Instructor: Brian Andrews
timeart@enteract.com
“A
portrait is not a likeness. The moment an emotion or fact is transformed into a
photograph it is no longer a fact but an opinion. There is no such thing as
inaccuracy in a photograph. They are all accurate. None of them is the truth.”
– Richard Avedon
What is
an image? Where does it reside? As photographers it is our responsibility to
understand the functionality of an image, and how it works both aesthetically
and conceptually. This is an introductory course in color photography exploring
all aspects of image production and the making of meaning. The objectives of
this course are twofold: 1) to introduce basic color photographic techniques
and material with an understanding of the properties of the medium; and 2) To
develop a visual vocabulary and conceptual framework around image making. This
class will require that you have an active role in investigating the theory and
practice of photography. Students are expected to photograph regularly and
actively contribute to class discussions and critiques.
Project
1 – Identity: Narcissus meets Narcosis
Concept
– Identity, by definition, is a very personal concept. Its constructions define
who we are and how we think, even though most individuals find their identity
to be in some form of crisis. People band together in social groups such as
race, sexuality or occupation, and create an identity for each of these sets.
Identity then arises as a constructed process in constant flux. Think about
these notions as they apply to you and your creative process.
Deliverables
– Create an artwork based around the idea of a self-portrait. Keep in mind the
ideas of visual and symbolic meaning presented in the readings. You must show a
minimum of 8 color correct prints, with proof sheets and film.
References
– “The Vocabulary of Comics”, ”Lighting”. And Chapter 1 – 4 in Text
Project
2 – I see what you are saying: Text and Image
Concept
– “The history of photography will be the history of the caption.” –Walter
Benjamin One Way Street. Rarely do we ever see a photographic image
without text. Magazines employ captions; Museums provide wall texts. In these
cases, meaning is created in synthesis between all graphic
elements. This project will explore the semantic structures between text and
image making.
Deliverables
– Create a work of art whose meaning is built on the relationship between
photographic and textual elements. The text can be included as a caption,
written on the print, included in the image, or appended by any other means.
Keep in mind our discussion of semiotics and the vocabulary of visual meaning.
You must exhibit at least five prints and shoot a minimum of three rolls of
film with proof sheets.
References
– “The Work of Art in the Age of Mechanical Reproduction”, “Understanding
Comics”
Project
3 – Truth is Fiction
Concept
– Where are we? What are we looking at? Is that possible? Is it real? This
project will challenge our notion of ‘truth’ in a photographic referent.
Deliverables
– Create a work of art that explores the blurred boundaries between truth and
fiction within an image. Shoot a minimum of three rolls of film with proof
sheets.
References
– “The Photograph”, “The Photographic Activity of Postmodernism”
Final
Project
This is
your opportunity to put all we have learned this semester into a unified
artwork. Create a piece that demonstrates your acquired knowledge of the medium
in terms of concept, technique, and aesthetics.
§
Color Photography: A Working Manual by
Henry Horenstien
§
Course packet containing readings and technical reference
materials
See course packet for a full materials
list
Attendance– This course will strictly
follow the attendance policies of the school. More then three absences will
result in no credit. The information in this course is cumulative and we will
not be able to backtrack for students who missed class. Two tardies (including
in the afternoon) will count as one absence.
Participation– Students are required to full
participate in all critiques and class sessions. Students who come unprepared
for lab time or do not speak during a critique will be considered absent.
Assignments– All assignments are to be
turned in on time. Students should expect to spend at least 12 hours per week
on assignments outside of class.
Calendar is subject to change as
per the needs of the class.
AM: Introduction
to course requirements, Review “Some Rules and Hints for Students and Teachers
or Anybody Else” by John Cage, Facilities orientation, Review camera basics.
PM: Color theory; Color temperature, Assign
Project #1 - “Identity: Narcissus meets Narcosis”, Museum Visit
AM: Brief
survey of Contemporary Photography, Assign Reading “The Vocabulary of Comics”
and “Lighting” from The Filmmakers Handbook, Color Printing Demo
PM: Print
AM: Discuss /
Present relevant artists, Discuss reading, Lighting Demo, Print
PM: Print
AM: Critique
Project #1.
PM: Critique Project #1. Assign Project #2 - “I
see what you are saying: Text and Image”
AM: Color
Printing Quiz, Discuss / Present relevant artists, Shooting Slides, Assign
reading “The Work of Art in the Age of
Mechanical Reproduction” by Walter Benjamin, Duratrans Demo
PM: Print Duratrans
AM: Discuss
Benjamin, Chrome Printing Demo, Print
PM: Print Chrome
AM: Slide
Lecture, Discuss / Present relevant artists, Individual Meetings, Print
PM: Print
Week 8
AM: Critique
Project #2.
PM: Critique Project #2. Assign Project #3 –
“Truth is Fiction”
AM: Mural
Printing Demo, Assign Reading “The Photograph” by Marshal McLuhan
PM: Print
AM: Copy
Stand Demo, Discuss McLuhan, Print.
PM: MCA/MCP visit.
AM: Discuss /
Present relevant artists, Print.
PM: Print.
AM: Critique
Project #3.
PM: Critique Project #3. Assign Final Project
AM: Discuss /
Present relevant artists, Assign Reading “The Photographic Activity of Postmodernism”
by Douglas Crimp, Print.
PM: Gallery visit.
AM: Discuss
Crimp, Print.
PM: Print
AM: Critique
final project
PM: Critique final project
Let’s make some art!