20/21: 2012

COURSE DESCRIPTION:

PH 200 20/21 Contemporary Lens-based Media

This course will build upon the foundation established in the PH 111 History of Photography. Artistic, political and analytical movements will be critically addressed in addition to trends and technologies within lens-based media to offer contemporary perspectives and foster qualified debates and discussions. Beginning with the New Vision, this course will address critical aspects of modernism and continue into the present post-post modernist perspective, as well as address theoretical/political positions within the medium and public consumption of imagery. This class will consist of a series of lectures, visual presentations, projects, field trips, readings, papers, and in-class discussions of pertinent subject matter.

Wednesday, February 8, 2012

Updates

Reading from A World History of Photography - Words and Pictures: Photographs in Print Media 1920 - 1980

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Mini Presentation Subject(s) for next class:

Trends in print Media
Photojournalism (ca 1920’s)
LIFE Magazine
Building a culture of visual literacy
John Heartfield (Arbeiter Illustrierte Zeitung (AIZ)
Alexander Rodchenko (Novyi LEF)
Margaret Bourke-Whit
Robert Capa & War Reportage
W. Eugene Smith
Henri Cartier-Bresson (Reserved for Anthony)
Brassai
Weegee
Advertising and all it’s glory (Conde Nast – Vouge)
Richard Avedon
Edward Steichen (Ad/fashion work only)
Irving Penn
Deborah Turbeville
Roland Barthes selections from Camera Lucida (the de-realization of the our lived world via photographic representation)

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Curatorial Exhibition Due: February 22 & 29

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Next Gallery Guide Due: March 14

Wednesday, January 18, 2012

CLASS THREE

Reading:

Words and Pictures: Photographs in Print Media 1920 - 1980

→ Email me three to five images of authors addressed in the readings and an analogous contemporary and be prepared to discuss them in class. Email must be sent prior to Monday, January 23rd.

→ on-going work on your gallery guide I (due class four). This will be discussed in greater detail next class if you have any questions

If you have any questions please contact me.

CLASS TWO

Readings:

Photography as a fine art, 1901 by Charles H. Caffin
Art in the Age of Mechanical Reproduction by Walter Benjamin
On the Invention of Photographic Meaning by Allan Sekula

Also, bring to class your essay:

What is the Social Function of Contemporary Art?

OUTCOMES:

Upon successful completion of this course, the student will be able to:

Further expand upon and contribute to ideas and perspectives germane to the ever-changing history of lens-based media; to understand and apply forms of aesthetic theory in support of conceptual design within interdisciplinary skill sets to articulate the primary intent of authors/movements/projects and the not-so-distant historic context it has taken on; to not only become fluent in trends, styles, concepts, and aesthetics within the contemporary discourse and to articulate these applications to support the evolution of personal work and ideas, and promote awareness of trends in the medium(s) discussed; and to further develop creative problem solving skills via researching authors and ideas as well as maintaining a professional level of respect for personal ideas and those of others.

Through regular readings, in-class discussions, lectures, presentations, field trips, written reviews, and reaction papers, the objective of this course is to generate a greater knowledge base of contemporary imagery as a valuable resource to be applied to individual projects, personal work, and the professional environment.

COURSE OBJECTIVES:

These learning objectives will be accomplished by:

à In-class discussion and critical annalisis of readings and viewed artwork and theoretical discourse in conjunction with social/historic movements/trends.

à Regularly assigned readings (as listed on syllabus and available in the library or as desk copies) will be discussed in class to further the development of critical thinking skills and the articulation of subject matter.

à Presentations

à The subject matter of your research and presentation(s) will be at your discretion, pending final approval from the instructor. This will allow you to dedicate time throughout the semester to exploring one particular artist of your choice and the process they used. This paper will consist of a strong conceptual analysis of the individual’s work, historic relevance, and the effects or parallels of that work within contemporary art. The paper should be a minimum of five pages, plus images that support your thesis. The presentation should be ten to fifteen minutes long with accompanying images. Paper and research project deadlines are listed on your syllabus.

à All assignments, readings, research papers, exams, and written papers are to be completed by the identified date on the syllabus or otherwise discussed in class. Assignments are listed on your syllabus.

à Weekly written and forum-posted reaction papers to readings, contemporary art exhibitions, authors, and points of discussed interest. All written assignments are to be posted on the 20/21 forum at: http://20-21-lensbasedart.blogspot.com/as well as turned in during class.

à Curatorial Project: Establish a conceptual, historically appropriate theme and curate images for five to seven authors (working with any medium as long as there is an emphasis on lens-based media) and selected works in an exhibition. You are to provide an introductory essay (three to five pages) establishing your conceptual design for the exhibition as well as individual synopsis of the authors you are including.

à Exhibitions, openings, and events are to be attended regularly independent from scheduled class trips and identified NEiA visiting lectures. View work critically and seek additional information from galleries, museums, and events when possible that will aid in the advancement your understanding of the work you are experiencing. You are encouraged to bring to class discoveries of new images, artists, or ideas. These topics will always be addressed in class or independently with the instructor. The history of photography is a rich and complex history, and regrettably we will not be able to explore all of the many facets of this wonderful field, so information sharing inside and outside of class will add to the this course and is greatly appreciated.

à Students will be evaluated based on critiques and reviews of projects, written assignments, presentation, and class participation. Class participation is vital to your success in this class.