American Identity Tour Irving Penn · PDF fileAmerican Identity Tour Irving Penn Key Ideas /...

American Identity Tour Irving Penn

Irving Penn: Beyond Beauty

Intro (in Great Hall)

Welcome to the Wichita Art Museum!

Each group: Introduce yourself and go over expectations. Address Basic Needs: make sure students/chaperones

know where restrooms and water fountains are, when they can sit down and where, how to let you know if they need

something. If any of these go unaddressed, students may have a hard time focusing on the engaging tour you are giving!

Setting the stage/getting input

Remember to start your tour with a brief introduction: i.e. Today we are

will look at select artworks and talk about American ideas, history,

and identity that is expressed.

Irving Penn was born in 1917 in Plainfield, New Jersey to immigrant parents. Soon

the family moved to Philadelphia and his father began work as a watchmaker and his

mother as a nurse. This story of immigration is often the beginning of the modern

American family’s story. While Penn’s own, personal, American History was

undoubtedly important in his work he also felt a drive to document others, in their

own cultural dress within their cultural landscape.

Navigating the Tour

For the purpose of this tour, the stops have been divided into 4 main categories of identity. Based

on the teacher’s request, student’s interests and time permitted, you may choose one or more

categories to focus on in your tour.

The categories are:

Personal identity

Cultural identity

National identity

Artistic identity

For each area of the museum and each category, there will be multiple choices of stops. You will not have time to go to every

stop. When a tour is assigned, the tour leader will develop the rotations based on the areas of the museum. If you have a

favorite work of art that fits the key ideas and focus of this tour, you are welcome to include it as time permits. Share your

passion for our collection with the visitors!


Key Ideas / Definitions

Identity (As a General Blanket Term)

The definition of how a person sees or thinks of themselves; Identity can also refer to how people

represent themselves to each other.

Personal Identity

How the uniqueness of a sitter, still life, or photograph is conveyed to the audience.

Cultural Identity

How ethnicity, nationality, language, religion, and gender are portrayed through Irving Penn’s

photographs

National Identity

Since the United States was founded in the 18th century, Americans have defined themselves by their common values

and belief in individual freedom.

(from usembassy.gov)

What ideas and values are distinctly American, and how does Penn highlight this?

Artistic Identity

How do the photographs exemplify, or display, Penn’s artistic vision?


Identity

Cultural

Personal

What do you see- What do you see? Have students make an inventory, or listing, of all the elements they can find.

What comparisons can you make – Have you seen storefronts like this before? Is so, where? If not, where do you

think this store would be located? Where do you think this photo was taken? Is it a portrait of the boy or the location?

What does it mean to you- Do you feel a connection to this boy or the store imagery behind him? Why or why not?

What do you see – What do you notice about this picture? What kind of style does it have? Is it graphic? Realistic?

What is the focal point?

What comparisons can you make –What is the artist trying to convey about his perception of advertising in our

everyday life? What makes you say that?

What does it mean to you – Is there anything familiar about this store to you? What is different? Have you seen

anything like this before? What kind of person do you think works here? Can you describe him?

Young Boy, Pause Pause,

American South

Irving Penn

Silver Print

1941, printed in 2001

Identity

Artistic

Cultural

National

Penn started his career in the late 1930s, photographing street

scenes in places like New York and Philadelphia, and

captured gritty images of storefronts and working-class

people from the American South in the early 1940s. Here

Penn was able to photograph the young boy at a close

distance, and he almost seems to be in dialogue with the

camera, or Penn himself. His strong gaze presents an

interesting contrast with the graphic storefront advertising

behind him, with the words “Pause Pause.”

Optical Goods, New York

Irving Penn

Silver Print

1942, printed 2001

Often Penn photographed things that were off-key or unhinged,

whether it was shop signs with missing letters, silhouettes of giant

scissors, misspelled graffiti or advertising posters. Here three

painted eyes peer out of an optician’s storefront. The photograph

is reminiscent of a surrealist painting with its crisp depiction yet

disembodied feel. Each eye is different from the other. Penn

captured the dichotomy of symmetrical composition and the

uncanny feeling that the three-eyed stare gives those who pass by.


Identity

Artistic

Personal

National

What do you see –What do you find interesting about this image? What kind of instrument is this?

What comparisons can you make – How is this different from other photography we have seen today?

Similar? Would you consider this a portrait?

What does it mean to you – Is music important to you, as it would be to the musician? Why do you think

the hands are important?

Identity

Artistic

Cultural

National

What do you see -

What is the first thing you notice when you

look at this photograph?

What comparisons can you make –

What senses are stimulated?

What does it mean to you –

What thoughts or feelings are evoked from

looking at this photograph? How do you

think the model felt?

12 Hands of Miles Davis and His Trumpet, New York Irving Penn Silver Print 1986, printed 1999

Bee (A), New York Irving Penn Chromogenic Print

1995, printed 2001

This piece is a fun, almost abstract, entry into the idea

of identity. Miles Davis was born in 1926 to an affluent

middle class African-American family in Alton, Illinois.

Through preforming Davis realized that New York

held the action he desired, and his jazz career began at

what would become Julliard. He is considered to be

among the most influential and acclaimed figures in the

history of jazz and 20th century music. So this piece

speaks to Davis’ artistic and personal identity which is

founded upon his music, as well as the national identity

that surrounded his acclaim and the American’s love of

jazz.

For this shoot, a bee keeper was flown in from New

Mexico. Bees become docile and harmless when cold, and

the bee keeper knew the exact temperature for this state

of induced hibernation – he put them in the fridge. Penn

remembered that “Bee Stung Lips” had been a popular

expression in the 1950s to characterize full, pouty lips. So

in 1995, when women started having collagen injected to

make their lips fuller, he thought using this idea was a

perfect illustration for the Vogue article. This works

through Penn’s artistic desire to change the viewer’s

perception of what is harmful or thus beautiful. At the

same time it reflects the American emphasis on

“injecting” beautiful. These impossible standards still exist

today, playing into the cultural standards of what it means

to be a woman of beauty – a concept that is artistic in its

own right as well.


Identity

Artistic

National

What do you see –What do you find interesting about this image? What tools do you see? Do you see

anything different from what you’ve used in school?

What comparisons can you make – How is this different from other still life photos or paintings you may

have seen before? Any similarities?

What does it mean to you – Where do we see these tools normally? What kinds of jobs would require these

tools? Can you think of any task you would do with them? Does this highlight anything about the American

work/art world?

Identity

Artistic

Personal

What do you see - What is the first thing you notice when you look at this photograph?

What comparisons can you make – Irving Penn is holding the camera, but is this his studio? What do you see

that may suggest or deny your theory? Could this be a portrait or a way to capture what interior space looks like?

What does it mean to you –Do you take “selfies”? Are they similar or different than this photo?

Still Life with Triangle and Red Eraser, New York Irving Penn Cibachrome Print 1985 Mixografia print on handmade paper

Irving Penn and Robert

Freson in Henry Moore’s

Studio, Much Hadham,

England Irving Penn Silver Print 1962, printed 2000

Quite like the famous Penn portraits, this still life

depicts the tools of an artist – a portrait of the

profession. This still life composition is fashioned out

of materials used by a graphic artist, including a grease

pencil, a triangle, colored pigments, a ruler, and

multiple erasers. While clearly speaking to artistic

identity ( tools of the trade), both for graphic artists

and for Penn’s compositional interest, the photograph

also lends itself to national identity. America’s identity

is preformed to the world via our graphic arts and even

through Penn’s advertising photography.

This photography shows two photographers, in another

artist’s studio. Freson worked under Penn for 13 years at

Vogue. It plays into personal identity as Penn showcases a

self-portrait, in a mirror, as well as oddities that can be

found in a sculptor’s studio. Here Penn depicts himself

within another’s identity though the medium of a studio –

an intensely personal artistic space.. While Henry Moore is

not an American sculptor, we do have one of his

sculptures installed on the sculpture deck! So it will be

important to emphasize the way that art can disseminate

throughout the world, and how American Art practices

really do have an influence.


Identity

Personal

National

What do you see – Can you describe what stands out to you the most? What foods do you recognize?

What comparisons can you make – Have you seen still life’s that are different from this one, maybe even one

you’ve seen today? Why is this different to you? Where do you think you would find this photograph?

What does it mean to you – What does this say about Americans and food? Would you use this image to

advertise for frozen foods or against them?

Engagement: Questioning and Responding

Open ended vs close ended questions- As much as possible, present questions with multiple correct answers

(open-ended). This gets more minds engaged in the critical thinking and viewing of the works of art. One strategy

for asking questions is starting with the “right there” (or obvious) questions and building to more difficult. By

asking open ended questions, whether easy or difficult, students feel safe and unintimidated when they realize there

is no wrong answer.

Examples of open ended questions:

What do you see (describe) -What do you notice? How would you describe this artwork?

What comparisons can you make (analyze)- What connections do you make to school/your life/the world/etc?

What questions do you have? How are the individual parts put together?

What does it mean to you (interpret)- What do you think is going on in this work of art? What does it mean? What

does it mean to you?

Back up answers with evidence- What do you see that makes you say that?

Frozen Foods, New York

Irving Penn

Dye Transfer Print

1977, printed 1984

Penn’s preferred subjects, food, flowers, and fashion, were all

inherently ephemeral, and he saw beauty in all manner of things and

in every stage of life. There is rigidity to this still life that we are not

used to seeing in conjunction with food. Yet as Americans come to

rely on frozen or pre-packaged foods these images can seem more

commonplace. Though this photograph was taken in 1977, there is

still a contemporary feel which is modern and simple. This is

coupled with a fascination of decay on Penn’s part, for these foods

are beginning to thaw and change to their expected colors, and

Penn captures this moment of chance.


Be patient. Allow wait time. After you ask a question, give time for visitors to answer. It’s easy to want to fill the

silence, but try to let it be until someone responds.

Other ways to get students involved

Le them explore a wall of the gallery, on which your next piece will be, and let them do some self-guided

exploration.

Think, pair, share- have students pair up to talk about the question then share their partner’s thoughts

Student choices in viewing- take an inventory of one part of the gallery and pick an artwork they identify

with to discuss deeper

Responding to their answers:

Once you ask the questions, your reaction or response to the students’ answers is just as important. How you follow

up with them will determine how willing they are to continue engaging in conversation. Make sure your responses

are neutral and you validate each person’s response in some way. Paraphrase to make sure you heard them correctly.

Examples:

Paraphrasing (also neutral responses): “I hear you saying…” or “It sounds like you’re noticing…”

Neutral: “Thanks for your observation!” or “You’re really noticing the____ (color, details, etc)!”

vs. Non neutral: “Great answer!” or “Who has a better idea?” or “That’s the best one I’ve heard!”

Reflection

The end of the tour is almost as important as the welcome.

Give a summary of what they have seen, ask them what they would consider to be the

highlights of the tour!

Give your group something to think about as they leave.

Make sure chaperones know where to go to return to the museum lobby or another

location if they request. Remind your group to return on our FREE Saturdays all year

round!


Connection to school curriculum

National Core Arts Standards addressed:

VA:Pr6.1.6a (Presenting) Access, explain, and provide evidence of how museums or other

venues reflect history and values of a community.

VA:Re7.1.6a (Reflecting) Identify and interpret works of art or design that reveal how

people live around the world and what they value.

VA:Cn11.1.6a (Connecting) Analyze how art reflects changing times, traditions, resources,

and cultural uses.

Kansas College and Career Readiness standards addressed:

Elementary School

4th grade

Reading- RL.4.1 – Refer to details and examples in a text work of art when explaining what the

text work of art says shows explicitly and when drawing inferences from the text work of art.

RL.4.2 – Determine a theme of a story, drama, or poem work of art from details in the

text work of art; summarize the text work of art.

Writing- W.4.9 – Draw evidence from literary or informational texts works of art to support

analysis, reflection, and research.

Speaking and Listening- SL.4.1d – Review the key ideas expressed and explain their own ideas

and understanding in light of the discussion.

5th grade

Reading- RL.5.9 – Compare and contrast stories works of art in the same genre (e.g., mysteries

and adventure stories) on their approaches to similar themes and topics.

Writing- W.5.9 – Draw evidence from literary or literary or informational texts works of art to

support analysis, reflection, and research.

Speaking and Listening- SL.5.1c – Pose and respond to specific questions by making comments

that contribute to the discussion and elaborate on the remarks of others.


Middle School

Reading- RL.6.1, RL.7.1, RL.8.1– Cite textual visual evidence to support analysis of what the text

work of art says shows explicitly as well as inferences drawn from the text work of art.

RL.6.2 and RL.7.2 – Determine a theme or central idea of a text work of art, how it is

conveyed through particular details, and analyze its development over the course of the text

work of art; provide an objective summary of the text work of art; provide a summary of the

text work of art distinct from personal opinions or judgments.

RL.8.5 – Compare and contrast the structure of two or more texts works of art and

analyze how the differing structure of each text work of art contributes to its meaning and

style.

Writing- W.6.9, W.7.9, W.8.9 – Draw evidence from literary or informational texts work of art to support analysis, reflection, and research. Speaking and Listening- SL.6.1c – Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

SL.7.1c – Pose questions that elicit elaboration and respond to others’ questions and

comments with relevant observations and ideas that bring the discussion back on topic as needed. SL.7.1d – Acknowledge new information expressed by others and, when warranted, modify

their own views. SL.8.1c – Pose questions that connect the ideas of several speakers and respond to others’ questions and comments with relevant evidence, observations, and ideas. SL.8.1d – Acknowledge new information expressed by others, and, when warranted, qualify

or justify their own views in light of the evidence presented.

High School

Writing- W.9-10.9 and W.11-12.9 Draw evidence from literary or informational texts works of art

to support analysis, reflection and research.


Speaking and Listening- SL.9-10.1c Propel conversations by posing and responding to questions

that relate the current discussion to broader themes or larger ideas; actively incorporate others into

the discussion; and clarify, verify, or challenge ideas and conclusions + SL.11-12.1c and promote

divergent and creative perspectives.

Literacy in History and Social Studies-

RH.9-10.6 Compare the point of view of two or more authors artists for how they treat the same

or similar topics, including which details they include and emphasize in their respective accounts

artworks.

RH.11-12.6 Evaluate authors’ artists’ differing points of view on the same historical event or issue

by assessing the authors’ artists’ claims, reasoning and evidence.

Social Studies Standards for all grades:

1. Choices have consequences.

2. Individuals have rights and responsibilities.

3. Societies are shaped by beliefs, idea, and diversity.

4. Societies experience continuity and change over time.

5. Relationships between people, place, idea, and environments are dynamic.

Elementary School

4th grade focus- Kansas and Regions of the United States (Cultural and National

identity)

5th grade focus- A New Nation: Beginnings through 1800 (National identity)

Middle School

6th grade focus- Ancient World History (Cultural identity)

7th grade focus- Kansas History (Cultural Identity)

8th grade focus- US History: Constitutional Age to International Expansion (National

identity)


High School –

1900 to the present, including Progressivism, World War I, the 1920s, the Great Depression

and New Deal, World War II and its aftermath, the Civil Rights Movement, Vietnam, and

the Modern World (National and Cultural Identity)

STEM Practices

While on the tour, students will engage in the following STEM practices using works of art.

4. Engage in Inquiry

STEM proficient students will engage in inquiry to investigate global issues, challenges, and real

world problems.

A. Ask questions to identify and define global issues, challenges, and real world

problems.

5. Engage in Logical Reasoning

STEM proficient students will engage in logical reasoning to answer complex questions, to investigate

global issues, and to develop solutions for challenges and real world problems.

A. Engage in critical thinking.

American Identity Tour Irving Penn · PDF fileAmerican Identity Tour Irving Penn Key Ideas /...

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