Description:Create a Visual Presentation based on 1 chosen photographer based artist. Pick an artist

  

Description:Create a Visual Presentation based on 1 chosen photographer based artist. Pick an artist that is an important contributor to the history of photography. Create a Powerpoint or Keynote presentation. Just because the example PDF shows a landscapephotographer that does not mean that you have to choose a landscape photographer.•Technical Aspects:Requires (see example PDF for help):A Title Page: Photographer’s Name, birth place & inclusive dates (i.e. 1921–2009), portrait (if available).Chronology: Provide (no more than a one page) chronological sequence (years) of the photographer’s important achievementsSummary:In your own words, provide no more than a one page explanation of thephotographer’s work. (What makes it significant?)Photographs: A sequence of 20 samples of the photographer’s work withtitles and dates (12 pt font size).
visual_presentation_example.pdf

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Art  Sinsabaugh  
Landscapes  
Art  Sinsabaugh  with  Camera,  1962,  Polaroid.  ©2004,  Billy  M.  Jackson    
• Chronology  





B.  1924  
EducaHon:  
Studied  photography  under  László  Moholy-­‐Nagy,  Harry  
Callahan,  Arthur  Siegel,  and  Wayne  Miller  at  the  
InsHtute  of  Design/IIT,  1946-­‐49,  1964-­‐67;  B.A.  1949,  
M.S.  1967  
 
Military  Service:  
U.S.  Army  Air  Corps,  1943-­‐46  
Teaching:  InsHtute  of  Design/IIT,  Chicago,  1949-­‐59;,  
University  of  Illinois,  Urbana-­‐Champaign,  1959-­‐83;  
visiHng  arHst  at  University  of  Oregon,  School  of  the  Art  
InsHtute  of  Chicago,  Williams  College,  University  of  New  
Hampshire,  and  numerous  others  
d.  1983  
• Summary  

Art  Sinsabaugh  rendered  landscapes  of  Chicago  and  
rural  areas  of  the  Midwest.  His  characterisHc  
panoramic  photos  are  strikingly  sparse.    

The  Indiana  University  Art  Museum  in  Bloomington  
holds  his  archive  of  over  3,000  photos.  
Bibliography  
• Major  PublicaHons  










“Midwest  Landscapes:  Low,  Wide  and  Handsome,”  InternaHonal  Harvester  World  no.  10  (1963)  
“Chicago-­‐City  of  Endless  Horizons,”  Chicago  Sunday  American  Magazine  (July  3,  1966)  
“Prairie  Landscapes:  Rural  and  Urban,”  Design  &  Environment  I,  no.  3  (Fall  1970)  
“Western  Spaces”  in  Aperture  98  (Spring  1985).  
Gene  Thornton,  “Art  Sinsabaugh’s  Landscapes,”  Camera  no.  58  (April  1979  
Pepe  Karmel,  “Art  Sinsabaugh  [at]  Daniel  Wolf,”  Art  in  America  68,  no.  9  (November  1980)  
Emily  Simson,  “Art  Sinsabaugh,”  Artnews  83,  no.  4  (April  1984)  
Gene  Thornton,  “Art  Sinsabaugh’s  Landscapes,”  Camera  no.  58  (April  1979)  
Ralph  Gibson,  “[Interview  with]  Art  Sinsabaugh,”  in  Landscape:  Theory  (edited  by  Carol  DiGrappa),1980  
Jonathan  Williams,  “To  Imply,  and  Then  to  Amplify—Homage  to  Art  Sinsabaugh,”  Aperture  95  (Summer  1984).  
Midwest  Landscape  #23,  1961  
Midwest  Landscape  #24,  1961  
Midwest  Landscape  #29,  1961  
Midwest  Landscape  #46,  1961  
Midwest  Landscape  #53,  1962  
Midwest  Landscape  #20,  1961  
Chicago  Landscape  #36,  1964  
Midwest  Landscape  #64,  1962  
Midwest  Landscape  #59,  1961  
Midwest  Landscape  #60,  1961  
Chicago  Landscape  #26,  1964  
Chicago  Landscape  #23,  1964  (printed  1966  
Chicago  Landscape  #43,  1964  
Chicago  Landscape  #9,  1964  
New  Hampshire  Landscape  #20,  1969  
New  Hampshire  Landscape  #21,  1969  
Tom  Pamon  
tpamon@csuchico.edu  

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