we will be meeting to turn in final paper outlines and receive feedback on our research...
see you at 1pm!
Tuesday, December 4, 2012
Wednesday, November 28, 2012
student evaluations open, check your email
class,
you should receive a link in your email to access the class evaluation forms; we will dedicate 15 minutes during next week's class for filling out evaluation forms online.
you should receive a link in your email to access the class evaluation forms; we will dedicate 15 minutes during next week's class for filling out evaluation forms online.
If a student cannot find the course evaluations email, follow these instructions: If students misplace or delete the email with evaluation links, please have them email evals_admin@saic.edu from their SAIC email account and include this message in the subject line, "Send course evaluations link." Have them put their ID number in the main body.
The digital course evaluations opened 8:00 a.m. today and close on December 19 at 11:59 p.m.
reminders and the future
Next week, 12/5, will consist of one-on-one meetings discussing the evolution of your papers with me and each other. Do not miss this class!
The readings for next week will not be discussed in class to allow additional final project paper/presentation prep and research time.
Please come ready with an outline of your paper that includes a thesis, major ideas and supporting ideas. the generic version of a short paper is as follows:
-introduction that ends with thesis
-main point
supporting point
supporting point
supporting point
The readings for next week will not be discussed in class to allow additional final project paper/presentation prep and research time.
Please come ready with an outline of your paper that includes a thesis, major ideas and supporting ideas. the generic version of a short paper is as follows:
-introduction that ends with thesis
-main point
supporting point
supporting point
supporting point
-main point
supporting point
supporting point
supporting point
-main point
supporting point
supporting point
supporting point
-conclusion that includes a recap or re-energized version of thesis and final thoughts/questions
guidelines for Final - Theoretical Essay
Final Project – Theoretical Essay
Students will write a 4-5 page theoretical essay where they introduce a new paradigmatic idea on photography (defined loosely, derivations from this are ok upon instructor approval).
It is encouraged for students to develop their own theoretical term(s) in their paper that are contributions to the ongoing discourse on photography. Papers will be well-researched, high-level arguments/observations that are supported by evidence and images (students to create an appendix that contains footnotes and images, all papers must have a minimum of 4-5 pages of text regardless of their use of images).
Papers are due the last day of class.
Papers must have a clear thesis.
If used, original vocabulary terms must be clearly defined.
References must be cited on the bottom of each page according to current MLA standards.
Students must visit and utilize the SAIC library; the internet is not a ceiling for research…consult the librarian on relevant materials to consult.
For our final class, students will present via, PowerPoint, the main arguments and examples of their essays in a 10-12 minute timed lecture. This presentation should bepracticed, clear, concise, and dynamic.
Theoretical Essay Proposal
On Nov 7th, bring a printed essay proposal of two pages, in the form of an outline, to class for review by peers and the instructor. Add any images necessary to your proposal as additional printouts behind your proposal—staple everything together. In addition, please post the same text and images on the class blog by the beginning of class.
Tuesday, November 27, 2012
Kate Bush: The Latest Picture
- the influence of conceptual and neo-conceptual photographers present in contemporary artists.
- "photography became relevant because it evolved to record/describe rather than to express/aestheticize" (266).
- asking "can photography show us something that art isn't?" rather than "is photography art?" (266).
---
- camera as "pure instrument of reproduction, 'a dumb copying device'" (262).
- "relieve artists from aesthetic decision-making and leave them free to concentrate on pure idea" (262).
thomas ruff:
> "makes images of images, representations of representations" (262).
> "to amplify the semantic limitations of the medium" (263).
> "photography as nothing more than an apparatus for the production of images" (263).
nudes, 2001
bruno seralongue:
> "develops methodologies to reduce his authorship decisions to minimum" (263).
> "demoting himself from 'artist' to pure 'operator'" (263).
> "works to critique role of photojournalist as empowered/privilege witness to world events" (263).
escalier central, 2000
shirana shahbazi:
> "practices an emphatically utilitarian documentary approach" (263).
> "individual images appear excruciatingly banal" (263).
> "yet her images accumulate into a set of 'micro-events' that collectively map her subject" (263).
goftare nik, 2000-2001
---
- "fusion of reportage photography with pre-conceived performative acts" (264).
- engagement of audience through aspects of the gaze/confrontation.
boris mikhailov (focus on case history series):
> "pays these people to reveal their bodies and to perform intimate acts in which he examines forensically" (264).
> "we as spectator are the ones who are humiliated/degraded by the confrontation" (264).
> "casts his work as a theatrical representation of social reality" (264).
case history series, 1998
shizuka yokomizo (focus on strangers series):
> sends letters to strangers, saying she ("the artist") will be outside their window at a certain time, and if they choose to participate, to draw their curtains and look out towards her, but they must never attempt to make contact with her again.
> "both photographer and subject are looking and being looked at: both are active subjects of their own gaze, and, simultaneously, passive objects of the gaze of the Other" (265).
stranger series, 1999
nikki lee:
> she adapts and blends into a chosen community for a period of weeks/months and the product is recorded in "photographs that mimic the code of amateur photography" (265).
> "identity is understood as constantly fluctuating through a set of shifting relationships with other people" (265).
> "the self is defined in relation to what, and who, is around" (265).
the hispanic project, 1998
---
- "'clip and montage artists' who raid pop culture for raw material" (265).
- "reality is represented as always constructed in representation" (265).
amy adler:
> "investigates the complex ways images can both encapsulate and catalyze desire" (265).
> "she develops the original photo, makes a pastel drawing, and then photographs her drawing" (266).
> "each of her cibachromes is only one in a series, thus could be said to be non-unique and interdependent" (266).
amy adler photographs leonardo dicaprio, 2001
- "photography became relevant because it evolved to record/describe rather than to express/aestheticize" (266).
- asking "can photography show us something that art isn't?" rather than "is photography art?" (266).
---
- camera as "pure instrument of reproduction, 'a dumb copying device'" (262).
- "relieve artists from aesthetic decision-making and leave them free to concentrate on pure idea" (262).
thomas ruff:
> "makes images of images, representations of representations" (262).
> "to amplify the semantic limitations of the medium" (263).
> "photography as nothing more than an apparatus for the production of images" (263).
nudes, 2001
bruno seralongue:
> "develops methodologies to reduce his authorship decisions to minimum" (263).
> "demoting himself from 'artist' to pure 'operator'" (263).
> "works to critique role of photojournalist as empowered/privilege witness to world events" (263).
escalier central, 2000
shirana shahbazi:
> "practices an emphatically utilitarian documentary approach" (263).
> "individual images appear excruciatingly banal" (263).
> "yet her images accumulate into a set of 'micro-events' that collectively map her subject" (263).
goftare nik, 2000-2001
---
- "fusion of reportage photography with pre-conceived performative acts" (264).
- engagement of audience through aspects of the gaze/confrontation.
boris mikhailov (focus on case history series):
> "pays these people to reveal their bodies and to perform intimate acts in which he examines forensically" (264).
> "we as spectator are the ones who are humiliated/degraded by the confrontation" (264).
> "casts his work as a theatrical representation of social reality" (264).
case history series, 1998
shizuka yokomizo (focus on strangers series):
> sends letters to strangers, saying she ("the artist") will be outside their window at a certain time, and if they choose to participate, to draw their curtains and look out towards her, but they must never attempt to make contact with her again.
> "both photographer and subject are looking and being looked at: both are active subjects of their own gaze, and, simultaneously, passive objects of the gaze of the Other" (265).
stranger series, 1999
nikki lee:
> she adapts and blends into a chosen community for a period of weeks/months and the product is recorded in "photographs that mimic the code of amateur photography" (265).
> "identity is understood as constantly fluctuating through a set of shifting relationships with other people" (265).
> "the self is defined in relation to what, and who, is around" (265).
the hispanic project, 1998
---
- "'clip and montage artists' who raid pop culture for raw material" (265).
- "reality is represented as always constructed in representation" (265).
amy adler:
> "investigates the complex ways images can both encapsulate and catalyze desire" (265).
> "she develops the original photo, makes a pastel drawing, and then photographs her drawing" (266).
> "each of her cibachromes is only one in a series, thus could be said to be non-unique and interdependent" (266).
amy adler photographs leonardo dicaprio, 2001
downloading problems
i just re-uploaded the articles, they should all work!
let me know if you have any downloading problems...
let me know if you have any downloading problems...
Monday, November 19, 2012
Holly Myrick-Final Theory Paper
I
want to explore memory and the idea of a person. I saw someone on the elevator
the other day that I had only seen before on Facebook. It was a very odd
experience that really got me thinking about how we perceive people through a
series of photographs and such before actually seeing them in person. What has
culturally taught me to imagine a person in reality because of a split second
frozen in time? These images feed our imaginations in ways that make up
characters. We imagine how someone acts simply through a photograph. The photos
seem extremely expressive because they were chosen to be on display for a
reason. Why go to the trouble of wasting battery or film, looking through all
of your photographs, having these specific images uploaded or printed, and have
them sitting on the internet forever or framed and up for the world to see in a
physical environment?
This idea also made me
ponder people we feel we no longer know. Photographs become obsessions because
we have evidence of people we felt we knew at one point, and no longer feel
that way. The obsession of memory and craving the idea of who someone was seems
dangerous. It seems to be in the same sort of realm of categorizing people
we’ve never met because of their photographs. Our minds make up personalities
that more than likely won’t match up in the end. But why do we set ourselves up
like that? These judgments seem dangerous and explore one of the more skeptical
aspects of photography. Why can we not just see things as they truly exist?
These photos may not prove a great deal of truth so why do we feel that photos
are the best portrayal of others and ourselves? How much proof does a photo ID
really show? We trust images so greatly these days; we rely on them to provide
evidence for everything. I ate a cupcake today…don’t believe me? Go look on
Instagram, it says I posted the photo three hours ago. But what if I took the
photo three weeks ago and just want you to think I ate it today? Would you care
that I lied about something so miniscule? The accessibility to photography and
displaying them is insanely instantaneous, and our generation feels a desire to
reveal every detail of our little lives through photographic means. My main
goal is to explore how photography’s qualities of realism cause the mind to
automatically assume characteristics because of their appearance in an image.
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