Online resource for VCE Students
Making Models:
The Collaborative
Art of Wendy Ewald
Presented by Melbourne Festival and
Centre for Contemporary Photography
Centre for Contemporary Photography
12 October—10 November 2013
Introduction
Making Models: The Collaborative Art
of Wendy Ewald
For more than 40 years, Wendy Ewald has been practising as an artist and teacher. Her
photographic practice centres on the students with which she works. Working collaboratively
with children, women and families, Ewald produces images that question identity and
cultural difference. By teaching children and others how to use a camera she leads them on
an enquiry based process using the techniques of visual literacy. Her collaborators produce
drawings and write about their personal experiences. Over this period, Ewald has worked
with children in rural areas in Canada, the USA, Mexico, Colombia, the United Kingdom,
the Netherlands, Israel and Palestine, and India. Much of her work identifies the cultural and
social differences of her subjects.
“It doesn’t interest me to put a frame around
somebody’s world… it interests me to help bring
pictures out of that world’
Wendy Ewald
About this resource
This resource has been designed to be used with Visual Arts curriculum and is based on the
teaching and learning framework of the Australian Curriculum: The Arts. The information
can also be used in Secondary VCE Art and Studio Arts including:
Art
Unit 1&3 Investigating and interpreting Art and Meaning.
Unit 2 Art & Cultural expression.
Unit 4 Discussing and Debating Art.
Analytical Frameworks.
Studio Arts
Unit 1 Inspiration and techniques.
Unit 2 Design exploration and concepts.
Unit 3 Studio production and professional art practices.
Unit 4 Study production and art industry concepts.
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Making Models: The Collaborative Art of Wendy Ewald
Cover image: Pete Mauney
Biography
Wendy Ewald
Wendy Ewald is a conceptual artist and educator who has for 40 years collaborated in art projects
with children, families, women, and teachers worldwide. Beginning as documentary investigations of places and communities, Ewald’s projects probe
questions of identity and cultural differences. In her work with children Wendy Ewald encourages them to use cameras to record themselves,
their families, and their communities, and to articulate their fantasies and dreams. Ewald
herself often makes photographs within the communities she works with, and has the children
mark or write on her negatives, thereby challenging the concept of who actually makes an image,
who is the photographer and who the subject, who the observer and who the observed. In her
introduction to Making Models: The Collaborative Art of Wendy Ewald, the artist writes, “I began
to experiment with ways of sharing control over the image making”.
In blurring the distinction of individual authorship and throwing into doubt the artist’s
intentions, power, and identity, Ewald creates opportunities to look at the meaning and use of
photographic images in our lives with fresh perceptions.
Wendy Ewald was born in Detroit, Michigan, graduated from Phillips Academy in 1969 and
attended Antioch College in the early 1970s, as well as the Massachusetts Institute of Technology,
where she studied photography. She embarked on a career teaching photography to children
and young people internationally. In 1969 and 1970, she taught photography to indigenous
children in Canada. Between 1976–1980 she taught photography and film-making to students
in Whitesburg, Kentucky. In 1982, she travelled to Ráquira, Colombia on a Fulbright fellowship
working with children and community groups; spending a further two years in Gujarat, India.
In recent years Ewald has produced a number of conceptual installations—for
example, in Margate, England and in Amherst, Massachusetts—making use of large
scale photographic banners.
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Making Models: The Collaborative Art of Wendy Ewald
Image: Sarah Walker
Biography
Ewald was one of the founders of the Half Moon Photography Workshop in the East
End of London; and in 1989 she created the ‘Literacy through Photography’ programmes
in Houston, Texas, and Durham, North Carolina.
She is currently Senior Research Associate at the Centre for International Studies at Duke University, visiting artist at Amherst College and director of the international Literacy
through Photography program and artist in residence at the Duke University Centre for
International Studies.
In 2011, Ewald coordinated a project in Israel. She gave cameras to owners of stalls and
stores at the Mahane Yehuda marketplace in Jerusalem, to Arab women and gypsies in
Jerusalem’s Old City, to schoolchildren in Nazareth, residents of Hebron, Negev Bedouin and
high-tech employees in Tel Aviv. This was Ewald’s first attempt to document an entire country,
and the first use of digital cameras and colour photography in her international projects.
Ewald has published widely and has received many honours, including a MacArthur
Fellowship and a Visionary Woman Award from Moore College of Art & Design. Her work
was included in the 1997 Whitney Biennial. 4
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Making Models: The Collaborative Art of Wendy Ewald
The Collaborative Artist – Portraits
Wendy Ewald has developed her unique artistic practice over a period of many years.
Ewald had always thought about collaboration in her work. As an older sibling she started
photographing her brothers and sisters in imaginary games and performances that she would
invent for them. Some of this inspiration is evident in the photographs Ewald has taken of
children in her earlier works where they are dressed up in costumes or masks.
Ewald combined her passion for photography and working with children. Her first project
in 1969 was on a First Nations reservation in remote Canada. Ewald applied for a grant from
Polaroid to purchase some cameras, which she gave to children and sent them out to take
pictures of where they lived.
“They had a raw power that I had yet to see in photographs. Their work led me to wonder
if I could consciously merge the subject of a picture and the photographer and create a new
picture-making process.”
She moved to Kentucky to an isolated, rural district. It was here that Ewald began to
look at the conceptual nature of photography. By teaching and living in close proximity to
the children she began to experience the events in their lives and encouraged them to reflect
on those experiences. Therefore Ewald’s work became anthropological. The photographs she
takes are a result of the time she spends with the children and listening to their stories, dreams
and fantasies. Ewald will get the children to write their own stories or she records and edits
the stories. Often the images depict subjects that the children hope for. Together with the
children, Ewald documents the lives of her subjects, their surroundings, communities and,
dreams and fantasies.
The works are in a sense, portraits. However, contrary to the belief of the time honoured
portrait and the contract between the artist portraying a person and the person being
portrayed is rethought. The inside view of the subject and outside view of the artist are
blended. Ewald has used the genre of portraiture to document and artistically tell the stories
of the people in them. Mostly the children come from remote communities or in racially or
socially disadvantaged areas including the West Bank, Colombia and India. Ewald provides
the children with a voice through their images.
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Image: Benedict Michelle, from the series
Canada 1969—1974
The Collaborative Artist – Portraits
Responding to artworks
1 Discuss the processes Ewald uses to create her portraits. Using the images in the exhibition as examples, discuss how Ewald uses collaboration with her subjects to create the portraits.
2 How does Ewald show the identity of the sitter in her work? What are some of the symbols that are selected by both Ewald and her subject?
3 How does Ewald gain inspiration for her portrait works? How are these ideas then developed throughout the making of the artwork?
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Making artworks
Create a digital portrait with a member of your family. Get your family member to tell you the story of their life. Then make a list of objects, interiors and landscapes that you
can photograph. Think about how you would photograph these spaces including the focal
point of the image, framing and light. Together choose sentences from the story to place
next to the photograph as text, or the text could be typed or written in some area of the
photograph. The images could be presented in a photo book or as an exhibition.
Interview members of your family. Take a series of portraits of a family member. The portrait can be in an environment that is selected by the family member. You could also plan how the person wants to be photographed, including their clothing and the various
poses you can focus on. Get the family member to select two objects of significance for you
to photograph. Plan how you will take these photos as you did for the portraits. Then plan
to present these images in a triptych or in pairs by selecting a portrait image and the
objects. Document the development of the work and the selection of the images in your
visual diary.
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Cultural Belief & Identity
Ewald’s photographs have an underlying theme of social and cultural identity. By working
with the children and hearing their stories, her knowledge of the culture grows. One of her
primary goals is to use visual imagery that can be easily analysed by the viewer so they can
learn more about the culture and social identity of the subject. The viewer can bring multiple
meanings and interpretations to the work. Ewald investigates the social realities of individual
people and provides the viewer with a convincing reminder of the existence of a wide range of
cultures in society, one that is not only Anglo Saxon and white.
In earlier works from India (1989—1990), Mexico (1991), Colombia (1982—1985) and
South Africa (1992) the images that the children have shot display aspects of everyday life in
these countries and provide the viewer with an insight into these cultures through festivals and
often artefacts that are significant in the culture. In these series of images Ewald places some
of her own images so that her voice becomes one amongst many of that culture. In her more
recent portraits of Israeli youths, textiles relevant to the culture and area where the subjects live
frame the faces of her sitters. The children who have consulted on the portrait with Ewald have
made these choices. Ewald worked with young people from many different areas and walks of
life for this series, including girls from a military preparation course for women.
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Making Models: The Collaborative Art of Wendy Ewald
Image: Salvador Gómez Jiménez A jaguar is eating chicken
from the series Mexico 1991
Cultural Belief & Identity
“Becoming a ‘ local’ for a project’s duration,
Ewald says she tries to effect change even as
she’s creating art.”
Sonia Harford, The Age critic
Ewald not only investigates the cultural identity of her subjects but also highlights issues of
race. Black Self/White Self (1994—1997) was made in Durham, North Carolina. Ewald was
teaching in several schools in the area that had been merged from two school systems that had
been racially segregated. Ewald asked each student to write about himself or herself; and then
she asked them to write another text picturing themself as a member of the other race. Ewald
took portraits of the children posing as both their ‘black self’ and their ‘white self’ and then
she gave the students the negatives of both their portraits to alter. Through this process Ewald
is challenging the stereotypes of race and also encouraging the students to investigate their
sense of identity by working with and interviewing another person. She is asking the viewer to
critically reflect on the stereotypes that the portraits both imply and demonstrate.
The portraits often carry a political message. By using text on the image the children are
making a statement about how they want others to see them. They also dress and pose as
themselves and members of another race—they make these choices as well as the text. The
portraits are similar to ethnographic portraits that were taken of marginalised cultures such as
Indigenous people in the 1700s. By placing the text on the image, the subject of the portrait is
encouraging the viewer to see them as more than just an ‘object’.
Responding to artworks
1 Analyse the photographs in one of the series from Mexico, Colombia, India or South Africa. What symbols of the culture can you see in the works? What specific techniques has Ewald used to show those differences? What do you think the story is behind the work?
2 Compare Ewald’s earlier work with her more current work. What are the main differences in the way the artist and children have created the portraits? Consider the use of subject
matter, materials and techniques.
3 Look at the images and see if you can find any by Ewald amongst the series. How are these
works different from the works by the children? Consider the way Ewald has composed the
photographs and the cultural symbols that have been used.
4 Analyse one of the images from Black Self/White Self. What ideas have the students
expressed in the work? How do those ideas relate to the way in which the photograph
has been taken? Are there any significant symbols or techniques that the artist has used?
Making artworks
With a partner in your class, create two portraits. The first portrait will be a self-portrait.
Brainstorm how you will photograph yourself. You may choose to be photographed in a
particular environment or with certain objects. You must consider how you want to be
portrayed to others. Discuss this with your partner. The second portrait will be of your
partner. Get that person to tell you about themselves and brainstorm some ideas. Together
you will take a series of images and select the two that best represent you and the other person.
You might want to write on the images or provide text, like in the work Wendy Ewald has
done with children and women.
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Making Models: The Collaborative Art of Wendy Ewald
Art Issues
Wendy Ewald’s photographs can bring forth discussions surrounding several broad themes
and issues. The way in which she communicates these ideas and issues is often by the use of
subject matter of the works, her techniques and the practice of collaboration. Her work makes
us consider what the role of art can play in society.
Perhaps the most prominent issue is the contemporary and conceptual artistic practice of
collaboration that Ewald has developed. It brings into question, through the artist working
with children, who is the artist? You could discuss that, in a sense, Ewald is like a director,
working with the children to generate the works. She often takes the children’s stories and
creates the works based on this framework or she directs the children to take their own
photographs in relation to the stories that they have told her. The series Canada (2008—2012)
using Facebook was part of a larger project that Ewald worked on with Eric Gottesman and
the Innu people of Labrador in remote central Canada. Ewald returned to the community and
showed her photographs from 1969 and original archival film footage, shot by anthropologists
in the early 1900s. She and Gottesman documented the stories and photographed the people.
They also worked with high school students in the area to document their own lives. Then
the people and artists collaboratively selected the images to display in an exhibition and on a
Facebook page. This work covers several artforms; traditional exhibition, installations and the
online space. It also crosses the boundaries of artistic, anthropological and educational practice.
Ewald’s artistic practice is a form of appropriation, which is another art issue.
Appropriation is a term used to describe how the artist often takes the work of another artist
and reproduces that work in a different context to express new ideas. By often replicating
similar projects over different periods of time, Ewald has appropriated images to comment on
the cultural identity of people. Often working collaboratively with the children and getting
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Making Models: The Collaborative Art of Wendy Ewald
Image: Emma lives in the Kibbutz Kfar Giladi in Israel
near the Lebanon border (frame from a ketubah (jewish
marriage contract) made by nurit)
Art Issues
them to write on her images creates new meanings for the portraits which have evolved
throughout the period of time that Ewald has worked with them. It also should be considered,
where Ewald is not the original creator of the work, has she the right to display the images in
a way that might not have been the original intention of the child who created the work? How
has she interpreted the original meanings and intention of the child in the photographs?
The formats of the works, which break the definition of traditional portraits, also bring
to light another issue, which can be debated. The portraits are sometimes displayed in
installations and on large banners in public spaces. Therefore, what is the definition of a
portrait? The relationship between Ewald as the artist and the children as the subjects is
blurred. The intention of the artist is different from the traditional purpose of a portrait.
In the Canada (2008—2012) series with the Innu people, both the subjects and the artist
collaborated on the works throughout the project, with video, photography, installation
and exhibition.
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Responding to artworks
Research the Canada (2008—2012) series or other projects by Ewald such as the Margate Project. Discuss the issues that arise from making the works such as the role of the artist and the subject, the use of art forms, depiction of subject matter and the display and exhibition of artworks.
Compare the Canada (2008—2012) series with Wendy Ewald’s first project in the same area in Canada in 1969. What are the different issues created by these works from different periods of time? Consider the use of materials, art forms and the way that the artist has worked collaboratively with her subjects.
What issues of race and cultural identity are expressed in Wendy Ewald’s works? How has
the artist used the photographic and video medium to express these ideas? What processes
has she used with this medium?
Making artworks
Research some old family photos, videos or some archival footage and photos of your school
or local area. Collect the photographs and show them to older members of your family,
community and school. Interview the people and ask them questions about what they
remember about their lives and the area in which they grew up. You can use the photographs
as a starting point for related questions to the photos. Photograph the people or create a video
of them. You can also create a series of photographs of yourself and your experiences of the
same area, family or school. Scan the older photographs and videos and exhibit them in an
installation with your current video and photographs. You could use some of the processes
that Wendy Ewald has used in her works such as writing on photographs, printing them on
large banners or setting up a Facebook page.
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Making Models: The Collaborative Art of Wendy Ewald
Process and Practice
Ewald has always used contemporary methods and concepts to develop her body of work. Her
photographic techniques draw on the skills that she learned at high school. Originally Ewald
used a large-format Polaroid camera that simultaneously produced a negative and a print. In
Black Self/White Self (1994—1997), she encouraged the children to look at the positive prints
that were produced so they could suggest changes. She then took the ideas transferred from
the written documents by the children and encouraged them to think about the concept of
‘black and white’ in terms of race and the use of a positive and negative print in photography.
Therefore the aesthetics of the photographic process and print are combined with the concepts
behind the image. The children also worked on the emulsion of the image by scratching into
the negatives so the meanings become physical as well as conceptual.
In generating a design process, Ewald uses her subjects, and their stories as her inspiration.
She collaboratively works with them to generate ideas based on their stories and then selects
statements from their stories to place on the portraits. The placement of the text is often an
aesthetic consideration and the subjects consider the placement of the text in relation to the
ideas that are conveyed in their portrait.
Aesthetics play an important role in the expression of themes in Ewald’s work. In teaching
children about photography she places emphasis on the composition and framing of images
and how these best tell a story. In Black Self/White Self the strong contrasts of black and white
reinforce the messages. Often the attention to photographic conventions such as the point
of focus and lighting qualities in the images enhance the message. Images such as Black Self/
White Self have been developed in later projects as digital prints on a larger scale. Ewald has
moved into working with digital photography, a medium that allows her to enlarge her images
and develop different ways of applying text on to the images. The printing of the framed textile
borders in the Israel (2010—2012) works show how digital processes have enabled the images
to be combined, a process that would be difficult using conventional analogue photography.
The style of Ewald’s works exists on a border between artistic practice and ethnography.
Ewald’s work mirrors the practice used by ethnographers in documenting their subjects
through interviews and photographs to learn more about the race and culture of the people.
The images contrast with portraits taken by researchers of Indigenous people. Ewald’s images
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Image: White Self - Gregory Blake; from the project
North Carolina Black Self/White Self 1994—1997
Process and Practice
of children in Kentucky are similar to those taken by Walker Evans under the National Farm
Administration project in the 1930s. Evans documented the people of this area for the Federal
Government. His photographs were a series of portraits that documented the lives of the
people in this area.
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Responding to artworks
Describe the use of design elements and principles in Ewald’s work. How does the use of
these elements contribute to the meanings and messages of the works?
Compare the use of materials and techniques in the work of Wendy Ewald with those used
by Walker Evans. Discuss how the works reflect the period of time in which the artists
were working.
How do you think Ewald’s work is different from anthropology or ethnography?
Making artworks
Using some existing images taken by family members or important members of your
community create some new photographs based on these images. You will need to study
the works of these people carefully and observe the use of design elements, design principles
and photographic conventions. You can rephotograph the person in a similar pose or
even scan in the image and work on it using a photo-editing program. Find some written
statements about the people and experiment using text over the works.
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Making Models: The Collaborative Art of Wendy Ewald
The Role of the Gallery – Exhibition and Display
Making Models: The Collaborative Art of Wendy Ewald is an exhibition that has been
commissioned for the Melbourne Festival. Louise Neri, Creative Associate for the Visual
Arts, Melbourne Festival, approached CCP about exhibiting Wendy Ewald’s work. New
York resident, Louise Neri has worked with Ewald on previous exhibitions and publications.
Over many months of conversations between Neri and Ewald on Skype from New York and
Karra Rees and Naomi Cass from CCP, the exhibition has been developed. The concept is to
present an in-depth selection of Ewald’s work to be presented across all CCP galleries.
The exhibition has been co-curated by Louise Neri, Karra Rees and Naomi Cass. Extensive
Skype conversations and emails have taken place over a nine-month period, in which every
aspect of the exhibition has been discussed. Ideally these discussions take place in the same
room and with the actual work present, rather than using digital images and over Skype.
When working with international artists, this is often not possible; and digital technology
makes curating at a distance more manageable. However, there are always surprises when one
unpacks the works that have been shipped from abroad. For example, CCP curators selected
many of the images without seeing or understanding the framing, which has quite a strong
effect on the final installation. Dark timber frames give a very different experience of the work
than light toned timber frames.
In the first instance, curators wish to present the work in the best possible circumstances,
secondly that the exhibition be informative, extensive and engaging. We chose to present a
large range of work to demonstrate the breadth of Ewald’s practice. Each series tells a unique
story. The curators have endeavoured to present sufficient work to illuminate Ewald’s practice
and yet for the gallery to not be overcrowded ensuring that the viewing experience is rewarding.
Initially, CCP curators made calculations about the volume of space required for each
series and scoped these on a plan of the gallery. As prompts for planning the installation,
photographs and publications of previous exhibitions were consulted. This was discussed with
Ewald and Neri over email and Skype. Prior to receiving the crates in which the work was
shipped from New York, the gallery walls were patched and painted, either white or pale blue.
Signage was also designed and ordered.
When the work arrived it was photographed (documented) in the crates then carefully
unpacked and condition reported by a professional conservator and CCP staff. Protective
materials were placed on the gallery floor (felt covered timber blocks) and the framed work
was laid out standing on these blocks, rather than the floor. These large unframed prints that
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Installation of the exhibition at CCP.
Image: Lauren Dunn
The Role of the Gallery – Exhibition and Display
have travelled rolled up in tubes are carefully unfurled and placed on clean tissue on tables to
‘relax’ with small conservation weights on each corner.
For many of the series, CCP used the same configurations as previous exhibitions, where
the artist was present for installation. In some instances, in response to CCP conditions,
the works have been installed differently. As all works have D-rings on the back, the install
team calculated the exact spot for all screws, which are then placed in the wall for an entire
series before any work was hung. Once adjustments are made, the lights are arranged to best
illuminate the images and the work is carefully dusted prior to the installation of signage.
For the documentaries presented as video files in Gallery 4, the walls are painted dark
grey to create a ‘black box’ in which the moving image is best viewed. A screen is ‘cut out’
in white paint.
Artists have different approaches to wall labels and information panels. CCP has a
particular style, but this is undertaken in consultation with the artist. As a ‘contemporary art
space’, and not a museum, CCP exhibitions tend to have fewer explanatory panels, however
explanatory texts are critical to the presentation of Wendy Ewald’s work. For this exhibition
we have ‘levels’ of labels, presented in corresponding sizes:
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2
3
Overall exhibition introduction labels that are large.
Series’ titles and small introductions that are medium in size.
Individual works (accompanied by the name of the child who took the photo, the title of the work, and in many cases the child/photographer’s comments about the photograph) are on small labels.
There is no exhibition catalogue as the gallery does not have the funds to develop one. They
have provided a research desk in the gallery with catalogues from previous exhibitions by
Ewald. The gallery has also organised a floor talk by the artist. She will discuss her work with
the director of the gallery
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Making Models: The Collaborative Art of Wendy Ewald
Installation of the exhibition at CCP.
Image: Lauren Dunn
The Role of the Gallery – Exhibition and Display
Responding to artworks
1 Describe the arrangement of the Ewald exhibition. How are works grouped? Are there themes? Describe and analyse one of the rooms of the exhibition. Describe how the works are arranged, as the curator has discussed, ‘to engage the viewer’?
2 On reading the information about the planning of the exhibition, analyse the use of signage. What information is provided about the exhibition? How does it relate to the works presented?
3 Describe the labelling of works in the exhibition. Select a particular series of works.
What does the labelling explain about the images? Does it discuss the theme? Describe
the artworks? If the labels are in three sizes, what is the importance of the hierarchy of
information? Describe what is on a large, medium and small label, in relation to the works
on display.
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Making artworks
With one of the activities in this resource, organise an exhibition of the works. You
could consider the way Ewald has worked with communities to display a body of work.
The exhibition could include video, installation work, documentation interviews in written form or audio and photographs. Consider how works will be framed or displayed and the selection of works. This could all be documented in a visual diary by each student.
Plan an online exhibition of works from one of the activities. You could use the same ideas and documentation as Activity 1 but display and document the works in an online forum or blog. Consider how members of the group you are working with can place reflections in
a blog or online forum. Viewers could also contribute to the exhibition with online reflections.
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References
Ewald, W., Hyde, K. & Lord, L. (2012). ‘Literacy & Justice Through Photography; A
classroom guide’. Teachers College Press, New York.
Ewald, W. & Cook, B. (2009) ‘Who am I in this Picture? Amherst College Portraits’ The
trustees of Amerst College, Massachusetts
Ewald, W. & Neri, L. (2006) ‘Towards a Promised Land’ Artangel, London
Hyde, K. (2005). ‘Portraits and collaborations: a reflection on the work of Wendy Ewald’.
Visual Studies, Vol. 20 (2).
Ewald, W. & Lightfoot, A. (2001). ‘I Wanna Take Me a Picture; Teaching Photography and
Writing to Children’. Beacon Press, Massachusetts.
‘Making Models’ Exhibition Review.
http://www.smh.com.au/entertainment/art-and-design/seeing-the-world-with-childrens-eyes20131001-2uqmb.html#ixzz2gpqSZTzp
Innu Project
https://www.facebook.com/groups/57811868232/Labrador%202008
http://vimeo.com/26958103
Israel Project
http://www.haaretz.com/weekend/week-s-end/shooting-israel-seeing-jerusalem-through-thelens-of-a-camera-1.403134
Acknowledgements
CCP would like to acknowledge and thank Kathryn Hendy-Ekers for her assistance in
realising this Education Resource. We also acknowledge Wendy Ewald, Louise Neri and
Melissa Bedford for their contributions. CCP acknowledges the Melbourne Festival.
Centre for Contemporary Photography
404 George Street, Fitzroy, Victoria, 3065
+613 9417 1549
www.ccp.org.au
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Gallery hours
Wednesday–Friday 11am–6pm
Saturday–Sunday 12–5pm