AD 260 Intermediate Photography
/ Photo II Spring 2003
Brian Andrews
brian@brianandrews.org
“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 intermediate course in
photography exploring all aspects of image production and the making of
meaning. The objectives of this course are threefold: 1) To refine skills with
black and white materials and darkroom techniques with an understanding of the
properties of the medium; 2) To introduce digital processes for the production
and editing of images; and 3) 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”
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.
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 correctly processed prints, with
proof sheets and film.
References – “Sublime Decay” by Lawrence Weschler, and
“Lighting” from The Filmmakers Handbook.
Project 2 – “I see
what you are saying: Text and Image”
“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 ontological structures between text and image making.
Create an installation 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, added
sculpturally in the installation, 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 images.
References – “Uses of Photography”, “Understanding
Comics”
Project 3 – “Truth is
Fiction”
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.
Create a work of art that explores the blurred boundaries
between truth and fiction within an image.
References – “The Work of Art in the Age of
Mechanical Reproduction”, “The Photographic Activity of Postmodernism”
Museum Reviews
During the semester, we will take trips to the
Museum of Contemporary Art, and the Art Institute of Chicago. Each student must
write a 500-word review of one of the works discussed during each visit.
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.
Calendar is subject to change as
per the needs of the class.
1/14:
Introduction to course requirements, Review “Some Rules and Hints for Students
and Teachers or Anybody Else” by John Cage, Assign Project #1 - “Identity:
Narcissus meets Narcosis”, Screenings: “Banana Split” by Kip Fulbeck, and
collected video works of Sadie Benning.
1/16:
Introductory critique. Bring previous work!
1/21: Slide
Lecture, Assign Reading “Sublime Decay” by Lawrence Weschler and “Lighting”
from The Filmmakers Handbook, Lab.
1/23:
Lab.
1/28: Slide
Lecture, Discuss reading, Lighting Demo, Lab.
1/30:
Lab.
2/4: Critique Project #1.
2/6: Critique Project #1. Assign Project #2 - “I see
what you are saying: Text and Image”
2/11: Slide
Lecture, Darkroom text demo, Assign reading “Understanding Comics” and “Uses of
Photography” by John Berger.
2/13:
Scanning and digital imaging demo.
2/18: More
digital Imaging, Lab
2/20:
Individual Meetings, lab.
Week 7
2/25: Slide
Lecture, Digital Printing demo, Lab.
2/27:
Lab.
3/4: Critique Project #2.
3/6: Critique Project #2. Assign Project #3 – “Truth
is Fiction”
3/11: Slide
Lecture, Color theory for digital imaging, Assign reading “The Work of Art in the Age of Mechanical
Reproduction” by Walter Benjamin
3/13:More
Imaging in color, Lab
3/25: MCP / AIC
Visit.
3/27: Discuss
Benjamin, Lab
4/1: Slide Lecture, Lab.
4/3: MCP / AIC paper due. Lab.
4/8: Critique Project #3.
4/10:
Critique Project #3. Assign Final Project
4/15: MCA visit.
4/17: Slide
Lecture, Assign Reading “The Photographic Activity of Postmodernism” by Douglas
Crimp, Lab.
4/22: Discuss
Crimp, Lab.
4/24:
MCA Paper due, Lab.
Week 15
4/29: Critique
final project
5/1: Critique final project
Course packet containing readings and technical reference materials:
·
Some Rules and Hints for Students and Teachers or Anybody
Else, John Cage
·
Sublime Decay, Lawrence Weschler
·
Lighting, The Filmmaker’s Handbook
·
Understanding Comics
·
Uses of Photography, John Berger
·
The Work of Art in the Age of Mechanical Reproduction,
Walter Benjamin
·
The Photographic Activity of Postmodernism, Douglas Crimp
Additional
resources will be provided as needed by the instructor.
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.
Let’s make some art!