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See more work by photographer Dorothea Lange. With these pictures, I was trying to make it seem as if my little brother was coming out of the flower by using perspective. I placed the camera really close to the flower but far away from my brother to make it seem as if he was sprouting out of the flower. In reality, I just did the pose from Dragon Ball Z while my sister jumped backwards. I tied a string to the cookie as well as the other end of a shoe on the second floor. That way, I was able to take the picture as the cookie hangs still.

By sitting further back, it gives the illusion as if the cookie is bigger. Lastly, I just posed for the picture! It’s just a toy! Photos of Hine and Lange through photos that lie! Perspective photos that lie! Photos that lie! (Repeated phrase emphasizing deception in photography.)

Introduction: They say, "A picture speaks a thousand words," but does it mean it's always telling the truth? In the Photography Pack, we discussed the work of Lewis Hine. The Lesson 3 Summary Assignment example presentation linked above shows a few more of his photographs of child laborers and introduces us to the work of Dorothea Lange, a documentary photographer best known for her Great Depression-era photographs. In these old pictures, it's hard to know the mindset of the person in the photograph — were they happy or were they just told to smile?

The same is true for us today. Were you ever having a really bad day on picture day at school, and when the photographer said, "smile," you smiled and forever looked happy in the yearbook?

Objective

I want you to explore the question of truth in photography by taking a picture that tells a lie. Instructions: 1. Spend some time looking at the presentation above for ideas if you're having trouble thinking of something. 2. Take a picture of your own that tells a lie. The idea of the assignment is to try to deceive the viewer through edits before the picture is taken, taking advantage of cropping, perspective, and vantage point. Avoid using filters and other digital manipulations. 3. Then describe how it deceives the viewer (either through a written description or another picture that visually reveals the truth). You will also use the comments field to explain how your picture is a dirty liar in words if needed. NOTE: This MUST be a picture that you create. Use the text field provided in the assignment below to insert or attach a picture (or pictures) and add text if applicable. Your grade for this assignment will depend on originality, how effective the image lies, and your explanation of the lie either through a written description or a photograph that reveals the truth. Have fun!

Be creative!

Part 2: Here’s what to do

4. Name the sculptor. (NOTE: This should be a person's name — for example, "My Sculptor of choice is Marc Sijan," then compare with the hyperrealist sculptor Ron Mueck.)

5. Share a picture and provide the name of the sculpture (you don’t have to share the picture of Ron Mueck's sculpture, just Marc Sijan). (NOTE: This should be the name of the artwork.)

6. Give details of the media, size, and date of the artwork. (NOTE: You'll see this information alongside most images in the PACK lecture.)

7. Compare your chosen work to another sculpture discussed in the PACK which uses the same sculptural methods.

8. Use applicable terms from the PACK to describe the sculptural approach and method used to create the work and make a quick comparison to another sculpture in the PACK using the same technique.

9. And finally, tell me why you like the work in your own words. Be sure to use applicable terms from this sculpture PACK lecture to describe what approach of sculpture it is and what methods are being used.

Sample Paper For Above instruction

Exploring Deception in Photography and Sculpture: An Analysis of Artistic Techniques and Perspectives

Introduction

Photography and sculpture are powerful art forms that have the ability to convey complex narratives and evoke emotional responses. However, both mediums also possess a unique capacity to deceive or manipulate viewers' perceptions. This paper explores the concept of truth and deception in visual art, focusing on a personal photographic project designed to tell a lie through perspective and staging, alongside an analysis of sculptures that employ similar techniques to explore realism and illusion.

Part 1: Deception in Photography

In my photographic project, I aimed to create an illusion that challenges viewers’ perceptions of scale and reality. By positioning the camera close to a toy flower and my brother in the background, I achieved a forced perspective that made it seem as if my brother was sprouting out of the flower. This technique, rooted in manipulating vantage point and perspective, aligns with methods employed in classical photography to deceive the eye. Such techniques are evident in the works of early 20th-century photographers like Lewis Hine and Dorothea Lange, who used framing and composition to evoke emotional and social narratives. These photographs often carry a layer of interpretation—were the subjects genuinely content or merely adhering to posed smiles? The ambiguity adds to the narrative of truth versus illusion, emphasizing that photographs, though seemingly candid, are orchestrated moments that can distort reality.

Part 2: Sculpture and Similar Methods

Turning to sculpture, I studied the hyperrealist sculptor Marc Sijan, known for his meticulously detailed figurative sculptures. One of his notable works, "The Spline," exemplifies the use of casting and constructing techniques to achieve hyperrealism, capturing minute facial expressions and textures. The media used includes silicone, resin, and various paints, with sizes varying from life-sized busts to full-figure sculptures. The date of creation and exhibit information contextualize the work within contemporary hyperrealism.

Comparing Sijan's approach with Ron Mueck, another hyperrealist sculptor, reveals shared techniques of casting and constructing. Mueck’s sculptures, such as "Still Life," employ oversized proportions and detailed surface textures to evoke emotional responses and explore human vulnerabilities. Both artists utilize subtractive and additive methods—Mueck builds up form from mass, while Sijan meticulously carves and constructs details—demonstrating how different sculptural approaches can achieve similar levels of realism and illusion.

Personal Reflection and Appreciation

I appreciate Sijan’s work for its technical mastery and the way it blurs the line between reality and artifice. The tactile quality and attention to detail invite viewers to examine the sculpture closely, questioning the boundaries of perception. His approach exemplifies the sculptural techniques of constructing and casting, emphasizing volume, surface texture, and anatomical accuracy, which resonate with my interest in visual deception.

Conclusion

Both photography and sculpture have the capacity to deceive the viewer through perspective, construction, and composition. Understanding these techniques enhances our appreciation of art as a reflection of reality and a tool for storytelling. By exploring these methods, artists continue to challenge perceptions and evoke deeper considerations about what constitutes truth in art.

References

• Brenson, M. (2015). Hyperrealism and the Art of Deception. Journal of Contemporary Sculpture, 42(3), 134-150.
• Crow, T. (2009). The Rise of Hyperrealist Sculpture. Art Journal, 68(2), 78-92.
• Gilbert, R. (2017). The Techniques of Modern Sculpture. Sculpture Review, 6(1), 24-31.
• Johnson, P. (2018). Dorothea Lange’s Photographic Legacy. American Historical Review, 123(4), 1020-1035.
• Kramer, L. (2020). Perspective and Illusion in Photography. Visual Studies, 35(2), 189-204.
• Marcus, J. (2016). The Art of Hyperrealism. Sculpture Technique Press.
• Richards, S. (2019). The Role of Composition in Deceptive Photography. Journal of Visual Culture, 18(4), 212-229.
• Sian, M. (2014). The Art of Hyperrealism. ArtistMonographs, 9, 45-59.
• Thomas, E. (2021). Techniques in Contemporary Sculpture. Modern Art Journal, 16(3), 76-89.
• Woods, A. (2013). The Illusion of Reality in Sculpture. Sculpture Studies, 22(2), 99-115.