey photographs were sold
    stereographs, individual prints, and folio books (UARG:59,1,1)
  21. 599. city in which Timothy O’Sullivan’s photographs were printed and sold
    Washington, D. C. (UARG:59,1,1)
  22. 600. two practical reasons for sending survey photographers to the western territories
    documenting the region and finding locations for railroads and settlements (UARG:59,1,1)
  23. 601. Jacob Riis
    an 1800s to early 1900sphotographer whose work pushed for social reform (UARG:59,2,1)
  24. 602. Lewis Hine
    a late 1800s to early 1900s photographer whose work pushed for social reform (UARG:59,2,1)
  25. 603. two subjects Jacob Riis photographed
    tenement housing and life on the streets (UARG:59,2,1)
  26. 604. Jacob Riis’ goal as a photographer
    to expose the middle class to the struggles of the poor (UARG:59,2,1)
  27. 605. To what labor situation did Lewis Hine object most?
    child labor (UARG:59,2,1)
  28. 606. Lewis Hine’s major social concern
    labor conditions (UARG:59,2,1)
  29. 607. Which building’s construction did Lewis Hine famously photograph?
    the Empire State Building (UARG:59,2,1)
  30. 608. Roy Stryker
    director of the Farm Security Administration photography projects (UARG:60,1,2)
  31. 609. Roy Stryker’s state of birth
    Colorado (UARG:60,1,2)
  32. 610. To which city did Roy Stryker move after World War I?
    New York City (UARG:60,1,2)
  33. 611. Rexford Tugwell
    an agricultural economist who mentored Roy Stryker (UARG:60,1,2)
  34. 612. university at which Roy Stryker studied
    Columbia (UARG:60,1,2)
  35. 613. What subject did Roy Stryker study at Columbia?
    economics (UARG:60,1,2)
  36. 614. a depression‐era book for which Roy Stryker collected images
    ”American Economic Life” (UARG:60,1,2)
  37. 615. How did Roy Stryker educate his students about the labor movement?
    sending them into the city to involve themselves directly (UARG:60,1,3)
  38. 616. two core concepts that informed Roy Stryker’s work with photography
    visual conceptualization of problems and direct engagement with social issues (UARG:60,1,3)
  39. 617. government agency run by Rexford Tugwell from 1935 to 1936
    the Resettlement Administration (UARG:60,1,4)
  40. 618. the original goal of the Resettlement Administration
    relocating poor residents of overburdened rural and urban areas (UARG:60,1,4)
  41. 619. What government administration did the Resettlement Administration become?
    the Farm Security Administration (UARG:60,1,4)
  42. 620. Farm Security Administration
    a New Deal organization that addressed rural problems (UARG:60,1,4)
  43. 621. How did the goals of the Resettlement Administration change when it became the Farm Security Administration?
    focused more on problems faced by rural workers (UARG:60,1,4)
  44. 622. Why were many farmers unable to afford to keep their land during the Great Depression?
    lower prices for agricultural products (UARG:60,1,5)
  45. 623. two factors that led to the Dust Bowl
    drought and poor farming practices (UARG:60,1,5)
  46. 624. three ways in which the Farm Security Administration helped farmers to increase agricultural productivity
    helping tenant farmers and sharecroppers buy land, education on land use, and upgrading equipment (UARG:60,2,0)
  47. 625. section of the Farm Security Administration headed by Roy Stryker from 1935 to 1943
    the Historical Section (UARG:60,2,1)
  48. 626. Roy Stryker’s role as head of the Historical Section of the Farm Security Administration
    overseeing the photographic documentation of the agency’s work (UARG:60,2,1)
  49. 627. two goals of Roy Stryker regarding the Farm Security Administration
    increasing awareness of the Farm Security Administration’s work and garnering support for it (UARG:60,2,1)
  50. 628. How did the tone of the Farm Security Administration’s photographs differ from those of other organizations?
    highlighted the difficulties faced by impoverished workers (UARG:60,2,1)
  51. 629. How did the Farm Security Administration construct a compelling narrative for their work?
    photographs (UARG:60,2,1)
  52. 630. shooting scripts
    guidelines stating what kind of subjects and poses a photographer should look for (UARG:61,1,1)
  53. 631. three ways in which Roy Stryker gave his photographers guidance
    educating them on social issues, providing them with shooting scripts, and reviewing their negatives (UARG:61,1,1)
  54. 632. Dorothea Lange
    a famous photographer who worked under Roy Stryker for the Farm Security Administration (UARG:61,1,2)
  55. 633. region photographed by Dorothea Lange for the Farm Security Administration
    California (UARG:61,1,2)
  56. 634. Gordon Parks
    a famous photographer who worked under Roy Stryker for the Farm Security Administration (UARG:61,1,2)
  57. 635. Walker Evans
    a famous photographer who worked under Roy Stryker for the Farm Security Administration (UARG:61,1,2)
  58. 636. Jack Delano
    a famous photographer who worked under Roy Stryker for the Farm Security Administration (UARG:61,1,2)
  59. 637. Why was Roy Stryker able to publish his photographs in major publications?
    connections in the media (UARG:61,1,3)
  60. 638. Walker Evans
    a famous 1930s photographer (UARG:61,1,4)
  61. 639. Walker Evans’ city of birth
    Saint Louis, Missouri (UARG:61,1,4)
  62. 640. three cities in which Walker Evans spent his childhood
    Saint Louis, Chicago, and Toledo (UARG:61,1,4)
  63. 641. What type of camera did Walker Evans use as a child?
    a Kodak Brownie (UARG:61,1,4)
  64. 642. Where did Walker Evans travel in 1926?
    Europe (UARG:61,1,4)
  65. 643. government agency that employed Walker Evans in the 1930s
    Farm Security Administration (UARG:61,1,4)
  66. 644. What kind of camera did Walker Evans prefer while working for the Farm Security Administration?
    8 x 10 (UARG:61,2,0)
  67. 645. The Crime of Cuba
    Carleton Beals book for which Walker Evans supplied photographs (UARG:61,2,1)
  68. 646. Why do large‐format cameras produce sharper photographs?
    print from a large negative (UARG:61,2,0)
  69. 647. How did Walker Evans photograph people on New York City streets and subways?
    with a 35mm camera hidden in his coat (UARG:61,2,0)
  70. 648. Who hired Walker Evans to work for the Farm Security Administration?
    Roy Stryker (UARG:61,2,2)
  71. 649. Let Us Now Praise Famous Men
    a book about white sharecroppers in Alabama, published in 1941 (UARG:61,2,3)
  72. 650. James Agee
    a Fortune magazine writer who collaborated with Walker Evans (UARG:61,2,3)
  73. 651. two creators of Let Us Now Praise Famous Men
    James Agee and Walker Evans (UARG:61,2,3)
  74. 652. What region of the United States did Walker Evans photograph for the Farm Security Administration?
    the South (UARG:61,2,2)
  75. 653. For what publication was Let Us Now Praise Famous Men originally written?
    Fortune magazine (UARG:61,2,3)
  76. 654. What event overshadowed the release of Let Us Now Praise Famous Men?
    the United States’ entry into World War II (UARG:61,2,3)
  77. 655. museum where Walker Evans held his first solo exhibition
    Museum of Modern Art (UARG:62,1,1)
  78. 656. Why was Walker Evans’ 1938 Museum of Modern Art exhibition significant?
    first exhibition devoted to a single photographer (UARG:62,1,,1)
  79. 657. grant Walker Evans was awarded in 1940
    Guggenheim Fellowship (UARG:62,1,1)
  80. 658. publication that hired Walker Evans in 1945
    Fortune magazine (UARG:62,1,2)
  81. 659. position that Walker Evans held at Fortune magazine
    staff writer (UARG:62,1,2)
  82. 660. university where Walker Evans taught from 1965 until his death
    Yale (UARG:62,1,2)
  83. 661. Negro Barber Shop Interior, Atlanta
    a famous Walker Evans photograph (UARG:62,1,3)
  84. 662. What feature of Negro Barber Shop Interior, Atlanta makes it unusual?
    no figures in the photograph (UARG:62,2,0)
  85. 663. city in which Walker Evans died
    New Haven, Connecticut (UARG:62,1,2)
  86. 664. What feature of Negro Barber Shop Interior, Atlanta implies a human presence?
    the chairs are prepared for customers (UARG:62,2,0)
  87. 665. type of camera used for Negro Barber Shop Interior, Atlanta
    large‐format (UARG:62,2,1)
  88. 666. item covering the walls on the left side of Negro Barber Shop Interior, Atlanta
    newspaper (UARG:62,2,0)
  89. 667. Which way do the chairs face in Negro Barber Shop Interior, Atlanta?
    toward the viewer (UARG:62,2,1)
  90. 668. Where are the mirrors located in Negro Barber Shop Interior, Atlanta?
    at the sides (UARG:62,2,1)
  91. 669. gender typically associated with barbershops
    male (UARG:62,2,2)
  92. 670. What social condition does Negro Barber Shop Interior, Atlanta highlight?
    racial segregation (UARG:62,2,2)
  93. 671. term Walker Evans used to describe the purpose of his photography
    lyric documentary (UARG:63,1,3)
  94. 672. goal of Walker Evans’ photography
    conveying the breadth of human experience (UARG:63,1,3)
  95. 673. Migrant Mother
    a famous Dorothea Lange photograph (UARG:63,2,1)
  96. 674. What disease did Dorothea Lange suffer as a child?
    polio (UARG:63,2,1)
  97. 675. What profession did Dorothea Lange originally intend to pursue in New York City?
    teaching (UARG:63,2,1)
  98. 676. To what city did Dorothea Lange move in 1913?
    New York City (UARG:63,2,2)
  99. 677. two famous photographers who mentored Dorothea Lange
    Clarence White and Arnold Genthe (UARG:63,2,2)
  100. 678. In what city did Dorothea Lange start a portrait studio in 1919?
    San Francisco (UARG:63,2,2)
  101. 679. Paul Taylor
    an economist who married and collaborated with Dorothea Lange (UARG:63,2,3)
  102. 680. two groups photographed by Dorothea Lange in California
    sharecroppers and migrant workers (UARG:63,2,3)
  103. 681. An American Exodus
    a book on sharecroppers and migrant workers by Paul Taylor and Dorothea Lange (UARG:63,2,3)
  104. 682. cause that Dorothea Lange’s photography promoted
    supporting labor camps (UARG:63,2,4)
  105. 683. With what photographer did Dorothea Lange collaborate to document Japanese internment camps?
    Ansel Adams (UARG:64,1,1)
  106. 684. How did Dorothea Lange’s attitude toward her work differ from that of Walker Evans?
    considered her photos political tools (UARG:63,2,4)
  107. 685. In what form did the United States government use Migrant Mother in 1998?
    postage stamp (UARG:64,1,2)
  108. 686. subject of Migrant Mother
    a mother and her 3 children (UARG:64,1,3)
  109. 687. Whose face, of the four figures in Migrant Mother, is visible?
    the mother (UARG:64,1,3)
  110. 688. appearance of the figures in Migrant Mother
    dirty or unkempt (UARG:64,2,0)
  111. 689. number of photographs in the series that included Migrant Mother
    5 (UARG:64,2,2)
  112. 690. Florence Owens Thompson
    the central figure of Migrant Mother (UARG:64,2,4)
  113. 691. Florence Owens Thompson’s state of birth
    Oklahoma (UARG:64,2,4)
  114. 692. Why did Florence Owen Thompson migrate to California?
    finding work (UARG:64,2,4)
  115. 693. What occupation did Dorothea Lange mistakenly attribute to Florence Owen Thompson?
    peapicker (UARG:65,1,0)
  116. 694. What TWO possessions did Dorothea Lange claim Florence Owen Thompson had sold for food?
    tent and car tires (UARG:65,1,1)
  117. 695. Berenice Abbott
    a famous photographer who became prominent in the 1930s (UARG:65,2,1)
  118. 696. Berenice Abbott’s city of birth
    Springfield, Ohio (UARG:65,2,1)
  119. 697. To what city did Berenice Abbott move in 1918?
    New York City (UARG:65,2,1)
  120. 698. With what artistic community did Berenice Abbott involve herself upon arriving in New York City?
    Greenwich Village (UARG:65,2,1)
  121. 699. To what city did Berenice Abbott move in 1921?
    Paris (UARG:65,2,1)
  122. 700. Berenice Abbott’s first job in photography
    darkroom assistant (UARG:65,1,2)
  123. 701. photographer who first employed Berenice Abbott
    Man Ray (UARG:65,1,2)
  124. 702. Man Ray
    a famous 20th century portrait photographer and painter (UARG:65,1,2)
  125. 703. Why did Man Ray intentionally hire a darkroom assistant with no experience?
    so she would print his photographs exactly as he wanted (UARG:65,1,2)
  126. 704. three celebrities whose portraits appeared in Berenice Abbott’s first exhibition
    Coco Chanel, James Joyce, and Jean Cocteau (UARG:65,1,3)
  127. 705. city in which Berenice Abbott’s first exhibition took place
    Paris (UARG:65,1,3)
  128. 706. Eugene Atget
    a famous 20th century photographer who influenced Berenice Abbott and Walker Evans (UARG:65,1,3)
  129. 707. primary subject of Eugene Atget’s photography
    the city of Paris (UARG:66,1,0)
  130. 708. Why did Berenice Abbott return to the United States from Paris?
    to promote Eugene Atget’s photographs of Paris (UARG:66,1,1)
  131. 709. What TWO aspects of New York City surprised Berenice Abbott when she returned in 1929?
    the increase in population and the boom in skyscraper construction (UARG:66,1,1)
  132. 710. three iconic New York City structures built during Berenice Abbott’s time photographing the city
    George Washington Bridge, Chrysler Building, and Rockefeller Center (UARG:66,2,0)
  133. 711. museum that exhibited 41 of Berenice Abbott’s photographs in 1934
    the Museum of the City of New York (UARG:66,2,1)
  134. 712. school at which Berenice Abbott taught from 1935
    the New School for Social Research (UARG:66,2,1)
  135. 713. To what government agency did Berenice Abbott propose a documentary survey of New York City?
    the Works Progress Administration/Federal Arts Project (UARG:66,2,1)
  136. 714. Berenice Abbott’s documentary survey of New York City
    ”Changing New York” (UARG:66,2,1)
  137. 715. position that Berenice Abbott held in the Federal Arts Project
    Superintendent of the Photographic Division (UARG:66,2,1)
  138. 716. Why did Berenice Abbott feel it was important to document New York City?
    It was rapidly changing. (UARG:66,2,1)
  139. 717. Why was Berenice Abbott taunted when she worked on the street?
    seen as taking employment from a man (UARG:66,2,3)
  140. 718. What event did Berenice Abbott leave the Federal Arts Project to photograph in 1939?
    the World’s Fair (UARG:66,2,4)
  141. 719. To what state did Berenice Abbott move after the 1939 World Fair?
    Maine (UARG:67,1,1)
  142. 720. two aspects of Maine documented by Berenice Abbott
    architecture and landscape (UARG:67,1,1)
  143. 721. To what kind of textbook did Berenice Abbot contribute photographic illustrations?
    physics (UARG:67,1,1)
  144. 722. Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan
    a famous Berenice Abbott photograph of New York City buildings (UARG:67,1,2)
  145. 723. element of Berenice Abbott’s work exemplified by Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan
    juxtaposing old and new buildings (UARG:67,1,2)
  146. 724. building in the foreground of Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan
    No. 331 East 39th Street (UARG:67,1,2)
  147. 725. Why are the windows of No. 331 in Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan striking?
    they are boarded up (UARG:67,1,2)
  148. 726. building material of No. 331 in Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan
    brick (UARG:67,1,2)
  149. 727. two functions of No. 331 in Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan
    shops and residences (UARG:67,1,2)
  150. 728. Where in Contrasting No. 331 East 39th Street with Chrysler Building and Daily News Building, Manhattan is No. 331 positioned?
    the right half (UARG:67,1,2)
  151. 729. On what street was the New York Daily News building located in the 1930s?
    East 42nd Street (UARG:67,1,3)
  152. 730. What distinction did the Chrysler Building hold when it was constructed?
    tallest building in New York (UARG:67,1,3)
  153. 731. What feature makes the Chrysler Building stand out in the New York skyline?
    the crown ornamentation (UARG:67,1,3)
  154. 732. What building replaced the Chrysler Building as the tallest in New York?
    the Empire State Building (UARG:67,1,3)
  155. 733. Ansel Adams
    a famous 20th century photographer (UARG:67,2,2)
  156. 734. type of photograph for which Ansel Adams is most famous
    black‐and‐white landscapes (UARG:67,2,2)
  157. 735. Which national park did Ansel Adams primarily photograph?
    Yosemite (UARG:67,2,2)
  158. 736. Ansel Adams’ job in the 1930s
    commercial photographer (UARG:67,2,2)
  159. 737. two political issues Ansel Adams addressed
    land development and environmental protection (UARG:67,2,2)
  160. 738. Ansel Adam’s city of birth
    San Francisco (UARG:67,2,3)
  161. 739. What occupation did Ansel Adams consider pursuing in his youth?
    concert pianist (UARG:67,2,3)
  162. 740. What kind of camera did Ansel Adams use during his 1916 visit to Yosemite?
    a Kodak Brownie (UARG:68,1,0)
  163. 741. What organization did Ansel Adams join at age 17?
    the Sierra Club (UARG:68,1,0)
  164. 742. Sierra Club
    an organization founded in the 19th century that sought to preserve nature and make it accessible (UARG:68,1,0)
  165. 743. What job did Ansel Adams first take in the Sierra Club?
    tour guide (UARG:68,1,0)
  166. 744. What position did Ansel Adams eventually achieve in the Sierra Club?
    director (UARG:68,1,0)
  167. 745. Virginia Best
    Ansel Adams’ wife (UARG:68,1,1)
  168. 746. What establishment did the Best family operate in Yosemite?
    a photographic studio (UARG:68,1,1)
  169. 747. Group f/64
    a group of photographers promoting straight photography to which Ansel Adams belonged (UARG:68,2,2)
  170. 748. four photographic techniques Ansel Adams preferred
    large‐format camera, large depth of field, sharp focus, and careful balance of contrast (UARG:68,2,1)
  171. 749. How did Ansel Adams achieve his balance of contrast?
    darkroom techniques (UARG:68,2,1)
  172. 750. zone system
    Ansel Adams’ system of balancing light and dark in a photograph (UARG:68,2,1)
  173. 751. From what photographic term did Group f/64 take its name?
    the smallest aperture opening of a lens (UARG:68,2,2)
  174. 752. What style of photography did Group f/64 promote?
    straight photography without manipulation (UARG:68,2,2)
  175. 753. two effects of an f/64 aperture opening
    large depth of field and range of focus (UARG:68,2,2)
  176. 754. two artistic effects rejected by Group f/64
    soft focus and textured papers emulating painting (UARG:68,2,2)
  177. 755. Ansel Adams’ main concern during the 1930s
    the preservation of natural spaces (UARG:68,2,3)
  178. 756. To which part of the United States government did Ansel Adams submit portfolios of his work?
    Congress (UARG:68,2,3)
  179. 757. What goal did Ansel Adams hope to achieve by submitting his photos to Congress?
    promote the development of new parks (UARG:68,2,3)
  180. 758. two corporations that employed Ansel Adams as a photographer
    Kodak and Standard Oil (UARG:68,2,3)
  181. 759. United States government department that hired Ansel Adams in 1941
    Department of the Interior (UARG:68,2,4)
  182. 760. Ansel Adam’s task under the Department of the Interior
    photographing landscapes across the country (UARG:68,2,4)
  183. 761. two subjects Ansel Adams photographed for the Department of the Interior
    national parks and Native American reservations (UARG:68,2,4)
  184. 762. What grant did Ansel Adams receive in the 1940s?
    Guggenheim Fellowship (UARG:68,2,4)
  185. 763. What Ansel Adams project did the Guggenheim Fellowship fund?
    photographing national parks (UARG:69,1,0)
  186. 764. Why did Ansel Adams remove traces of human presence from his photographs?
    to give an impression of idyllic, untouched nature (UARG:69,1,0)
  187. 765. Moonrise, Hernandez, New Mexico
    a famous Andel Adams photograph (UARG:69,1,1)
  188. 766. amount for which Moonrise, Hernandez, New Mexico was auctioned off
    $600,000 (UARG:69,1,1)
  189. 767. By what road is Hernandez, New Mexico located?
    US Highway 84 (UARG:69,1,1)
  190. 768. What piece of equipment was Ansel Adams forced to do without when taking Moonrise, Hernandez, New Mexico?
    light meter (UARG:69,1,1)
  191. 769. three human structures in Moonrise, Hernandez, New Mexico
    group of houses, adobe church, and cemetery (UARG:69,1,1)
  192. 770. two contrasting elements in the upper part of Moonrise, Hernandez, New Mexico
    light clouds and dark sky (UARG:69,1,2)
  193. 771. Why did Ansel Adams retain rights to Moonrise, Hernandez, New Mexico instead of the Department of the Interior?
    did not bill the Department of the Interior for his work that day (UARG:69,2,1)
Author
brad
ID
37313
Card Set
art section 3
Description
art section 3
Updated

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