enough, assigning to photography the task of documentation; the
problem is more complex. In conceptual art, in its clearest moments,
photography displaces or takes on the condition of the object or
dismantles the traditional parameters of spatial and material organization…
What I am doing, how it ends up as a sign, is all about language,
but sometimes it becomes a physical thing, sometimes it is just
photography.” - Gabriel Orozco
The Lens Based Image: History, Theory,
Info: This is not a photography class per se. The focus of this
program will be on photographic theory, criticism, and practice
as it relates to image making across disciplines (photography, video,
painting, printmaking, sculpture, etc.). Photographic images pervade
every facet of our society and affect almost all of our thoughts
and emotions. Though their intentions can be elusive, and dependant
on context, they are always present and should be approached with
a critical mind and eye.
This program is designed for intermediate
or advanced artists working in any medium and will emphasize seeing,
thinking and creating with thoughtful inquiry in hopes of providing
a better understanding of the construction and manipulation of an
image’s meaning and form. All of the exercises, lectures,
presentations, film screenings, gallery visits, critiques, etc.
are designed to develop each student’s technical, theoretical
and conceptual approach to the subject matter and his/her understanding
of the connections between these three elements. Students will carry
out art historical research as well as visual research to support
personal artistic inquiry.
Students will be expected to rigorously
pursue their personal studio work (in any medium) while participating
in interdisciplinary critiques of their work and the work of others.
Students will not be given “art assignments”.... That
is, you will not be told what to be making art about, and you will
not be told what tools to use. Consequently, students should begin
the program with a central thesis and personal motivation for making
provocative work. Some time at the beginning of the quarter will
be used to help students identify these personal themes.
What to expect: Students should be prepared
to do upper-division work in critical thinking, reading, writing,
and most of all, art production. Though assignments will not be
given, seeing, thinking, visualizing, and creating “exercises”
will. Students should be prepared to actively engage in these exercises
which might, at times, seem fundamental... making a photogram, for
instance. Students should be prepared to complete a significant,
but reasonable, number of assigned readings. Seminar readings will
inform our understanding of aesthetics generated from lens-based
images. Students should be prepared to complete a significant, but
reasonable, amount of writing on the arts. Each week, students will
be required to demonstrate active studio practice in relationship
to their personal work.