PHT 1057 01
MAKING A PICTURE INSTEAD OF TAKING A
PICTURE (MAPIOTAP)
FALL 2013 SYLLABUS
SANDRA STARK FRIDAY 9-12 and 2-5 Room
C203 Mission Hill, 2nd Floor
Each class students are required to bring one
found photo to put on the wall to create a collective photo grid of pictures
they have questions about technically, aesthetically, philosophically,
ethically, etc. This is how we start each class, so that your needs are covered
as well as my expectations.
Sept. 6, 2013 CLASS 1- Introduction; camera
stores; types of film; digital cameras; exposure; expectations; class
attendance; overview. The class collectively will compile a list of interesting
shows and websites throughout the semester.
Assignment: DIPTYCHS
Most discussions on
photography start with looking at a picture.
We will immediately subvert
that in creating diptychs and talk about what pictures mean in relation to each
other. We will also discuss the importance of sequencing and the critical
placement of each photograph.
Students will be given 5 websites of
photographer’s works. They are to pick one photo from each group and add a
found photo with it, creating a diptych of the photographers picture with the
found picture.
Example: Angela Strassheim photo paired with
found picture from library, Internet, newspaper, etc.
Photographers: Angela Strassheim, “Left Behind”
series; Robert Frank, “The Americans”; Gregory Crewdson, Google images; Diane
Arbus, Google images; and Penquin book covers, Google images.
Discussion: How strikingly meaning can change
when context changes; one must completely understand the intentions of the
photographer of the first image to successfully SUBVERT, SUPPORT, ALTER,
ENHANCE, MOCK or change the meaning of the first photo. So, next week bring in
5 pairs of photos. I am not concerned w/display, just pushpin them to the wall.
What not to do: If the first picture you have
chosen is of a dog swimming, don’t google the words “dog swimming” and pair it
with that photo. Use your head and make your own choices.
This first assignment is a key assignment to
understanding the
rest of the semester.
Sept. 13, CLASS 2 Look at
assignment-critique.
Talk about SEQUENCING and NARRATIVE with examples
in Sergei Eisenstein’s, “Potemkin”, “The Odessa Steps” and Alfred Hitchcock’s
“Psycho” shower scene and sequences from “North by Northwest”; Chris Marker’s
“La Jette”, Larry Clark’s Book “Tulsa”, film, “Memento” and works by Nathan
Lyon and Michael Smith.
The students shoot an entire roll of film where
sequencing is imperative using information gleaned from the first assignment.
Shoot 24-36 pictures and come to class with a specific sequence in mind. Have
the prints printed cheaply at CVS or Walgreen.
This is not to be done on the computer, you need actual
prints. In class we will suggest and illustrate new ways of creating meaning
through sequencing. After class you can go to the Mac Lab and request to have
the final sequence printed on one long roll of paper.
You may storyboard your ideas or edit in your
head as you shoot. The first picture has to relate conceptually or formally
with the second picture, etc.
Sergei Eisenstein reading.
Sept 20, CLASS 3 Critique.
TEXT
and IMAGE assignment. Look at these books in class: Control Zone, Raised by
Wolves, Photo Text Text Photo, Web Affairs, Scherezade, Barbara Kruger, Gillian
Wearing, Ken Lum, Duane Michals, Shannon Ebner, Sue Coe, Kim Abeles, Paul
Seawright, Kelly Poe, Stephen Dupont, Larry Johnson, Tracy Emin, advertising,
etc. Reading: “Light Readings, A Photography Critic’s Writings 1968-1978”,
A.D. Coleman, Oxford University Press, 1979 “The Directorial Mode, Notes Toward
a Definition, pg. 246.
Using found or created text add text to your
photos, digitally, or with collage, with paint, newspaper clippings, etched
into photo, etc, etc.
Visit the MFA to see, “She Who Tells a Story:
Women Photographers from Iran and The Arab World” West Wing, MFA.
VISITING PHOTOGRAPHER THURSDAY, SEPT 26
SARAH MALAKOFF , Alfond Auditorium, MFA,
12-2
Sept 27, CLASS 4
RETHINKING THE STILL LIFE. Discussion of traditional still
life painting and historical photographs. Look at Fox Talbot; Peter Fischli
& Weiss; Zeke Berman; Jan Groover; Louise Lawler; David Levinthal; Ellen
Brooks; Paul Outerbridge; Madame Yevonde; Laura Letinsky; Gregory Crewdson’s
new work, the Starn Twins; Morandi’s paintings; Ori Gerscht: exploding still
lifes; the spinning still lifes; Angela Gualdoni’s paintings,
advertising. David LaChapelle.
Assignment: create a series of still lifes that
break traditional conventions. Discussion of the meaning of symbols in still
life, issues of trade, wealth, mortality, etc. What does a 21st
century still life look like? This will also be good practice if you have never
arranged things in front of the camera. We will start a discussion on lighting.
October 4, CLASS 5 Critique.
CREATE
AN INSTALLATION LARGER THAN YOURSELF AND PHOTOGRAPH IT. Also, step back and
photograph it in its larger space. You can use found materials, it doesn’t have
to be an expensive endeavor. Discussion of lighting techniques. Lighting
demo-cheap and easy. Look at: Annie Leibowitz, Eileen Cowin, Bruce
Charlesworth, Charlott Markus, Ana Mendietta, Philip-Lorca di Corcia, Pierre
and Giles, Lorie Novak, Laurie Simmons, Calvin Colum, Sandy Skoglund, James
Casebere, Ann Hardy, Thomas Demand, Jeff Wall, Mona Hatoum, Mariko Mori,
Charlie White, Felix Gonzales-Torres, James Welling and more.
We will also talk about the light in these works.
OCTOBER 10, VISITING PHOTOGRAPHER; ELIJAH GOWIN
Alfond Auditorium, MFA, 12-2
OCTOBER 11, CLASS 6 Critique.
CHOOSE A PICTURE FROM PHOTO HISTORY AND RECREATE IT EXACTLY.
Also, shoot a second one where you tweek (not twerk) the image and make it your
own.
October 18, CLASS 7 Critique.
USE HISTORY AS A DIRECT INFLUENCE. It can be any
type of history, political, social, art, scientific, etc. but it cannot be
personal history or about yourself. We will look at McDermott and McGough;
Madame Yevonde; Carrie Mae Weems, Karl Baden, John O’Reilly; Kara Walker; Glenn
Ligon; Eleanor Antin ; Eve Laramee; Dottie Attie; Vik Muniz; Collier Schorr;
Neeta Madahar and more. Reading.
See Sophie Calle at the Gardner Museum***
OCTOBER 24, VISITING PHOTOGRAPHER, AMY STEIN, 12-2
Alfond Auditorium, MFA, 12-2
October 25, CLASS 8 Critique.
ROLE
PLAYING ASSIGNMENT. Choose a role to play for the camera. It can be a
self-portrait or you can direct a friend or group of people. Costume, lighting,
sequencing all play an important role. Look at Cindy Sherman; Claude Cahun; the
Guerrila Girls; Bas Jan Ader; Samuel Fosso; Gillian Wearing; Kalup Donte Linzy;
Anna Gaskell; Glen Ligon; Mexican novellas; immigrant worker superhero project;
Chris Burden; Lilly McElroy; Melanie Bonajo; Janine Antoni; Anne Rowland;
Charlie White, Allison Davies and more.
Reading:”Photo and Performance” by Mark Alice
Durant, Aperture, April 2010, Summer, v.199.
Film: “Marwencol”.
NOVEMBER 1, CLASS 9 Critique.
COMBINE SOMETHING 3D WITH A PHOTOGRAPH. Look at Joseph
Kosuth; Rachel Harrison; Sara Van Der Beek; Ellen, Garvens; Collier Schorr; Oliver
Warring; the Starn Twins and more.Joseph KOSUTH: “One and Three Chairs”:
:http://www.moma.org/collection/object.php?object_id=81435
Bring the 3d object with the photograph to class.
NOVEMBER 8, Class 10. CLASS
MAKES UP ASSIGNMENT
NOVEMBER 15, CLASS 11: Class re-does an earlier
assignment or re-does someone else’s assignment.
NOVEMBER 21, VISITING PHOTOGRAPHER, HENRY HORENSTEIN, Alfond Auditorium, MFA, 12-2
NOVEMBER 22, CLASS 12 Create a Fictional Family,
more info in class. This assignment is also in relation to Thanksgiving break.
NOVEMBER 29, Thanksgiving Break, no class.
DECEMBER 6, Class 13 Self-Portraits with other
people; Mike Mandel; Nikki Lee, etc.
DECEMBER 13, CLASS 14:
FINAL CRITIQUE
Some Readings:
“Ways of Seeing”, John Berger, BBC and Penquin
Books, 1972,
“Masquerade, Representation and the self in
contemporary art (sic); curator Rachel Kent with Shelley Rice, Isolde
Brielmaier, Museum of Contemporary Art, Sydney, Aust. 2006.
“Representation, Transformation and the Self,
Rachel Kent, pgs. 7-22.
“Image, Music, Text”, Roland Barthes, “The Death
of the Author”, 1977.
“Art & Discontent, Theory at the Millennium”,
Thomas McEvilley, “Thirteen Ways of Looking at a Blackbird”, 1993
“The Photographic Idea: Reconsidering Conceptual
Photography”, Afterimage, March-April, Lucy Soutter, 1999
Art21 Series available online
Field Trips
Criteria for Credit:
All assignments must be completed and on time.
Full participation in critiques; voicing your
opinion; helping make the class a community will help you earn credit for this
course.
Students must make a sincere effort at
understanding class content.
All students must participate in all critiques.
Attendance Policy:
Only two unexcused absences are allowed.
An excused absence is validated by a doctor’s
note on proper stationary. An excused absence is not “I have to pick someone up
at the airport” or “I overslept”.
Being late more than 3 times (5 minutes or more)
equals one unexcused absence.
Additional absences will result in you being
withdrawn from class-no credit given.
Office Hours:
I am available Friday’s 12-1 or 5:00-5:30 in the
classroom.
I would appreciate an appointment but can
occasionally meet spontaneously. I can always talk to you after class.
My email is:
sandra.strk@gmail.com (no "a" in stark)
Subject heading please type:
"MAPIOTAP" that is making a picture, etc.
GRAD TRAINING Photo Area:
Thurs 9/12 12:30-1:30 pm Imacon
scanning and clearance with Claire Beckett, B003
Fri 9/13 12:30-1:00 pm D-Lab
orientation with Chris Maliga, B019
Fri 9/13 1:00-1:30 pm Cannon 5D Mk.
II clearance with Sarah Pollman, B010 (to be confirmed)
Mon 9/16 12:30-1:00 pm Cannon 5D Mk.
II clearance with Sarah Pollman, B010
Mon 9/16 12:30-1:30 pm Imacon
scanning and clearance with Claire Beckett, B003
Tues 9/17 12:30-1:00 pm Darkroom
Orientation w/ Chris Maliga, B011
Tues 9/17 1:30-2:00 pm D-Lab
orientation with Chris Maliga, B019
Four Photographers Lecturers
Fall Semester 2013
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