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,
More Photographers
Elinor Carruci
Shelby Lee Adams (Appalations)
Rania Matar
Rebecca Horne
Angelika Rinnhoffer
Zoe Strauss
Magnum
Seven VII site
Katy Grannen
Tom Roma Columbia
Come Sunday
ICP Lectures - storytelling Paterson the book
Mark Steinmetz workshop Aperture 500
Friedrich
Fairy Photos
Paul Fusco JFK Funeral Train
Shelby Lee Adams (Appalations)
Rania Matar
Rebecca Horne
Angelika Rinnhoffer
Zoe Strauss
Magnum
Seven VII site
Katy Grannen
Tom Roma Columbia
Come Sunday
ICP Lectures - storytelling Paterson the book
Mark Steinmetz workshop Aperture 500
Friedrich
Fairy Photos
Paul Fusco JFK Funeral Train
Showing the work and pueblos hinging I'm NYC camera work
Hannah price npr org
Watch film tarnation
Watch movie Living under drones
Drone strike
Micaela Palermo
Richard tuschman
Trisha morrissey
Access vs absence in motherhood
Motherhood starts with intention
Tracing internal line family secrets loss and gain
Steven Klein look into pics
Corin day
Apollo reversion
Kmart and Marcus
Mario sort to
Tierney Gearon
Reagen Lewie brother photograph
Lang Taylor grant put of duke
Matt Connors
Pelly Cass
Look at them
Touching photographs Margaret Olin
Fowl low Ted Forbes on Pinterest
Paul Urbano photographer
Collect a group of images and or sounds video and curate a show of stuff found on the internet
No fine art
Exploring Leveling in the digital realm time and value
Older that uve mad your own personal relationships between high art and low popular art
No right or wrong way
Move things from one content to another and redefine art
Like Oliver's Pinterest
Artist unknown book found images
John Perry Barlow
Walter Benjamin "the work of art on the mechanical age of reproduction"
What happens to art in the age of repro... Objects are aura. Photographs don't have aura.the aura now is in the signature and edition
Bjork remixes
Appropriation and recontextualization
Richard Prince
Curatorial activity looks like Pinterest boards
Jenn Beckmann 20x200 website
Ways of seeing Instagram
Instagram article from Yaleb
Christian Marclay the clock every minute of a 24 hour day. Looking at a clock or watch coinciding with that time.
Pharrel Williams Happy 24 hours
Bet hers
Penelope umbrico projects that use the internet ie sunsets
Tumblr mirrors on craigslist
Buzzfeed website takes off. Of this
Celebrities who look like mattresses
Do depressed women eating ice cream and text about break ups
Crowd sourcing
If u want to get work done source it out to the crowds
Anastasia samoylova
Looking at the relationship of intent to curatorial practice
Larry Sultan Evidence
Divorced the image from the backstory of corporate images
Richard Prince sunsets of images he found
Women laughing alone with salad
Collectively when u look at it it speaks to a culture and is art
Word alone, women in relationship to food food and pleasure food stand in for love
Women eating cake guiltily
Paris photo
Saint Lucy.com
Vernacular
John Rafman google street artist
Craig kalpakjian surveillance
Lauren greenfield
Hitchcock turf or book
Robert longo men in the city
Hello I'm Shelley duval fractured fairy tales
Kubrick one point perspective
Lauren greenfield sanders girl culture
Click hole.com
Fictional nature and believability in post tv savvy world
Retouched shoppe
Green screen fluff era
Faking it manipulated photography before photoshop at met
Jeff Koons at the Whitney
Taryn Simons the innocence project
Self representation authorship be something oth than selves troupes of cinema Cindy Sherman
Levinthal dolls myths
Laurie Simmons and Adam mc cullom
Kim keifer
Cory archangel
Learning from Las Vegas
Peter Garfield
Immersion
Look up Laurie Simmons new work
quote:
Gallagher argues that collage is the per- fect medium for coming to terms with a culture saturated in images, both printed and online. "Today's collage artists carve out fragments from this frenzy and force the disparate pieces to become one," he writes. "It is their way of controlling the chaos—or at least pushing the pause but- ton long enough for examination."
clothing catalogs, text books, anything that can be folded into my world." His collages usually feature one or two monochrome figures, their faces always concealed, set against open backgrounds built up from layers of paper to suggest abstracted interior spaces. A restricted palette and sparing use of random lines of type help to define his private graphic world. His aim, he says, is to reveal a zone of hidden behavior—its beauty, ugliness, solitude, and desire. gallager
unqualified em- brace of digital collage as a tool for responding to 21st century modernity
The bot- tomless ocean of imagery available on the Internet gives collage-makers even greater reserves of ready-made material to filter, borrow, and manipulate, while any paper image can be digitized by scanning.
One of the most distinctive artists in Elephant and Cutting Edges is Julien Pacaud, a French illustrator who planned to become a filmmaker before discovering collage. Pacaud's use of dis- placementand rupture is so complete- he only works digitally—that I wonder whether "digital collage" is even the right term for what he does. He blends his source images seamlessly into pictorial scenes that might, as he says, belong to an imaginary film. Whatever the people were doing when he extracted them, they become actors in a new hyper-real dra- ma. In one image, an Edwardian lady looks reverently at the grass, while an- other woman in the distance, holding hands with a companion, points to the sky where two huge planets hang above slender monoliths of light. Pacaud can sometimes overdo the portentous geom- etry (cubes, pyramids, spheres) but his re-colorized images look like fully con- temporary visions and he is in constant demand as an image-maker.
Walead beshdey
Tim Davis
David Hammons
John O Reilly
Duane mochaels the house I once called home
annete koons family secret and acts of imagination
rosolidan drauss a note of photograph y and the simulacrum
marianne hirsch family frames photo gray
Capital of the 21 century Ted talk
Culture
How u analyze this is the moment beyond ur art expense
Larry sultan retread
Creating a facade of the memories u have in there
Changing the gestures
Carrie Mae Weems
Bell hooks
Larry Clark
Eugene Richards
FSA
Gordon parks
Dorothea's lange
Walker Evans
James Agee let is now praise famous men
Kathe Kowolski
Doug duBois
Mitch Epstein
Coco disco
Rick Lowe
Tim Rollins and KOS
Deawpud Bey
Nan Goldin
Larry Sultan
Tina Barney
Gillian Wearing
Paul Graham
Stephen Shore
William Eggleston
Diane Arbus
Sally Mann
Martin Parr
Larry Clark
Chris Killip
Sarah Lucas
paz errazuriz
thomas ruff
Gerhard Richter
john baldessari
Nan Goldin
Larry Sultan
Tina Barney
Gillian Wearing
Paul Graham
Stephen Shore
William Eggleston
Diane Arbus
Sally Mann
Martin Parr
Larry Clark
Chris Killip
Sarah Lucas
paz errazuriz
thomas ruff
Gerhard Richter
john baldessari
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