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RICHARD AVEDON

Transformations 1947 2004

RICHARD AVEDON
Transformations

TABLE OF CONTENTS

Goals and Purpose Bubble Plan Floor Plan Content Outline Visitor Experience Narrative Main Text Sample Secondary Text Sample Object Label Sample Preliminary Budget Team Progress Report

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Noto, Sicily 1947

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

RICHARD AVEDON
Transformations

GOALS AND PURPOSE

B IG I DEA : The impulse and ability to capture the unexpected was an essential part of Richard Avedons creative vision, resulting in powerful images that continue to influence our visual culture. G OALS : To demonstrate Avedons originality and influence. To create a connection for the visitor between Avedons commercial and art photography. To expose visitors to a wide range of Avedons work. To teach visitors even those familiar with Avedons work something they didnt know. STATEMENT P URPOSE :

OF

The purpose of this exhibit is to demonstrate Avedons impulse and ability to capture the unexpected, as well as to show how this aspect of his work expanded our visual vocabulary and redefined expectations about photography. This will be accomplished by displaying a wide range of commercial work and art photography from throughout Avedons 60-year career, as well as providing context for why his work was groundbreaking and its impact on the history of photography. Visitors will gain an appreciation of the power and importance of the unexpected in Avedons body of work.

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

RICHARD AVEDON
Transformations

BUBBLE PLAN

B IG I DEA : The impulse and ability to capture the unexpected was an essential part of Richard Avedons creative vision, resulting in powerful images that continue to influence our visual culture.

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

FLOOR PLAN

RICHARD AVEDON

RICHARD AVEDON
Transformations

CONTENT OUTLINE | Bubble 1: Portraying the Famous and Familiar in Unexpected Ways

1a THEME

Authors through Avedons eyes

James Baldwin/Richard Avedon, 1964

Marianne Moore, 1958

Carson McCullers, 1958

Samuel Beckett, 1979

Ezra Pound, 1958

PURPOSE To show how Avedon put a face on famous writers, and how his portrayals were unusual (not typical authorial poses) and often reflected something unique about some of the 20th centurys greatest writers.

I think I was more influenced by what I read than I ever was by art. Avedon
Edward Albee W.H. Auden, 1960 Somerset Maugham Saul Bellow

FLAT FILE INTERACTIVE This grouping of images will be accompanied by several display cases featuring first editions of books by several of the authors pictured. In addition, visitors will be able to explore a flat file built into the wall. Each drawer will be labeled with an authors name, and the drawer will include (under glass) artifacts to provide context for the author and more connections to Avedon. Flat file drawers could include: First editions of books by the authors Quotes from the authors work that relate to Avedons work Quotes from Avedon about the author Letters (e.g., Marianne Moore letter to Avedon) Contact sheets from the shoots Photos (dust jackets, magazines) of the authors in more typical poses

1b THEME

Redefining fashion photography

PURPOSE To show Avedons creativity and innovation in using movement, choosing unusual locations, and telling stories in his fashion photography.
Elise Daniels, model, 1948 Rene, model, 1947 Fashion Carnival Dovima, Harpers Bazaar, 1951

VIDEO This section will include an interactive video station with pertinent clips from Darkness and Light and other sources about Avedons fashion photography. A second screen will display an Obsession television ad.

Versace

Suzy Parker & Robin Tattersall, models, 1956

Harpers Bazaar 1954

Louise Avedon, 1940

Alexey Brodovitch & Richard Avedon, 1958

He has an amazing capacity for spotting the unusual and exciting qualities in each subject he photographs. Alexey Brodovitch
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MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

CONTENT OUTLINE | Bubble 1: Portraying the Famous and Familiar in Unexpected Ways

1c

THEME

Masking and unmasking famous faces

PURPOSE To show how Avedon depicted even the most familiar faces in unexpected ways, either because they are hyperdramatic (to the point of being unrecognizable), or because artifice has been stripped away to get at the person behind the performer.

HOLOGRAM INTERACTIVE: SITTING FOR AVEDON In this area, visitors will encounter a station featuring holograms of people talking about what it was like to be photographed by Avedon (note: we suggest a hologram if it can be executed effectively; if not, video could be substituted). Judi Dench, Kevin Kline, and Barbra Streisand all featured in group 1C could be interviewed for this interactive, along with other still-living subjects (art and fashion) featured elsewhere in the exhibit.

Audrey Hepburn, 1967

Marilyn Monroe, 1957

Marilyn Monroe, 1957

Marilyn Monroe

Charlie Chaplin, 1952

Kevin Kline

Judi Dench

Barbra Streisand, 1959

Christopher Reeve

Bert Lahr, 1956

1d

THEME

Disrupting the artistic tradition of the nude

PURPOSE To show how Avedons nudes, both in his art and commercial work, depart from convention and show the human body in surprising and unexpected ways.
Natasha Kinski Charlize Theron John Currin Pirelli Calendar, 1997 Rudolph Nuryev, 1960

CONTACT SHEET INTERACTIVE As they transition from Bubble 1 to Bubble 2, visitors will encounter a wall-sized touch screen, approximately seven feet high and 10 feet wide. The screen will display contact sheets on a large scale. By pressing the screen with their hand, visitors will be able to select one image from Avedons original contact sheet; then the screen will display their choice side-by-side with Avedons final print, as well as providing some additional information about the subject and shoot. The screen will cycle through several contact sheets. Possibilities include the Duke and Duchess of Windsor, Katherine Hepburn, and the Kennedys. A smaller touch screen that echoes the large screen will be positioned so that those who cant reach the full screen may also use the interactive. In addition, the large size will allow many visitors to watch the results.
Katherine Hepburn The Windsors Kennedys

RICHARD AVEDON

RICHARD AVEDON
Transformations

CONTENT OUTLINE | Bubble 2: Unexpected Insights

2a THEME

Life as performance

AUDIO
This section will be accompanied by a display case featuring both the newspaper used in the President is Dead photos and the tabloid coverage of Liz Taylor that inspired the fake photo-editorial of Suzy Parker and Mike Nichols. An audio wand will explain these artifacts and allow visitors to learn how Avedon staged the shots.

PURPOSE To show how Avedon blurred the lines of life and art, documenting and dramatizing a wide range of issues and events in unexpected ways.
John F. Kennedy Assassination Series, 1963 John F. Kennedy Assassination Series, 1963 Suzy Parker & Mike Nichols, 1962 Suzy Parker & Mike Nichols, 1962 Palermo, Sicily, 1947

There's no such thing as objectivity. The minute you pick up the camera, you begin to lie or tell your own truth. Avedon
Zazi, Street preformer, Rome, 1946 Santa Monica, 1963 Volpi Ball, 1991 Wedding at City Hall, 1961 Wedding at City Hall, 1961

Central Park, 1949

Lower West Side, 1949

Harlem, 1949

Louise Avedon, 1932

I am interested in connections between people of remote experience, in similarities that are unexpected, unexplained. Avedon

I have always been aware of a relationship between madness and beauty. Avedon
Hospital, 1963 Hospital, 1963

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

CONTENT OUTLINE | Bubble 2: Unexpected Insights

2b THEME

Confronting age and death

PURPOSE To explore the themes of aging and death in Avedons work, showing how these were unexpected (and disturbing) subjects and how he portrays them from a unique and powerful perspective.

Catacombs, 1959

Catacombs, 1959

Catacombs, 1959

CoCo Chanel, 1958

Dorothy Parker, 1958

I photograph what I am afraid of. My work is meant to be disturbing in a positive way. Avedon
William Casby, 1963 Jacob Israel Avedon, 1972 Jacob Israel Avedon, 1971 Jacob Israel Avedon, 1972

2c THEME

Partial portraits and faceless fashion

AUDIO
This group of images will be accompanied by an audio wand featuring the curators, who will discuss how the art photos of hands and other body parts are an extension of Avedons portraiture and how the faceless fashion shots illustrate the originality of Avedons commercial work.

PURPOSE To show how Avedon sometimes made the unusual choice to crop faces out of his photos, putting the focus on partial bodies and body parts (in both his art and commercial work).

Andy Warhol, 1969

Prisoners from American West, 1980

Isak Dineson, 1958

Asylum hands, 1963

Napalm victim, 1971

I think all art is about control the encounter between control and the uncontrollable. Avedon
Harpers Bazaar Cover, 1951 Harpers Bazaar spread Kenneth Cole ad Harpers Bazaar Cover, 1956 Harpers Bazaar Cover, 1948

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RICHARD AVEDON

RICHARD AVEDON
Transformations

CONTENT OUTLINE | Changing Expectations

3a THEME

Innovative portraits of musical innovators

Bob Dylan, 1965

Miles Davis

The Beatles, 1968

Simon & Garfunkel, 1967

Marian Anderson,

PURPOSE To show how Avedon portrayed musical artists across multiple genres in unique ways that reflected their particular artistry, and how these portrayals influenced future depictions of musical artists. AMBIENT AUDIO This grouping will be accompanied by a soundtrack by the displayed artists. Since this music will be audible throughout this section of the exhibit, tracks will be carefully selected so that they dont compete with or overwhelm adjoining areas; in fact, they will actually serve to enrich the visitors experience by complementing the images on display in this section, resulting in a powerful and evocative multi-sensory experience.

The photographs have a reality for me that the people dont. Its through the photographs that I know them. Avedon
John Lennon, 1968 Leonard Bernstein

FLAT FILE INTERACTIVE This group of images will be accompanied by a flat file (similar to that described with Group 1A). Artifacts will help put Avedons portraits in context and show why the images are unexpected, as well as how Avedons portraits of musical artists influenced future portrayals, especially as the music industry became increasingly image-driven (e.g., as seen in music videos, magazines, album-cover art, promotional materials, etc.) For example, the flat file drawer for Marian Anderson might include: contact sheets from the shoot a picture of her 1949 concert at the Lincoln Memorial, to help show her historical significance Quotes from Avedon about the author typical still shots of her for comparison to Avedons portrait images that show Avedons influence on the depiction of other artists

3b THEME

Another way to look at the West

VIDEO
A video monitor in this area will feature a collage of movie clips that depict a traditional view of the West (e.g., John Wayne movies) that is in stark contrast with Avedons West.

PURPOSE To show how In the American West was a drastic departure from previous conceptions of the West, and to convey the historical importance of this highly original and deeply personal project.

Johnson Sisters, 1983

I dont think the West of these pictures is any more conclusive than the West of John Wayne or Edward Curtis. Avedon
Benson James

DISPLAY AND INTERACTIVE: DEARDORFF CAMERA In the middle of this final exhibit area, visitors will see Avedons Deardorff in a freestanding glass case that allows them to look at it from several vantage points. Part of the display will also recreate the back of this kind of camera, allowing viewers to see it up close and then look through and view other visitors as they would appear through a real Deardorff.

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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CONTENT OUTLINE | Changing Expectations

3c

THEME

Influential advertising campaigns

DISPLAY
An anchor for this area will be a display featuring the boxing-gloves Maidenform ad. The boxing gloves, shorts, and cape will be displayed in a partial recreation of the corner of the boxing ring in the ad. This will be a focal point for this area, which will feature other ad campaigns as they appeared in magazines and on television, as well as several examples of recent campaigns that reflect the Avedon tradition.

PURPOSE To show a wide range of Avedons groundbreaking advertising campaigns, and how his work helped shape future ads.

Maidenform

Brooke Shields, Calvin Klein

Obsession

Harry Winston

Kenneth Cole

Club Monaco

Levis

CEO

3d

THEME

Changing Times

PORTFOLIO OF INFLUENCE
By browsing a varied portfolio of Avedons work, which will be presented in a hinged poster/print display rack, visitors will be able to look at a series of Avedon images, both art and fashion, displayed side by side with postAvedon images that clearly show his influence and impact on the history of photography.

PURPOSE To show how Avedon captured and commented on central social and political issues, as seen in his portraits of famous and ordinary Americans.

COMPUTER INTERACTIVE: AVEDON OR NOT?


The exhibits final interactive will allow visitors to test their Avedon knowledge by showing them images some by Avedon, some by other photographers and asking them to guess if an image is Avedon or not. While some of the distinctions will be easy (perhaps an Ansel Adams landscape, for instance, as well as some very recognizable Avedons), many of the images will be convincingly Avedon-like (e.g., recent portraits from the New Yorker that clearly evidence his influence). When/if visitors identify an image as an Avedon when its really not, the reasons why the photographic elements that might make an image appear to be an Avedon will be explained, thus reinforcing their understanding of his photographic style and his lasting influence. 12

Dwight D. Eisenhower

Harlem, 1949

Robert Oppenheimer

Russ Irwin Porter & Christian Schlessinger Porter

RICHARD AVEDON

RICHARD AVEDON
Transformations

CONTENT OUTLINE | Gallery

THEME

Conclusion / The Gallery

Noto, Sicily, 1947

Dovima and Elephants, 1955

Malcolm X, 1963

Oscar Levant, 1972

Ronald Fischer, 1981

PURPOSE The final room of the exhibit will be devoted to a quiet, austere gallery space featuring a small selection of compelling images from Avedons 60-year career. Visitors will enter the space through glass doors that will insulate this final area from the ambient noise of the rest of the exhibit. Since the images will only have basic object labels, a brochure will be available to provide more information about each of them, as well as a timeline for his career with thumbnails of key images from elsewhere in the exhibit. Visitors will be able to focus on these final images and see, once again, how the unexpected is an essential part of Avedons creative vision. As visitors leave the exhibit, they will encounter a concluding quote from Avedon:

Brandenburg Gate, 1989

Dior Ad, 2004

Lady Liberty, 2004

Jackie Kennedy

If a day goes by without my doing something related to photography, its as though Ive neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible. Avedon

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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RICHARD AVEDON
Transformations

VISITOR EXPERIENCE NARRATIVE

s you approach the exhibit, you will see the shows title on the wall facing you, accompanied by an image of Avedon. Your eye will be drawn to the introductory text to your left, next to the entryway into the exhibit. The first room will contain no other text or images. The space is a soothing gray, very subdued and austere.

Moving into the exhibit space, you first enter a round room that is reminiscent of a darkroom. The walls are dark and the space is bathed in red light. Along the curved walls of the room on either side of you, you see reproductions of photos of Avedon strung from clip lines (as in a darkroom) and/or rear projected. In addition, quotes from Avedon and key words related to the exhibits primary themes are hung from the lines and silk-screened on the walls. This space is largely impressionistic, serving as a transition from the entrance into the exhibit. The darkroom elements serve as reminders of the inherently transformative nature of photography. Metaphorically, this space speaks to the fact that photography shaped Avedons life and that he, in turn, transformed photography. You may slow a bit to look at a photo of a young Avedon or to take in the words on either side of you, but you do not linger, especially as the light and color of the main exhibit area is visible in front of you, drawing you forward. You emerge from the darkroom space into the first part of the main exhibit area, which is brightly lit and visually inviting. At this point, you pause and scan the visible area in front of you and see several items that catch your interest, including several recognizable faces and many intriguing images that stimulate your curiosity. In this first area, you explore a wide range of Avedons work and begin to understand the many ways in which he specialized in the unexpected. A variety of engaging interactives and several groupings of images give you plenty to choose from. You see famous authors in non-authorial poses, portraits that show well-known performers in unexpected ways, an expansive wall of fashion photos, and a group of intriguing nontraditional nudes. A freestanding interactive in the middle of the space keeps your attention for several minutes as you watch holograms of people who sat for Avedon describing what it was like to be photographed by him. As you look more closely at the authors section, you find there is a flat file, with drawers you can open that contain interesting artifacts books, letters, contact sheets related to each of the authors you see pictured. In the fashion grouping, you watch video clips of Avedon and others talking about his work. In a sidebar to the fashion pictures, you see pictures of Avedons sister and learn how his photographs of her informed his early fashion work. As you progress through the exhibit, your understanding of Avedon will be enhanced by similar sidebars about his family and early influences. In this section, as in the rest of the exhibit, you find yourself viscerally and intellectually engaged. Avedons photographs dominate the visual space, but they are presented in a rich and stimulating environment with many opportunities to learn more. Labels for the major groupings introduce major threads of the exhibit and themes in Avedons work, and three-dimensional objects and artifacts provide context. At the same time, you begin to understand the overarching theme: Avedon captured and conveyed the unexpected in many ways.

Sometimes I think that all my pictures are just pictures of me.


Several powerful quotes from Avedon appear as graphics on the walls a technique that will continue through the rest of the main exhibit space. Selected walls are painted red to add to add color and visual interest to the space. As you finish exploring the images, objects, and interactives in the first section, you are drawn to the next space by a wall-sized screen displaying a contact sheet. You quickly realize that the screen is actually a giant touch screen that allows you to choose an image from the contact sheet. Your choice is then shown side by side with the image Avedon selected to print. This interactive is simple and engaging, and it drives home the point that Avedon continually sought out the unexpected. At this point, you are moving from the first section of the exhibit, Portraying the Familiar and Famous in Unexpected Ways, into the second section of the exhibit, Unexpected Insights. However, from your perspective, the transition is seamless and unmarked. You experience the images and ideas in this section as a natural progression that builds on what you have seen so far.

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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VISITOR EXPERIENCE NARRATIVE

A long wall to your right features a wide variety of images that show Avedons ability to capture the drama of life and, sometimes, create lifelike drama. From Italian street scenes to his pictures of mental patients, you begin to get a sense of Avedons work beyond his well-known portraiture and fashion work. You pick up an audio wand and learn more about how Avedon staged some of his images that appear to be photojournalism. The images on this wall begin to introduce several serious themes, and then, when you look to your right, you are confronted with images that are even more challenging and disturbing. You have reached the most intense portion of the exhibit, which features several disturbing and surprising photos. There is an image of Avedons dying father juxtaposed with eerie catacomb images. You see a napalm victim and avert your eyes for a moment. A photograph of Andy Warhols scar-laden torso hangs next to a somber image of a tattooed prisoner from the American West series. An S-shaped seat in the middle of this area gives you chance to pause and contemplate these images. The lighting, carpeting, and wall color in this portion of the exhibit are slightly more subdued, and the overall pacing a little slower, giving you chance to take in images that are more challenging and troubling. An audio station allows you to listen to the exhibit's curators talk about some of these images and how they relate to trends and themes in Avedons body of work. As you transition out of this area, the mood lightens and the pace quickens a bit. You see fashion images that relate to the body part art photos that precede them, but these are more playful and colorful. As you move into the third major section of the exhibit, Changing Expectations, you are drawn to the largest image in this area, which is of three women from the American West series. This image pulls you further into the space, and on the wall to your left you see some of Avedons portraits of musical artists, including iconic figures like the Beatles and Bob Dylan. A soundtrack of songs by the musicians you see adds interesting aural texture to this space and enhances the viewing experience. For instance, as you look at Avedons photo of a drifter from the American West series, the ambient music resonates with the image.

There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is true.

As you explore the images on the walls around you, you circle Avedons Deardorff camera, which is displayed in a freestanding Plexi-glass case. An interactive allows you to see what things look like when viewed through such a camera. You also spend a few minutes with a computer interactive that tests your knowledge of Avedon by presenting photographs and allowing you to decide if they are Avedon or not. A recreation of a creative ad for Maidenform draws you to another corner, where you learn more about Avedons advertising campaigns. You see that the musicians, like the authors in section one, have individual flat files where you can learn more about Avedons connection to them and how his photographs of them were important and influential. The American West photo that first caught your eye is paired with another arresting image from the same series, and between the two is a video that contrasts Avedons image of the West with footage of John Wayne movies and other traditional depictions of the West. As you move through this section, you catch glimpses of a white space in the distance, beyond a hallway and glass doors that appear to lead out of the exhibit. Your curiosity is piqued, as its hard to see what, if anything, is beyond the doors. As you conclude your time in this section, you move through the doors, which serve as a passageway into the exhibits conclusion. You walk through a gray vestibule and enter a room where you see nine representative images from Avedons 60-year career. The glass doors, which close behind you, insulate this final area from the ambient noise of the rest of the exhibit. The photographs are displayed on white walls, with ample space between them. There are no other objects or exhibit elements in the room. The images only have basic object labels, but you pick up a brochure that tells you more about them. The brochure also provides a timeline for Avedons career and includes thumbnails of many of the images you have seen earlier in the exhibit so that you can put them in historical context. Now it is just you and Avedons work, shown as it might be in a traditional gallery setting. Even though you are at the end of the exhibit, you find that you arent ready to leave because the photographs in this room are some of Avedons most powerful. They all show his ability to capture the unexpected. You find them compelling and captivating. The work speaks for itself, and a bench in the center of the room allows you to sit and contemplate your favorites.

Once again, the shift to a new section will not be overtly signaled by labeling. In many ways, it will feel like more of the same, with several groupings echoing and reinforcing themes introduced earlier in the exhibit. The portraits of famous musicians remind you of the famous authors and performers you saw when you first entered the exhibit. The American West photos featured here tie to an image from the same series included in section two. A group of images that speak to Avedons social commentary relate to images in the life-as-performance grouping you saw in section two, and a display of Avedons advertising campaigns and a portfolio rack of his work both reinforce themes introduced in the first section of the exhibit. However, in addition to expanding on and reinforcing ideas introduced earlier in the exhibit, this section also gives you a better sense of Avedons legacy, of his influence on commercial and art photography. You also will see how Avedons career, which spanned 60 years, was intertwined with the rise of an imagedriven, image-laden culture during the second half of the 20th century.

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RICHARD AVEDON

RICHARD AVEDON
Transformations

SAMPLE OF MAIN TEXT

Richard Avedon was a ...


Richard Avedon was a pioneer who redefined fashion and portrait photography.
Whatever his subject, Avedon sought out unusual perspectives that allowed him to tell unique and powerful stories. He had an innate ability to capture the unexpected. From playful departures to groundbreaking transformations, he often broke with convention and explored new territory. During his sixty-year career, his creative vision shaped an impressive body of work and created a powerful legacy.
Introduction Label: 25" x 11" Typeface: Berthold Akzidenz Grotesk Text size: 72pt 60pt Leading: 85pt Leading: 80pt

Screen Printed (red line continues along wall)

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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SAMPLE OF SECONDARY TEXT LABEL

Out

Character
Character
Weve seen these famous faces countless times,
Section Label: 16" x 20" (reduced 40%) Typeface: Berthold Akzidenz Grotesk Headline size: 110pt/100pt Text size: 41pt Leading: 51pt

of

Weve seen these famous faces countless times, but Avedon portrays them in unexpected ways. In some portraits, he strips away artifice to reveal the person behind the performer. In others, he pushes the element of performance to extremes. By blurring the lines between life and art, Avedon creates wordless dramas that invite us to take a closer look.

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RICHARD AVEDON

RICHARD AVEDON
Transformations

SAMPLE OF OBJECT LABEL

8 x 10 View Camera, Deardorff When taking portraits, Avedon typically used a view camera, like this one, to closely interact with the people he photographed. Here, he describes how he used this type of camera for his series In the American West: I use an 8 x 10 view camera on a tripod....I stand next to the camera, not behind it, several inches to the left of the lens and about four feet from the subject. As I work I must imagine the pictures I am taking because, since I do not look through the lens, I never see precisely what the film records until the print is made. I am close enough to touch the subject and there is nothing between us except what happens as we observe one another during the making of the portrait. This exchange involves manipulations, submissions. Assumptions are reached and acted upon that could seldom be made with impunity in ordinary life. Richard Avedon

Section Label: 7" wide Typeface: Berthold Akzidenz Grotesk Text size: 18pt Leading: 22pt

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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PRELIMINARY BUDGET LINE ITEMS

STAFF Percentage of: Two (2) curator salaries and benefits One (1) project manager salaries and benefits One (1) educator salaries and benefits Contractual labor costs itemized in sections below OBJECTS Conservation Photographs 3-D Objects Custom Framing Labor Materials Custom mounts for 3-D Objects including Maidenform bra, boxing shorts, gloves, books, record albums, cameras Labor Materials Borrowed Objects Insurance Packing and Crating Labor Materials Shipping/Transportation

FABRICATION Temporary walls for gallery Labor Design Construction/Installation Materials Wood Drywall Paint Cases Labor Design Construction/Installation Materials UV Plexiglas Labels Labor Graphic Design Installation (silk screeners) Materials Light boxes for quotes

INTERACTIVES/AUDIO-VISUAL Hardware Touchscreens One (1) large for contact sheet interactive One (1) small for influences interactive Wands for audio stations Recording equipment for audio Two (2) flat file cases Two (2) flat panel televisions and DVDs for video Camera for Deardorff interactive Hologram projector and screen Software Contact sheet interactive Influences interactive Hologram Labor Programming for contact sheet and influences interactive elements Graphic design for contact sheet and influences interactive elements Audio elements Time to conduct interviews Cost of staff travel to conduct interviews Editing time Video elements Staff time for research on copyright Editing time for video selections from Darkness and Light, and movie westerns Hologram Time to arrange, conduct and film interviews Editing time

TRAVELING SHOW Transportation Crating Insurance Shipping Travel for curator to venues MARKETING Signage Design Materials Production costs Direct mailing Design Printing Postage Website Advertising Print publications Ad design Publisher fees Radio spots Production costs Air time fees

Graphics/Illustrations Labor Research time on copyright and reproduction permission Graphic Design Installation Production Reproduction fees Materials LIGHTING Labor Lighting designer & staff Design time Installation time Materials Filters Fixtures Bulbs

EDUCATIONAL PROGRAMS Lecture Series Speakers Honorariums Travel Accommodation Per diem

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RICHARD AVEDON

RICHARD AVEDON
Transformations

TEAM PROGRESS REPORT

ince the beginning of the project, Team C has met regularly outside of class. Early in the semester, each meeting focused on the assigned task for the next class session. Group meetings were heavily supplemented by email discussion. As the projects progressed and the deadline approached, additional project sections were added to the meeting agendas. Throughout the project, we accomplished our assignments and goals in a highly collaborative way, with each member stepping out of their assigned roles as curator, educator, etc., to contribute thoughts on the big idea, goals and objectives, educational programs, and interactive elements. The group typically reached a consensus on these decisions with relative ease. Our goal was to be prepared to present as many details as possible in class, in order to get the most useful feedback. After the first class session, Team C met at the International Gallery to get a feel for the space. After seeing the exhibit installed at that time, the group met to voice their immediate impressions about the space and how it might influence the exhibit design. In the next few weeks, the team went to the Library of Congress to identify additional Avedon images and also met to watch the documentary Darkness & Light. In the meetings leading up to the April 13 session with the curators, each group member fulfilled her role and made additional contributions to the development of the exhibit concept. Curator Jackie Viteri conducted extensive research on Avedons life and work, and her knowledge proved invaluable as

the group endeavored to develop a concept. Educator Amy Southerland suggested education and programming ideas and also served as our primary wordsmith, putting the teams ideas down on paper and submitting text for team review. In addition to designing this concept brief, Designer Lisa Johnson developed our label design and helped us consider the visual elements of the exhibit. Interpretive Designer Amy Beckrich synthesized and refined the groups ideas on programs and interactive elements, as well as contributing to our growing knowledge about Avedon. Project manager Sarah Tapper assisted in scheduling meetings, identified goals for the out-of-class sessions, and helped guide the group in concept development and decision-making. Several days after receiving initial feedback from the NMAH curators, Team C met to make a decision about whether to move forward with our initial concept or develop an entirely new exhibit plan. Consensus was not reached at that meeting. During a second follow-up meeting, a fresh concept was developed and then presented to Ann Rossilli at the next class. With her input and encouragement, we confirmed our commitment to the new idea. In the week before the final presentation, the group met three times for intensive sessions to develop the new concept. In addition to these all-group meetings, team members also worked in smaller groups and individually to develop all the components for the concept brief and prepare for the final presentation.

MUSEUM EXHIBITION PLANNING & DESIGN SPRING SEMESTER 2005 TEAM C Amy Beckrich Lisa Johnson Amy Southerland Sarah Tapper Jackie Viteri Interpretive Designer Designer Educator Project Manager Curator

MUSEUM EXHIBITION PLANNING & DESIGN | SPRING SEMESTER 2005 | TEAM C

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