Thursday, June 18, 2015
Contemporary Portraits
“In Our Glory: Photography and Black Life” bell hooks
Film:
Readings:
Self-portraiture & the Surrogate Other
Close to Home: Diaristic Stories & Family Connections “Stories We Tell” by Sarah Polley
Doug DuBois “Afterword”
Marianne Hirsch “The Familial Gaze”
The Anxious Figure
“Gil Blank and Thomas Ruff in Conversation”, Influence, Issue 2 (2004): 48-59
Close to Home: Diaristic Stories & Family Connections “Stories We Tell” by Sarah Polley
Doug DuBois “Afterword”
Marianne Hirsch “The Familial Gaze”
The Anxious Figure
“Gil Blank and Thomas Ruff in Conversation”, Influence, Issue 2 (2004): 48-59
519
Lecture:
Class Consciousness &The Politics of Portraiture
TBA
Grey Gardens
Grey Gardens
26
Critique:Assignment #4
Lecture: Sexuality & Fashion
Reading: “Like a Man – Photographs of Collier Schorr” by Bruce Hainley
Lecture: Sexuality & Fashion
Reading: “Like a Man – Photographs of Collier Schorr” by Bruce Hainley
Reading: “Viewfinder” by Raymond Carver
Assignments:
Assignment #1 (See Handout)
Two page response to the Avedon video. Do you agree or disagree with his ideas regarding portraiture? How does that relate to your own goals or intentions?
JANUARY 30
Lecture: Origins of the Photographic Portrait Critique Assignment #1
February 6
Lecture: Self-portraiture & the Surrogate Other
Close to Home: Diaristic Stories & Family Connections Film: “Tarnation”
Reading: “Nan Goldin’s Grim Ballad”, by Andy Grundberg (From Crisis of the Real) “Afterword”, by Doug Dubois (From All the days
February 13
Critique Assignment #2
February 20
Lecture: The Anxious Figure
Film: “The Mother Project”
Reading: “Gil Blank and Thomas Ruff in Conversation”, Influence, Issue 2 (2004): 48-59
February 27
Critique Assignment #3
March 6
Holly Roberts Lecture - Room 215 at 12:30
March 13
.
March 20
Visiting Artist: Johanna Warwick www.johannawarwick.com
Lecture: Class Consciousness &The Politics of Portraiture
Readings: “Benetton and the uses of tragedy”,Vicki Goldberg, Light Matters
“Tina Barney: An afterwards” by Andy Grundberg
Assignment #1 (See Handout)
Two page response to the Avedon video. Do you agree or disagree with his ideas regarding portraiture? How does that relate to your own goals or intentions?
JANUARY 30
Lecture: Origins of the Photographic Portrait Critique Assignment #1
February 6
Lecture: Self-portraiture & the Surrogate Other
Close to Home: Diaristic Stories & Family Connections Film: “Tarnation”
Reading: “Nan Goldin’s Grim Ballad”, by Andy Grundberg (From Crisis of the Real) “Afterword”, by Doug Dubois (From All the days
February 13
Critique Assignment #2
February 20
Lecture: The Anxious Figure
Film: “The Mother Project”
Reading: “Gil Blank and Thomas Ruff in Conversation”, Influence, Issue 2 (2004): 48-59
February 27
Critique Assignment #3
March 6
Holly Roberts Lecture - Room 215 at 12:30
March 13
.
March 20
Visiting Artist: Johanna Warwick www.johannawarwick.com
Lecture: Class Consciousness &The Politics of Portraiture
Readings: “Benetton and the uses of tragedy”,Vicki Goldberg, Light Matters
“Tina Barney: An afterwards” by Andy Grundberg
4
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•
March 37
No class – Community of Scholars
April 3
Critique: Assignment #4
April 10
Lecture: Sexuality & Fashion
Film: Grey Gardens
Reading: “Like a Man – Photographs of Collier Schorr” by Bruce Hainley
No class – Community of Scholars
April 3
Critique: Assignment #4
April 10
Lecture: Sexuality & Fashion
Film: Grey Gardens
Reading: “Like a Man – Photographs of Collier Schorr” by Bruce Hainley
History of Photography
Origins of photography
Rosenblum,A World History of Photography (hereafter referred to as WHP), Chapter 1
The American Civil War & Westward Expansion Rosenblum,WHP, Chapter 3
Rosenblum,WHP, Chapter 4, pp. 167 - 192
Pictorialism, Steiglitz, and the Photo-Secession Rosenblum,WHP, Chapter 7
Turn of the Century: Eugene Atget & August Sander Introduction to social documentary: Jacob Riis and Lewis Hine
Abbott,“The World of Atget,: Photography in Print:Writings from 1816 to the Present
(hereafter referred to as PIP) pp. 254 – 257
Susanne Lange,“August Sander’s People of the 20th Century: Its Making and Impact,” from Cruel and Tender, Emma Dexter and Thomas Weski (ed.) (MyLesley)
Rosenblum,WHP, pp. 359 – 365
Trachtenberg,“LewisHine:TheWorldofHisArt,”PIP pp.238–253. TedGup,“The1890BookIHadtoHave”NewYorkTimesarticle(MyLesley)
European Surrealism & West Coast School “f64”
Rosenblum,WHP, Chapter 9
Man Ray,“Self-Portrait,” PIP pp. 267 – 270
Laszlo Moholy-Nagy,“Photography”, from Classic Essays in Photography (hereafter referred to as CEP) p. 165 – 166
Vicki Goldberg, “Ansel Adams” from Light Matters. (MyLesley)
Rosenblum,A World History of Photography (hereafter referred to as WHP), Chapter 1
The American Civil War & Westward Expansion Rosenblum,WHP, Chapter 3
Rosenblum,WHP, Chapter 4, pp. 167 - 192
Pictorialism, Steiglitz, and the Photo-Secession Rosenblum,WHP, Chapter 7
Turn of the Century: Eugene Atget & August Sander Introduction to social documentary: Jacob Riis and Lewis Hine
Abbott,“The World of Atget,: Photography in Print:Writings from 1816 to the Present
(hereafter referred to as PIP) pp. 254 – 257
Susanne Lange,“August Sander’s People of the 20th Century: Its Making and Impact,” from Cruel and Tender, Emma Dexter and Thomas Weski (ed.) (MyLesley)
Rosenblum,WHP, pp. 359 – 365
Trachtenberg,“LewisHine:TheWorldofHisArt,”PIP pp.238–253. TedGup,“The1890BookIHadtoHave”NewYorkTimesarticle(MyLesley)
European Surrealism & West Coast School “f64”
Rosenblum,WHP, Chapter 9
Man Ray,“Self-Portrait,” PIP pp. 267 – 270
Laszlo Moholy-Nagy,“Photography”, from Classic Essays in Photography (hereafter referred to as CEP) p. 165 – 166
Vicki Goldberg, “Ansel Adams” from Light Matters. (MyLesley)
The FSA in America
Rosenblum,WHP, pp. 365 - 383
Roy Emerson Stryker,“The FSA Collection of Photographs” PIP pp. 349 – 354
Andy Grundberg,“Walker Evans, Connoisseur of the Commonplace,” from Crisis of the Real, pp 66 - 70.
Sarah Boxer “This (Click),Then This:Walker Evans, a Man of Lists” NYT (MyLesley)
Cartier-Bresson & Street Work
Henri Cartier-Bresson,“The Decisive Moment,” PIP, pp. 384 - 368
Rosenblum,WHP, pp. 365 - 383
Roy Emerson Stryker,“The FSA Collection of Photographs” PIP pp. 349 – 354
Andy Grundberg,“Walker Evans, Connoisseur of the Commonplace,” from Crisis of the Real, pp 66 - 70.
Sarah Boxer “This (Click),Then This:Walker Evans, a Man of Lists” NYT (MyLesley)
Cartier-Bresson & Street Work
Henri Cartier-Bresson,“The Decisive Moment,” PIP, pp. 384 - 368
5
WWII & Magnum
Rosenblum,WHP, Chapter 10 pp. 462- 490
Andy Grundberg, “Magnum’s Post War Paradox,” from Crisis of the Real, pp 191 - 195.
1940’s Move Towards Metaphor
Minor White, “The Light Sensitive Mirage” & “Statement” PIP, pp. 394 - 399
Sarah Greenough,“The Art of Seeing,” from Harry Callahan, pp. 31 – 53 (handout)
Post War: Robert Frank & the Americans
Robert Frank,“Statement,” PIP, pp. 400 – 401
Jack Kerouac,“Introduction,” from The Americans, pp. 5 – 9 (On Reserve)
Andy Grundberg,“Robert Frank’s Existential Refrain,” from Crisis of the Real, pp. 46 – 48.
New Documents: Friedlander,Winogrand & Arbus Social Document
Rosenblum,WHP, Chapter 11
Vicki Goldberg, “Diane Arbus”, from Light Matters (MyLesley)
Rosenblum,WHP, Chapter 10 pp. 462- 490
Andy Grundberg, “Magnum’s Post War Paradox,” from Crisis of the Real, pp 191 - 195.
1940’s Move Towards Metaphor
Minor White, “The Light Sensitive Mirage” & “Statement” PIP, pp. 394 - 399
Sarah Greenough,“The Art of Seeing,” from Harry Callahan, pp. 31 – 53 (handout)
Post War: Robert Frank & the Americans
Robert Frank,“Statement,” PIP, pp. 400 – 401
Jack Kerouac,“Introduction,” from The Americans, pp. 5 – 9 (On Reserve)
Andy Grundberg,“Robert Frank’s Existential Refrain,” from Crisis of the Real, pp. 46 – 48.
New Documents: Friedlander,Winogrand & Arbus Social Document
Rosenblum,WHP, Chapter 11
Vicki Goldberg, “Diane Arbus”, from Light Matters (MyLesley)
Lecture:
Readings:
Lecture: The Rise of Color Photography & The New Topographics
Rosenblum,WHP, Chapter 12
John Szarkowski,“Introduction to William Eggleston’s Guide” (On Reserve)
Stephan Schmidt-Wulffen,“Stephen Shore’s Uncommon Places” from Uncommon Places,The Complete Works (On Reserve)
Cindy Sherman & The Postmodern
Andy Grundberg, “Cindy Sherman:A Playful and Political Postmodernist,” “Richard Prince, Rephotographer’ from Crisis of the Real,
Rosenblum,WHP, Chapter 12
John Szarkowski,“Introduction to William Eggleston’s Guide” (On Reserve)
Stephan Schmidt-Wulffen,“Stephen Shore’s Uncommon Places” from Uncommon Places,The Complete Works (On Reserve)
Cindy Sherman & The Postmodern
Andy Grundberg, “Cindy Sherman:A Playful and Political Postmodernist,” “Richard Prince, Rephotographer’ from Crisis of the Real,
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