• Bring a wagon, skate, fan, and bicycle into the classroom.  Manipulate them to illustrate examples of simple machine parts.  Identify the simple machine parts in each.
• Draw the simple machine parts found in these examples and label them.
• Lead a classroom discussion that compares and contrasts the ways scientists and artists study and understand machines

Students can develop perseverance when challenged with extensive problems. It is important for them to know that it is okay to have to work and rework problems in order to come to the best possible solution for themselves. The desire to rework ideas and the openness to a range of solutions are all part of the investigative scientific experience. Developing possible scenarios that could occur in the environment require students to rework their ideas as they formulate reasonable explanations.

• What is the subject of this photograph? Can you still see what is photographed, even though the photograph is cropped?

• What was the artist’s viewpoint when he took this photograph?

• How would the photograph be different if the whole object were shown? How has the artist chosen to frame the image?

• This work reveals the artist’s interest in cropping his pictures to isolate simple elements, and in emphasizing abstract patterns and the contrasts of light and dark areas. How does the artist use light in this work? What is the effect on the forms in the photograph?

• How would this photograph be different if the artist had used color photography (supposing that medium was available to him)? Do you think the absence of color is a lacking, or is it a positive thing?

What does the lighting suggest about the time of day this photograph was taken?

• In your opinion, what mood is the artist trying to convey? What makes you draw that conclusion?

• The photograph shows a cart wheel and axle and the shadows they cast. What does the image tell you about the time in which it was made?

• Would you call this work abstract or figurative, or both? Why? Describe the abstract and figurative elements.

• The work is called ‘In Les Halles’. Do you think the title adds something to the work? Does it matter where the photograph was taken?

• Les Halles was the central marketplace in Paris for nearly 700 years. This photograph was taken there in 1929, well before its 1971 demolition. How does the detail of a cart symbolize the busy Paris market of Les Halles?

• In describing his work, the artist has said: “The moment always dictates in my work.  What I feel, I do.  This is the most important thing for me.  Everybody can look, but they don’t necessarily see.  I never calculate or consider; I see a situation and I know that its right, even if I have to go back to get the proper lighting”. Do you agree there is a difference between looking and seeing?

• Do you believe that photographs should be realistic? Why or why not?

•  Study In Les Halles. List the characteristics of the medium.

•  Have students describe the subject matter of the work of art.  Note that all works of art deal with machines or relate to qualities of machines.  Name the machine parts they find in the works and list them on the board.

Pronounce the artist’s name:  Ker – tezh’

 

Les Halles was the central marketplace in Paris for nearly 700 years.  This photograph, taken at that market before its 1971 demolition, shows a cart wheel and axle and the shadows they cast.

 

Kertész’s use of a small camera allowed him to move quickly and inconspicuously amid the subjects that attracted him.  Here he has chosen an unusual point of view: he seems to be on the ground, photographing the wheel, the underside of the cart, and the shadows on the pavement.  This work reveals Kertész’s interest in cropping his pictures to isolate simple elements, and in emphasizing abstract patterns and the contrasts of light and dark areas.

 

Kertész began his career in photography using a large box camera on a tripod.  He was one of the first serious photographers to work with a 35mm camera, and after 1928 he used it almost exclusively.  The smaller camera gave him greater flexibility, because he did not have to use a tripod and because the camera used roll film rather than single-sheet negatives.  In describing his work, Kertesz said:

 

The moment always dictates in my work.  What I feel, I do.  This is the most important thing for me.  Everybody can look, but they don’t necessarily see.  I never calculate or consider; I see a situation and I know that it’s right, even if I have to go back to get the proper lighting.

 

André Kertész, one of the most innovative photographers of the twentieth century, was born in Budapest, Hungary.  Kertész was one of the first photojournalists, building an outstanding reputation while working for major publications in Europe.  Because of the political changes in Europe in the 1930s, he moved to the United States and became a naturalized citizen of the U.S. in 1944.

 

Kertész wrote, “Photography must be realistic.”  The thousands of photographs taken during his seventy-three-year career reveal how diverse reality was for Kertész.   There are realities that he discovered and realities of invention: journalist’s dreams of Budapest, Paris, and New York; nudes reflected in a distorting fun-house mirror; and still-life arrangements photographed in his apartment.