AD 264 Media Explorations Fall 2002
Brian Andrews - timeart@enteract.com
Robin Hann - TA
“The growing circulation of the
new graphic currency that digital imaging technology mints is relentlessly
destabilizing the photographic orthodoxy … this condition demands a fundamental
critical reappraisal of the uses to which we put graphic artifacts, the values
we assign to them, and the ethical principles that guide our transactions with
them.”
- William J. Mitchell, The
Reconfigured Eye
Digital imaging is everywhere.
Most images in our culture, whether in a magazine or gallery, have passed
through a computer at some point. Understanding the conceptual implications
and technological shifts of digital image making is essential for the practicing
artist.
This class will explore a range
of technological techniques for art making, as well as generate awareness in
the meanings created by the synthesis of art and technology. Students will be
introduced to digital imaging techniques and the many ways they enter the world
including, print, CD-ROM, the web, and video. Our primary interface for these
images will be the Adobe Photoshop software package followed up with
instruction in ImageReady and Adobe AfterEffects. Each section of the course has
been designed to illuminate the conceptual issues, technical concerns, and
aesthetic choices inherent to the shifting roles of the mediums.
The
objective of this course is for the student to challenge their ideas about
technology and image making. Students are expected to engage with imaging
techniques regularly and actively contribute to class discussions and
critiques.
Project 1 – Memorial / Collage
This assignment is due on September 11, 2002, and relates
both directly and indirectly to the events and ramifications of September 11,
2001.
Part 1: Choose an image related to September 11 (either
from a book, magazine, the Internet, or other source) to scan or download into
Photoshop, and print it out on inkjet paper. Your challenge visually is to pick
an image that is not a cliché – I.E. not one that we have seen reproduced
repeatedly saturating our culture. Technically, your challenge is to scan the
image, retouch and color correct it, and print it appropriately.
Part 2: Compose an original collage exploring the idea of
loss using the flatbed scanner as your camera and workspace. This could reflect
your feelings about 9/11 or an individual loss – something as acutely personal
as the loss of a loved one, or inevitable as the changes of the seasons. The
essential thing is that you assemble components – 2D or 3D – associated with
your idea. (Please note: You must take care not to damage the scanner through
scratching or moisture; use a layer of clear acetate if necessary). Try several arrangements of your components
Make test prints to discover which one captures your ideas and feelings. Select
a final image and print it on 13” x 19” or 17 x 19” inkjet paper.
References – “The Paradoxes of Digital Photography”, and
Chapters 1 – 5 of Real World Adobe Photoshop
Project 2 – Pay No Attention to the Man Behind the Curtain
This project will demonstrate your skills in retouching
and digital imaging. Create a large-scale artwork that somehow calls
into questions the notion of photographic “space” while maintaining the
appearance of the picture plane.
This work should be achieved through staging photography,
appropriating images, and digital image manipulation. Feel free to use any kind
of camera, props and costumes, slight of hand, the scanners, and any digital
technique in order to create a suitable artwork. In order to complete this
project, we will develop skills in scanning negatives, image retouching, and
preparing files for large format output. The project should consist of as many,
or as few, images it takes to create a successful artwork. Topics could include
explorations of self-portraiture, or a visualization of a psychological space.
We will be discussing the work of relevant artists
including (to begin with): Jeff Wall, Peter Sarkisan, Patrick Nagatani, Gregory
Crewdsen, Andreas Gursky, Sandy Skogland, Barbara Norwood, James Casebere,
Anthony Goicolea, Juan Munoz, not to mention Magritte and the surrealists. Our
research will include a field trip to the MCP to view the Goicolea show on
9/9/2002, and (hopefully) a trip to the Art Institute to view works by Wall,
Crudsen, and Magritte, as well as an excursion to the MCA to view the Gursky
Exhibit.
References – “Intention and Artifice”, “How to do Things
with Pictures”, “Image Simulations, Computer Manipulations: Some
Considerations”, and Chapters 11 – 16 of Real World Adobe Photoshop
Project 3 – Dr. Frankenstein – It’s Alive, It’s Alive!
Technology provokes many questions about who we are and
the nature of the world around us. It creates paradoxical ideas about nature,
culture, ethics, and challenges our ontology as human beings. Frequently, these
conflicts arise in the constructs of our bodies and identities. For this
project, you will create a work of art that explores the indeterminate ground
between nature, technology, and humanity.
Previous to this assignment, all of our work has taken the
form of ink printed on paper. This project will take our knowledge of digital
imaging and apply them to a context outside of our previous output limitations.
Devleop your work of art utilizing digital techniques and output it to the web,
a CD-ROM, video, or other electronic media. Surprise me with where you can
locate your work in the media spectrum.
In order to complete this project we will develop some
basic web skills in Photoshop and Imageready. Additionally we will explore
time-based manipulations of images for CD-ROM or video using Adobe
Aftereffects. We will look at a great deal of art on the web, as well as CD’s
and videos by Kip Fulbeck, Paul Pfiffer, Art Jones, Ed Rankus, Doug Aitken and
others. Conceptually, we will examine works by Mark Dion, Eduardo Kac, Cindy
Sherman, Aziz + Cucher, Marco Everasitti, Stellarc, Carolee Schneeman, Diana
Thater, Orlan, and others.
References – “The Persistance of Vision”, “Cyborging the
Body Politic: Obsolete Bodies and Posthuman Beings”, and Chapters 6 – 7 of Real
World Adobe Photoshop
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 mediums we explored in terms of concept, technique, and
aesthetics.
References – “Improbable Architecture”
Calendar is subject to change as
to the needs of the class.
M (9/2):
No Class - Labor Day
W (9/4): Introductions, Review “Some Rules and
Hints for Students and Teachers or Anybody Else” by John Cage, Brief survey of
digital photography and art Facilities orientation, Scanning demo, Review
Project #1: “Memorial / Collage”, Assign Reading “The Paradoxes of Digital Photography” by Lev Manovich
M (9/9):
MCP Field trip. MEET AT MCP!
Afterwards: Discuss Manovich reading, Printing Demo
W (9/11): Critique
Project #1
M
(9/16): Critique Project #1. . Assign
Reading: “Intention and Artifice” by William J. Mitchell
W (9/18): Imaging
/ Retouching Demo, Discuss Mitchell reading #1, Assign Project #2 - “Pay No
Attention to the Man Behind the Curtain”, Assign Reading: “How to do Things
with Pictures” by William J. Mitchell
M (9/23): Discuss
Mitchell reading #1, Lab.
W (9/25): MCA
Field trip. MEET AT MCA to view Gursky exhibit. Lab
M (9/30): Large
format Printing Demo, More imaging techniques, Lab
W
(10/02): Discuss / Present relevant
artists, Assign reading: “Image Simulations, Computer Manipulations: Some
Considerations” by Martha Rosler, Lab
M (10/7): Discuss
Rosler reading, Lab
W
(10/9): Art Institute Field trip.
MEET AT ART INSTITUTE to view Wall, Crudsen, and Others. Lab
M (10/14): Critique
Project #2
W
(10/16): Critique Project #2. Assign Project
#3 - “Dr. Frankenstein – It’s Alive, It’s Alive!”
M
(10/21): Photography on the web,
Introduction to image ready, Assign Reading
“The Persistance of Vision” By Donna Haraway,
W
(10/23): Automated web page design,
Discuss Haraway,. Lab
M
(10/28): Introduction to Aftereffects,
Assign Reading “Cyborging the Body Politic: Obsolete Bodies and Posthuman
Beings” By Mark Dery, Lab
W
(10/30): More Aftereffects, Survey of
video issues, Discuss Dery, Lab
M (11/4): More
Aftereffects, Lab
W (11/6): Gallery
visit (Bodybuilder and Sportsman, Vedanta, Friedman, etc.) Lab
M (11/11): Lab.
W
(11/13): Critique Project #3. Assign
Final Project
M (11/18): Critique
Project #3. Gallery review due.
W
(11/20): Assign Reading: Selections
from Understanding Media: The Extensions of Man “Introduction”, “The
Medium is the Message”, and “The Photograph” by Marshall McLuhan.
M
(11/25): Discuss / Present relevant
artists, Discuss McLuhan, Lab.
W (11/27): Lab
Day – (Thanksgiving Eve)
M
(12/2): Discuss / Present relevant
artists, Assign Reading “Improbable Architecture” by Paul Virilio, Lab.
W (12/4): Discuss
Virilio. Critique any final projects completed at this time, Lab.
M (12/9): Final
Projects Due! Critique final project
W
(12/11): Critique final project
§
Reading packet provided by the instructor
§
Recommended: Real World Adobe Photoshop,
Adobe Systems and Peach Pit Press
A notebook and pen
Recordable CDs as needed
Zip Disks
inkjet and other printing paper as needed.
Attendance– This course will strictly follow the attendance
policies of the school. The information in this course is cumulative and we
will not be able to backtrack for students who missed class.
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!