Adroit Dissection: 2008

Wednesday, November 19, 2008

Bal, Mulvey, Lacan, and a Butler

Introduction to the theory of Narrative by Mieke Bal

Visual Pleasure and Narrative Cinema by Laura Mulvey

The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience by Jacques Lacan

Excerpt from Gender Trouble by Judith Butler

Wednesday, November 5, 2008

Buchloh & Rosler + critical synopsis of exhibition

In, Around, and Afterthoughts (on documentary photography) by Martha Rosler

Allan Sekula: Photography Between Discourse and Document (from Allan Sekula's project: "Fish Story") by Benjamin H.D. Buchloh

Prepare a two page critical synopsis addressing the work by Robert Knight (My Boat is So Small) on exhibition at Gallery Kayafas (450 Harrison Ave.) opening reception on: Friday, November 7th. This synopsis/review of Robert Knight's work must be turned in next class in printed format (note: this will not be a posting and only complete printed format will be accepted).

Also, Professor Myren's work (The View from Home) will be featured in the gallery at this time and it is strongly encouraged to attend the opening reception to show your support.

Gallery Kayafas

Monday, October 13, 2008

de Certeau, de Man, and Jay

The Arts of Theory by Michel de Certeau

Resistance to Theory by Paul de Man

Threshold - The Disturbing Image: A Survivalist Guide to Contemporary Photography by Bill Jay

Monday, October 6, 2008

Sekula & Batchen

On the Invention of Photographic Meaning by Allan Sekula

Ectoplasm: Photography in the Digital Age by Geoffrey Batchen

Wednesday, September 24, 2008

Barthes & a Berger

Elements of Semiology by Roland Barthes

Ways of Seeing by John Berger

NOTE: IDENTIFY AND BRING TO CLASS THREE TO FIVE IMAGES THAT REPRESENT/SUPPORT/CONTRADICT/ILLUSTRATE THE SELECTED THEORIES PRESENTED IN THE TEXT BY BARTHES AND BERGER

Tuesday, September 16, 2008

Barths, Barths, Barths, and a Guibert

Selections from Camera Lucida by Roland Barthes

The Photographic Message by Roland Barthes

The Rhetoric of the Image by Roland Barthes

and

Inventory of a Box of Photographs and the Album by Herve Guibert

Tuesday, September 9, 2008

Gallery Kayafas Exhibition: Amy Monntali

Gallery Kayafas
450 Harrison Avenue
Boston, MA 02118

Exhibition: New Work by Amy Monntali

Prepare a one page analytical review of the exhibition: New Work by Amy Monntali (note: your review is not to be a description of the work on display but a thoughtful analysis of the work experienced).

Due class three (09.24.08)

Benjamin, Sontag, and Bourdieu

Art in the Age of Mechanical Reproduction by Walter Benjamin

In Plato’s Cave by Susan Sontag

The Social Definition of Photography by Pierre Bourdieu

COURSE DESCRIPTION:

Photography: Theory & Criticism will examine historic and contemporary philosophical, aesthetic, and epistemological topics addressing the evolution of theories germane to contemporary photographic discourse. As a class, we will address structuralism, post-structuralism, deconstruction, semiotics, and the taxonomy of visual representation from simulacrum to social classification analysis. Conceptual understanding and the successful application of the topics addressed throughout this course are designed to further develop your photographic lexicon. The application of thoughtful, theory-based ideas can be employed to promote visual solutions to challenges in the design, execution, and creation of your work. Theories and topics discussed in the readings will be introduced with supporting imagery for discussion and debate. Active discussion and participation are core requirements of this course.

COURSE OBJECTIVES:

This course is designed to introduce critical theory and foster the understanding of multiple expectations/interpretations and potential message(s) contained within the photographic image. By deconstructing the conceptual design, formal elements, and the ever-evolving cultural architecture requisite to a contemporary visual language, we will develop the required skill sets to actively seek qualified meaning beyond an image’s superficial mimetic qualities. The ideas, theories, philosophies, and positions expressed by the assigned authors are subject to sensitive trends within ethnographical movements. Through multiple writing exercises, interviewing artists and critics, and attending gallery/museum exhibitions, we will define and articulate points of long-term personal aesthetic/conceptual interest.

TEACHING ASISTANT:

FRANCES JAKUBEK

The teaching assistant will provide structural support for all class discussion topics, assist with logistical preparation, and participate in the on-going critical analysis of readings, written reviews, and presentations. Ms. Jakubek’s position is to be informative and knowledgeable on all subject matter addressed in class, accessible for project-related conceptual development, and to respectfully challenge the integrity of your work in all of its manifestations.

This semester, Ms. Jakubek will be leading select critical discussions, as well as supporting lecture(s) on critical/theoretical essays in conjunction with on-going class curriculum.

If you have any questions for or regarding your teaching assistant, please feel free to contact me or Ms. Jakubek.

COURSE CONTENT:

Readings, presentations, papers, reviews, and class participation are the primary curriculum-based assignments. Additional research to qualify independent papers and projects will be contingent upon the identified subject matter, and at your discretion.
Assignments:

Readings: This course will focus on the academic discourse of photography as a medium, ethnographic measure, and emotional outlet, and will address the power structure within political and social confines. The majority of our classes will be dedicated to response, support, and/or deconstruction of essays provided in class. It is critical that all assigned readings are completed prior to class to promote qualified discussions on identified subjects.

Research Paper & Presentation: One self-defined presentation will be required. This presentation must be forty-five minutes in length and accompanied by supporting media (PowerPoint, video, web, or alternative sources to support your thesis). Relevant reading(s) must be distributed one-week prior to your presentation to establish general interest/context. The presentation will enable you to explore a genre, aesthetic philosophy, artistic movement (visual/conceptual/other), introduce multiple perspectives on your selected text, and establish a dialogue on the topic introduced.

Class Participation: Due to the nature of this course, participation, discussion, and debate on all subject matter will be critical to the development of ideas. Interdisciplinary approaches are employed to encourage individualized understanding and unique interpretations of the philosophies addressed in/outside of class and will not be exclusively object-based.

It is expected that all reading, notes, points of debate, written responses, as well as personal evaluation(s), are completed prior to class without exception.

Paper(s): All papers and blog entries will be evaluated on the comprehension of subject matter, qualification of personal perspective, and the creative and thoughtful approaches to the presentation of your ideas.

Oh-yeah… 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 whenever possible. Supporting material contributes to the advancement of ones understanding and experience of the work. 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.

Other Class Policies:

You are expected to conduct yourselves in a professional manner demonstrating great respect for self, peers, and faculty. The classroom is an open environment for the sharing of thoughts, beliefs, and ideas as well as the acceptance/tolerance of perspectives that may conflict with your own. Intolerance, disrespect, or belligerent behavior will not be tolerated and faculty reserves the right to intervene at any point.

Attitude and presentation (of self and ideas) are critical aspects of what we do as professionals. Conduct yourself in a manner that reflects these principals.

Adroit Dissection