Firstly, I apologize. I went to the Museum by myself, since I live close to FIU. I put on my earphones and went in.... and never took a selfie. I hope that doesn't affect the general grading of the reading, and definitely will remember for next visit.
"After investigating at least one of the links above, please analyze one of the photographs found or discussed in your chosen link either as a portrait, or as a work of propaganda. Use both a formal and a conceptual analysis to make your points".
I chose this portrait for several reasons. Here we are not addressing a singular construction worker, but instead are given a placeholder, an avatar of what a construction worker was in 1931. The composition in itself is interesting and very dynamic. You can imagine the pulley swinging and it's weight extending the chord/rope, as the worker uses both arms as to not let it go. There are different reads and areas on interest, since the worker on top of the building is the first one, but in the background, the city can be seen through the clouds and smoke. The eye moves from the figure directly to the end of the pulley above then comes down to examine the rest of the forefront. then some metal structures act as a frame for a part of the city down in the distance, and you eyes go from there to the planks on the right, then back to the pulley and worker, and then to the city in the horizon.
The worker doesn't seem to be forced to do the labor, he looks rather comfortable doing so, and very skilled at it. If you look closely you can see him smiling, proud of his skill and probably bragging a bit " Hey Hine, check this out". This is in my short experience, a breath of fresh air for Hine, since most of his work I have seen has a rather serious and important theme ( granted I have just been exposed to him).
"After investigating at least one of the links above, please analyze one of the photographs found or discussed in your chosen link either as a portrait, or as a work of propaganda. Use both a formal and a conceptual analysis to make your points".
I chose this portrait for several reasons. Here we are not addressing a singular construction worker, but instead are given a placeholder, an avatar of what a construction worker was in 1931. The composition in itself is interesting and very dynamic. You can imagine the pulley swinging and it's weight extending the chord/rope, as the worker uses both arms as to not let it go. There are different reads and areas on interest, since the worker on top of the building is the first one, but in the background, the city can be seen through the clouds and smoke. The eye moves from the figure directly to the end of the pulley above then comes down to examine the rest of the forefront. then some metal structures act as a frame for a part of the city down in the distance, and you eyes go from there to the planks on the right, then back to the pulley and worker, and then to the city in the horizon.
The worker doesn't seem to be forced to do the labor, he looks rather comfortable doing so, and very skilled at it. If you look closely you can see him smiling, proud of his skill and probably bragging a bit " Hey Hine, check this out". This is in my short experience, a breath of fresh air for Hine, since most of his work I have seen has a rather serious and important theme ( granted I have just been exposed to him).
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