• Have students conduct an experiment on the effects of light.  Expose object on light-sensitive paper to sunlight for varying periods of time.  Predict what will happen, then compare the students’ predictions to their observations.  Conclude by making sunprints as works of art.

• Place sunprints in sequential order, based on amount of time that the paper was exposed to the sun.

• Develop a comparative numerical scale for lightness to darkness and rate each print.

• Make graphs to demonstrate the outcomes, showing light ratings on one axis and lapsed time on the other.

• Discuss and interpret the graphs.

• What is this a photograph of? How would you describe the subject matter?

• Where in the photograph is the greatest contrast between light and dark? How does the artist use contrast to focus attention in the composition?

• What different textures can you distinguish?

• Analog photography brings out light and shadow particularly well. Look for the shadows and the brightest areas in this photograph. Where do you think the light source is? Is it a natural or artificial light source? What time of day do you think this is?

• What is the function of the background?

• The contrast in the height of the plant and girl is emphasized by the shadows they cast against the wall. Which is the largest shadow? Does that surprise you?

• The girl and the plant are in the center, placed against a plain white wall and framed on either side by wooden doors. What is the viewpoint or angle from which the photograph is taken?

• The artist often photographed objects and people in and around his house and yard. While this may look like a casual photograph, he carefully composed this work to emphasize the differences between the girl and the weed. What differences do you see?

• The artist focuses on the differences in textures among the plant, clothing, bricks and wood. Do you think a photograph is the best medium to portray realistic settings?

• The girl in the photograph is standing next to a weed. What do you think the artist was trying to communicate? What does the expression ‘growing like a weed mean’ to you?

• The title of the work is ‘8 year old girl, 6 month old weed’. Does knowing the title change your answer to the previous question?

• The artist has talked about the inspiration for his photograph: “When I was around 8 or 9, I found this funny little plant growing by our fence out back.  I watered it a lot and it grew really fast.  I was sure it was a sunflower or corn or something.  It grew to about 10 feet high, and by then it was apparent that it was a weed. Cumming takes this common phrase and interprets it literally to show the error inherent in that expression. Do you think there is place for humor in art?

Think of the expression, “growing like a weed.”  Cumming takes this common phrase and interprets it literally to show the error inherent in that expression.  He stages the photograph to illustrate his point and presents it in a deadpan manner.  It really doesn’t matter if the weed is six months old.  The juxtaposition of the girl and the weed, together with the title, is enough to make the viewer question the truth of a common phrase.  Cumming recalls a story from his childhood that may be the inspiration for this photograph:

 

When I was around 8 or 9, I found this funny little plant growing by our fence out back.  I watered it a lot and it grew really fast.  I was sure it was a sunflower or corn or something.  It grew to about 10 feet high, and by then it was apparent that it was a weed.

 

While this may look like a casual photograph, Cumming carefully composed this work to emphasize the differences between the girl and the weed.  The girl and the plant are in the center, placed against a plain white wall and framed on either side by wooden doors.  The contrast in the heights of plant and girl is emphasized by the shadows they cast against the wall.  The artist also focuses on the differences in textures among the plant, clothing, bricks, and wood.

 

Cumming usually photographs ordinary objects from unusual angles, forcing the viewer to see things in a new way.  Throughout his work Cumming has focused on the tension between the abstract and the material, the ethereal and the mundane, the ironies in life.  He says, “You scoop up a lot of fragments of reality – the motion of a hand, a conversation here, a sound of something, the look of something – the little pieces.  And you squeeze them out in a different form.”

 

Robert Cumming was born in 1943 in Worcester, Massachusetts, and earned a Bachelor’s degree in Fine Arts from the Massachusetts College of Art and a Master’s degree in Fine Arts from the University of Illinois, Urbana-Champaign.  He has worked in many media, including painting, drawing, sculpture, written narrative, video, and photography.  Cumming finally chose photography as his medium because it seemed to allow him what he felt was his greatest artistic freedom. 

 

1. Charles Hagen, “Robert Cumming’s Subject Object,” Artforum 21 (Summer 1983), p. 41.