Professional Documents
Culture Documents
Annie Leibovitz
Lessons and Activities for Students
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CONTENTS
3 B i o g r a p hy
4 Exhibition Introduction
5 L e s so n # 1
9 L e s so n # 2
12 L e s so n # 3
An Introduction to Portrait
Photography and Its Evolution
13 Part I. Portrait Photography Today
17 Images
30 B i b l i o g r a p hy a n d Li n ks
31 A b o u t I CP
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BIOGR APHY
Annie Leibovitz
American Music (2003); A Photographer’s Life, 1990-
2005 (2006); Annie Leibovitz at Work (2008), a first-
[Image 1, p.17] began her career as a person commentary on her career; Pilgrimage(2011);
photojournalist for Rolling Stone in 1970, while and an over-sized, limited collector’s edition of her
she was still a student at the San Francisco Art photographs published by Taschen (2014).
Institute. Her pictures have appeared regularly on
Exhibitions of Leibovitz’s work have appeared at
magazine covers ever since. Leibovitz’s large and
museums and galleries all over the world, including
distinguished body of work encompasses some of
the National Portrait Gallery and the Corcoran
the most well-known portraits of our time.
Gallery in Washington, D.C.; the International
Leibovitz’s first major assignment was for a cover Center of Photography in New York; the Brooklyn
story on John Lennon. She became Rolling Stone’s Museum; the Stedelijk Museum in Amsterdam;
chief photographer in 1973, and by the time she the Maison Européenne de la Photographie in
left the magazine, ten years later, she had shot Paris; the National Portrait Gallery in London; the
one hundred and forty-two covers and published Hermitage Museum in St. Petersburg, Russia; and
photo essays on scores of stories, including her the Pushkin State Museum of Fine Arts in Moscow.
memorable accounts of the resignation of Richard
Leibovitz is the recipient of many honors. In 2006 she
Nixon and of the 1975 Rolling Stones tour. In 1983,
was made a Commandeur in the Ordre des Arts et
when she joined the staff of the revived Vanity Fair,
des Lettres by the French government. The previous
she was established as the foremost rock music
year, in a compilation of the forty top magazine
photographer and an astute documentarian of the
covers of the past forty years by the American
social landscape. At Vanity Fair, and later at Vogue,
Society of Magazine Editors (ASME), she held the
she developed a large body of work—portraits of
top two spots (#1 for the photograph of John Lennon
actors, directors, writers, musicians, athletes, and
and Yoko Ono taken for Rolling Stone the day Lennon
political and business figures, as well as fashion
was shot, and #2 for the pregnant Demi Moore in
photographs—that expanded her collective portrait
Vanity Fair). In 2009, she received the International
of contemporary life. In addition to her editorial
Center of Photography’s Lifetime Achievement
work, she has created several influential advertising
Award, ASME’s first Creative Excellence Award,
campaigns, including her award-winning portraits
and the Centenary Medal of the Royal Photographic
for American Express and the Gap. She has also
Society in London. In 2012, she was the recipient of
collaborated with many arts organizations. Leibovitz
the Los Angeles Museum of Contemporary Art Award
has a special interest in dance, and in 1990 she
to Distinguished Women in the Arts and the Wexner
documented the creation of the White Oak Dance
Prize. In 2013 she received the Prince of Asturias
Project with Mikhail Baryshnikov and Mark Morris.
Award for Communication and Humanities. She was
Several collections of Leibovitz’s work have the inaugural recipient of the San Francisco Museum
been published. They include Annie Leibovitz: of Modern Art Contemporary Vision Award in 2015.
Photographs (1983); Annie Leibovitz: Photographs Leibovitz has been designated a Living Legend by
1970–1990 (1991); Olympic Portraits (1996); the Library of Congress. She lives in New York with
Women (1999), in collaboration with Susan Sontag; her three children, Sarah, Susan, and Samuelle.
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ExHIBITIOn InTROduCTIOn
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RESOURCES
- Projections or hard copies of
Related Images I m a g e 1, p.17 I m a g e 2 , p.18
I m a g e 3 , p.19 I m a g e 4 , p. 2 0
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Note to teachers: For younger students, adjust language Ask students which words they would use to
accordingly. For instance, instead of speaking about describe a grouping of portraits of women today.
“compositional elements,” you may want to focus on one How would they compare to Leibovitz's portrayal?
element, such as lighting or point of view.”
• Now, look together at one of the portraits
• Ask students to imagine being tasked from the 1999 exhibition: it is of Eileen
with creating an exhibition of photographs Collins and was taken in 1999 (view at: http://
of women today. What would they want airandspace.si.edu/webimages/previews/
to convey? WEB11776-2011p.jpg). Ask students what they
see. What do they notice about the compositional
• How would they go about selecting their
elements of the photograph—the lighting,
subjects? Who would they choose (both
cropping, point of view, etc.? What do they notice
familiar and unfamiliar and/or famous)? What
about the subject—her clothing, gestures, facial
would the challenges be in the selection
expression, etc.?
process?
• Tell students that the woman pictured
• Ask each student to create his or her
was an astronaut—the first female
own “top-10” list of subjects.
pilot (Discovery, 1995) and first female
Compare the lists and discuss how they differ,
commander (Columbia, 1999) of a space
and how the differences would affect the
shuttle mission—until she retired in 2006.
exhibitions and their messages.
What choices did Leibovitz make in portraying
• The first iteration of Leibovitz’s project came her, and what do they communicate about
out in 1999, and resulted in the exhibition, the subject?
Annie Leibovitz: Women, which debuted at
• Now, look together at another portrait
the Corcoran Gallery of Art in Washington,
from this 1999 exhibition—of Venus and
D.C., and then continued on to ICP in New
serena Williams (view at: http://resources1.
York in 2000. An eponymous book accompanied
news.com.au/images/2009/02/26/1111120/
the show. The exhibition encompassed more
772753-annie-leibovitz.jpg). Again, ask
than 70 portraits of American women at the
students what they notice about compositional
end of the millennium, including an astronaut,
elements and what they notice about
farmers, scientists, artists, musicians, showgirls,
the subjects.
actresses, writers, athletes, and political figures.
The subjects ranged from famous to everyday • The subjects of this portrait are the sisters
women. In the book's opening essay, it states: Venus and Serena Williams, professional
tennis players who have won nearly 30
"Each of these pictures must stand on
Grand slams between them. They changed
its own... But the ensemble says, So this
the face of professional tennis, a sport
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previously associated with white athletes. Ask • Tell students: Return to the list you
students to go back to the portrait and discuss it made of 10 potential female portrait
further. What does the photograph communicate subjects in Part I. Now, work with a partner
about them and how does it do so? to combine your lists and to choose just 10
subjects. What is it like to pare down your lists?
• In the accompanying essay, it states
What is it like to work with someone else to do
that Leibovitz’s photos both confirm and
so? How do the themes and ideas evolve as
challenge stereotypes of women. In what way
your lists change?
do the women in these two photographs do so,
if at all? What do these photos say about what it • In the past 17 years since Leibovitz's first
means to be a woman today? project, many would say that women have
moved into and made their mark on more
• Finally, read this quote to students and ask
fields. And, in some cases, there is a more
them to respond, using the photos above
diverse array of women across industries. Ask
as evidence:
students what they think about that. Do they
“It’s for us to decide what to make of think women are represented well in most
these pictures. After all, a photograph is careers and/or fields? Do they think there is
not an opinion. Or is it?” 3 more diversity in the types of women in various
fields? Why or why not?
Ask students what they think. Is a photograph an
opinion? Why or why not? • Look together at a photograph
Leibovitz made of Misty Copeland
[Image 3, p.19], who is included in this new
exhibition. What do students notice about it?
PART II Think about its compositional elements as well
T H E C O N T I N U AT I O N O F as the subject herself.
T H E P R O J E C T, W O M E N :
• Misty Copeland made history as the first
NEW PORtR AitS, 2016
African-American female principal dancer
Note to teachers: As in Part i, for younger students, with the American Ballet Theatre. Look
make adjustments to language. at the photo again. What do students think it
communicates about Copeland?
• Leibovitz decided to continue her 1999
project to photograph contemporary • Compare Leibovitz’s photo of Copeland
American women. She met with Gloria with her photo of the Williams sisters. All
Steinem [Image 2, p.18] —a feminist, writer, three women broke racial barriers in their fields
and activist—several times to develop the list and have spoken about encountering racism
of women she wanted to photograph for this in the process. What do these photographs
continuation of the project. communicate about them and how do they do
so? Again, think about how or if the photos
confirm or challenge stereotypes.?
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SUPPORTING QUESTIONS
RECOMMENDED AGES
8–18, with adjustments What do photographs convey about identity
and how do they do so? How do the uses
OBJECTIVES or purposes of a photograph determine
- To explore students’ opinions about
“what women are, can be, or should
how it is captured? How do students think
want to be.” the debate about women will change in
- To explore how women are seen,
the near future? How can images make an
how they see themselves, and how
we can change that. impact on this process?
- To examine what students’ own
portraits say about their identity.
- To imagine how women’s lives can
change in the future.
RESOURCES
- For making and editing photographs (ideally):
SUGGESTED TIME FR AME cameras, printers, digital-editing equipment, and
Approximately one 75-minute class materials for editing, such as collage materials
period or two 30-minute class (magazines, tissue paper, etc.), glue, scissors, sharpies,
periods with an at-home assignment and even paint
in between - Materials for gallery display;
in particular, painter’s tape
- Paper and pencils
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• Ask students to compare the techniques they • Tell students that for this activity, they will
use when making portraits or self-portraits engage in the “debate” described above.
(e.g., selfie sticks, filters) to Leibovitz’s To scaffold the activity, ask students to list both
methods. Are there ways in which the “camera their opinions and questions on “what women
distorts,” as Leibovitz says? Are there ways in are, can be, and should want to be.” Have them
which students intentionally make the camera further reflect on the idea of empowerment when
distort—and if so, why? Do they ever digitally alter considering this quotation. What does it mean
their photographs—and if so, why? and feel like to be empowered?
• Ask students about their reasons for making • Next, ask them to select one opinion and
portraits or self-portraits today. one question to address through two
Reasons may include: portraits. They can either make new portraits
or alter portraits they have already created. For
- Posting on social media
instance, a student might write, “Women should
- Publishing in zines or newspapers
want to be less defined by their beauty.” That
- Documenting moments or experiences
student could then take a photo that focuses
- Creating photo albums or scrapbooks
on a woman’s other strengths. Or, that student
- Experimenting with photographic
could use digital (or analog) editing techniques
techniques
to alter a previously taken selfie to express
- Sending a message or making
this opinion. Portraits can be of people in the
an argument
class or people in the community (e.g., female
How do the purposes for the photos leaders, role models, etc.).
determine the techniques and choices of
the photographer?
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For younger students: If cameras classroom wall. What models do they see before
or other equipment are not available, them? What models do they hope will be added
students can collage onto photographs 15 years from now?
of women from magazines or
• Finally, reread this quote to students and
newspapers, or photocopies of
ask them to respond, keeping the photos in
photographs of women they know. They
their gallery in mind: “It’s for us to decide
can then express their opinions or ask
what to make of these pictures.” 6 In the
questions about women through these
portraits they have made, what are the points
collages. For instance, a student might
students have expressed? Moving forward, in
write, “Women can be strong.” They can
what ways can their images and actions make a
then alter an image of a woman in an
difference in how we see women—and how we
advertisement to express this opinion,
see everyone?
using paint or glued paper.
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RESOURCES
- Projections of photographs
by Sawada, Hawkins, and of
Image 8, p.24 Image 9, p.25 Image 10, p.26
activist Sojourner Truth and
aviator Amelia Earhart, both by
unidentified photographers
- Color copies of photographs
by Laub, Iturbide, Seidner, Sidibé,
Sawada, and Kruger
Image 11, p.27 Image 12, p.28 Image 13, p.29
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of view. Discuss the way the subject is posed become a famous abolitionist and women’s
and dressed. How would students describe the rights activist. She also produced and sold
subject’s gestures, facial expression, etc.? carte-de-visite, or small photographic portraits
for distribution, like this one. In this way, she
• An early type of photograph, daguerreotypes
controlled how her image was disseminated.
can be described as small images produced
Ask students to go back to the image with this
by light on silver or silver-covered copper
information in mind. What do they think she
plates. After the first commercial studio
wanted to project about herself?
opened in Paris in 1841, the popularity of
daguerreotypes swept through Europe and • share the title of this photograph with
America. The daguerreotype democratized not students and ask them to discuss its meaning.
just the image, but also the portrait. Before its
• The mid-1860s were the early days of
invention, only the wealthy had been able to
portrait photography, in which there were
afford to have portraits made.
no portable or handheld cameras, and
• Ask students what it would be like not to artists still adhered to the conventions of
have any portraits of their friends or family portrait painting. The photographer often used
members. How would it change their lives backdrops and props to communicate something
to finally be able to have a portrait taken of about the subject. Many of Truth’s distributed
themselves and/or the people they love? images, for instance, show her doing traditional
“women’s work,” such as knitting, which some say
• While portraits became more possible with the
represented her feminism. What do students think
invention of the daguerreotype, the process
about how the photographer portrayed Truth?
was still not easy. People had to pay money
How would students represent themselves—with
and find a studio just to make a photograph.
what backdrop, props, clothing, gestures, and
In addition, subjects had to sit still during long
facial expressions—in an era when having a
exposure times. With this in mind, ask students
portrait taken was a rare, special occasion?
if they now read Hawkins’s photograph differently.
What do they think they know about the subject
and the situation in which the image was taken?
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IMAGE 1
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IMAGE 2
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IMAGE 3
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IMAGE 4
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IMAGE 5
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IMAGE 6
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IMAGE 7
Unidentified photographer, i Sell the Shadow to Support the Substance, Sojourner truth, 1864.
ICP Collection
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IMAGE 8
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IMAGE 9
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IMAGE 10
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I M A G E 11
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I M AG E 12
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I M AG E 13
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BIBLIOGR APHY AND LINKS
8
Christian Storm, “In just one hour, two Bell Lab scientists
had a breakthrough that won the Nobel prize—and
changed photography forever,” Business Insider, June 17,
2015.
9
Ibid.
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ABOuT ICP
The International
Center of Photography
(ICP) is the world’s leading
institution dedicated to
photography and
visual culture.
Through our exhibitions, school, public programs, and
community outreach, we offer an open forum for dialogue
about the role images play in our culture. Since our
founding, we have presented more than 700 exhibitions
and offered thousands of classes, providing instruction
at every level. ICP is a center where photographers and
artists, students and scholars can create and interpret the
world of the image within our comprehensive exhibition and
educational facilities.
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