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Annie Leibovitz

The inspiration for this project comes from sound, not sight. To be precise, jazz.
Art historian David Morgan used the idea of “riffing” to describe how visual artists, like jazz artists, riff on what others have done. This isn’t copying. It isn’t stealing. It’s riffing—giving credit, paying homage, making something new.
In this project, you become historian, art critic, and “riffer.” Your tasks include:
1) Annie Leibovitz is the artist
2) Researching the biographical history of the artist
3) Providing an overview of the artist’s work
4) Offering a detailed critique of one or two exemplary images/designs/film scenes from the artist (drawing on multiple perspectives and ideas from Lester’s text)
5) Riffing* on one of those exemplary images/designs/film scenes you chose in #4
6) Delivering a side-by-side critique of your image and the artist’s image/design/scene
7) Packaging all of the above in a visual design suitable to the subject and
8) Delivering all of the above in a 7-10-minute screen-capture video essay.
*Riffing does not mean copying. You do not have to mimic the artist’s subject matter. You can riff on form, on mood, on tone, etc. Elements like lighting, composition, kerning, leading, lines, depth, color and many more can be used to riff on someone’s work. Take the artist’s work as inspiration and make it your own.
You May Choose one artist from one of the following categories for your riffing project: (note: this list is a work-in-progress and more names will be added to it. Also, you may pick someone else entirely pending my approval.)
1) Photographers: Margaret Bourke-White, Robert Frank, Kevin Carter/ The Bang-Bang Club, Sebastiã Salgado, Henri Cartier-Bresson, Steve McCurry, Dorothea Lange, Lewis Hine, Walker Evans, Diane Arbus
2) Painters: Salvador Dali, Pablo Picasso, Vincent Van Gogh, Johanness Vermeer, René Margitte, Michelangelo, Kazimir Malevich, Ilya Repin, Frida Kahlo
3) Filmmakers: Steven Spielberg, Quentin Tarantino, Christopher Nolan, Clint Eastwood, Ava DuVernay, Alfred Hitchcock, Ari Folman, Chloe Zhao
4) Designers: Cipe Peneles, Saul Bass, Brad Klausen, Herb Lubalin, Archie Boston, David Carson, Lucille Tenazas
Great example of a visual riffing:

Video Essay Components, Sample Structure, and RubricVideo Essay Components, Sample Structure, and Rubric
Note: Use the following as a guideline for your essay structure. I’ll use a version of these components as a grading rubric.
Seven to ten minutes probably seems like a long time. Here’s a sample structure to help guide you:
1) Introduction—Who you are, what you’re doing, what’s your subject and the main ideas you will develop (30-45 seconds)
2) History of artist (2-3 minutes) [Use multiple sources for this. Give your audience more than the Wikipedia version.]
3) Analysis of key artist works (2-4 minutes) [Draw on Lester’s 9 elements of pre-analysis and apply at least three of his perspectives relative to the works.]
4) Riffing: Your image/design/video side-by-side with artist image/design/video with a discussion of how you riffed on the image (2-4 minutes). In this comparison, also apply the analytical perspectives/elements you engaged in Step 3.
5) Conclusion (1 minute): Reiterate key points.

Visually, your presentation must include:
1) Key imagery from artist work + your analysis of it
2) Your riffing product (image/design/video scene)
3) Side-by-side comparison of your product with the artist’s product.

Sample Solution

re critical to his theory regarding the scope of administrative prerogative, specifically concerning the complex politics of resistance. John Locke describes prerogative as the ‘power to act according to discretion, for the public good, without the prescription of the law, and sometimes even against it’; therefore stating that the executive is capable of taking actions that lie beyond the given legal framework of the constitution or written laws, in the case that their actions may advance the common good of the people, and of society as a whole. Ensuring their use for the advancement of the common good of the people and the understanding that prerogative powers are not imbued as a natural right, Locke emphasises that these powers are accompanied by the right to resist unlawful government by the people. It is for this reason that for many theorists, Locke is viewed more critically as the ‘origin of our contemporary tangle of lawless emergency governance’. Locke’s theory allows for governments, and executive bodies to step outside of the law in order to deal with public concern or emergency; “where the legislative and executive power are in distinct hands, (as they are in all moderated monarchies, and well-framed governments) there the good of the society requires that several things should be left to the discretion of him that has the executive power”; therefore one may show an understanding of prerogative as a liminal concept: occupying an “in-between” space for the legislature and the executive, it is this liminality that elucidates prerogative’s resilience. These tensions or ambiguities structure contemporary discussions of prerogative and, similarly primary literature focusing on emergency powers more broadly. Despite the emphasis placed on the executive as the primary body to carry out the motive principle of the given prerogative, one may argue in concordance with Lockean theory that the scope for such prerogative is at the behest of the infrastructure of the legislature, thus allowing for the body to play a key regulatory role. Henceforth, it must be taken into consideration that Locke refrains from calling prerogative executive power, rather Locke explicitly makes prerogative into a right of nature. In spite of Locke’s emphasis on the scope of prerogative right under an executive body, it may be said that such power is not an inherent right, therefore allowing the deliberative assemblies to close in on executive individuals through the use of authority to make laws for a political entity through the use of primary legislation. In this way the balance of power between the two branches of government allows one to maintain Locke’s theory, in contempt with the belief that such a system would endowing the executive with too much power relative to the legislature. However, it is critical that we consider the basis for Locke’s literature, as set in its given historical context; therefore in order to critically examine and thoroughly interpret Locke’s assessment of the scope o

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