Parsons School of Design
This course highlights practitioners, technological developments, and themes that have shaped the story of photography since its conception in the early 19th century. The course offers an overview of the history of photography and its relationships with other visual mediums and also considers the roles of photography within radical movements of visual culture and artistic practice. The ramifications of photography’s histories on our understanding of contemporary photography will be a constant theme throughout, brought to the fore in the final weeks of this course.
This course will give the student a survey of photography's historical evolution and it current impact on society. The student will become conversant in the major styles and technologies of photography and how those have impacted culture.
Demonstrate an understanding and appreciation of the variety of processes photo based artists have used over the past 250 years.
Demonstrate the ability to synthesize and respond to historical objects through your own practice.
Seizing the Light: A Social History of Photography -- by Robert Hirsch
Any Edition ISBN: 978-0-07-337921-0 Publisher: McGraw-Hill Humanities/Social Sciences/Languages Recommended
|Additonal recommended Readings:
History of Photography by Beaumont Newhall
A World History of Photography by Naomi Rosenblum
Criticizing Photographs by Terry Barrett
Photography a Critical Introduction and The Photography Reader by Liz Wells (Editor)
On Photography by Susan Sontag
Camera Lucida by Roland Barthes, Richard Howard (Translator)
Basic Critical Theory for Photographers by Ashley la Grange
Classic Essays on Photography by Alan Trachtenberg
Photography Theory Edited by James Elkins
10% Oral Presentations
Choose a subject or topic related to the course and prepare a 5 minute 20 slide presentation on said topic or subject.
|15% Visual Response Exercises
Throughout the semester you will be assigned to go and see actual work in galleries and museums around Manhattan. You are to make something that is a direct response to your experience with that exhibition. The object can be, but does not have to be, a photograph, painting, drawing, performance,very short video, etc. You should take particular note of the difference between the original and a reproduction. We will discuss these in class with the rest of the group.
10% Think Piece Paper (Printed and Turned In)
You MUST go to the NYPL, the NY historical society or any Photo archive and do physical research on a photographic object.
Write a short (more than 1 but less than 2 double-spaced typewritten pages) “Think Piece” about
one particular photograph. The photograph must be one from the 19th Century (made before 1900), but you are otherwise
free to select any image you would like to write about. Examine the photograph carefully and write about
what you see and what the photograph
10% Final Written paper/multimedia project
You must choose a subject for your resesarch by the 6th week of class and formall propose that topic to me including the direction the research will go in and an outline. The subject can be a photogrpaher, a concept or a realted topc to photogrpahy. We will discuss this further in class.Learning portfolio:
Please make snapshots of your Visual Response exercises and upload them to your “learning portfolio”.
Readings and Links
Course Introduction - Pre Photography to Photography
First Visual response exercise VRE
Robert Rauschenberg: Among Friends
Due in 2 weeks
Daguerrotypmania, Fox Talbot's process, Wet collodian, Albumen, etc.
I will bring in samples of different types of early photo processes.
the lantern slide, early moving image tools zoetrope etc.
Geoffrey Batchen, ‘Identity’, ‘Conception’, Burning with Desire, p 3-53 http://www.jstor.org/stable/25147395?seq=1#page_scan_tab_contents
Landscape & Exploration photography
photographers including Timothy O'Sullivan, Carleton E Watkins, Francis Frith, Felice Beato,
Nadar, Gustave le Gray, Roger Fenton, F64 group, New Topographics,
Frith exploratïon photo http://www.photo-web.com.au/robertdeane/papers/frith.htm subscription
|Read all three of Errol
articles about Roger Fenton
photographers and themes including The Linked ring, Alfred Stieglitz, Camera Work and Camera Notes magazines, gallery 291, Edward Steichen, Alvin Langdon Coburn, Frederick Evans, gum bichromate and platinum processes, Peter Henry Emerson, Henry Peach Robinson, Clarence H White. Moderninsm, Steichen to Stieglitz to Strand, Julia Margaret Cameron.
photographers and themes include:
WPA and documentary, Photography and science, Muybridge Nasa
World's oldest films
Fashion, Spirit photography, Proof of Fairies,
|WW1 composite||Submit a map showing the relationships between your own creative practices and the history of photography. You can consider individual photographers and artists (not just photographers included in this course) and photographic movements, the aim is that you begin the see connection between your ownwork and the precedents evidentin photo history. You "map" can be interpreted with a broad brush, consider information design.|
relevant photographers and themes include: Bauhaus, Surrealism, Dada, Man Ray, Hannah Hoch, Alexander Rodchenko, Laslo Moholy Nagy, Albert Renger-Patzsch, rayograph, solarization, photomontage, John Heartfield, Brassai.
Foster et al., Art
p154-159, p 168-178, p 185-195, p 209-2011, p 232-237, p 240-249, p
On the Road and on the Street photography
relevant photographers and themes include:
Frank’s contacts http://www.americansuburbx.com/series-2/r/robert-frank-contact-sheets-from-the-americans
the experimental impulse the sixites to now
Uelsmann, Fichter, Heinecken, dada russian constructivism montage stuff, Rayograms, Bragagglia, the multiple image Jerry, Duane Michals, Heinecken, Hockney, muybridge, , NJ Paik, artists that use photography Warhol, Rauschenberg, Bacon, MAtthew Barney, Kiefer, Gerhard Richter, Tress
conceptualism to post modernism to the Dusseldorf academy
Performance, Clement Greenberg, earthArt,
Chelsea or museum visit
Art since lunch
Dusseldorf academy, Relational Aesthetics Hennessy Youngman The Photograph as Social Practice, Selfie culture,
This Calendar is tentative and may need to be changed to accomodate unforseen circumstances.
History Links and resources:
|Additional Photo History readings:
"I'm Not Really a Photographer"
The Academic Center for Excellence (ACE) and the Science Learning Center (SLC) The Academic Center for Excellence (ACE) and the Science Learning Center (SLC) are two of the tutoring centers on campus. The ACE provides appointment-based and drop-in tutoring in the humanities, social sciences, and writing, as well as general writing and academic skills workshops. The SLC provides drop-in tutoring for natural science courses. To obtain more information about the ACE and the SLC, please visit their website at http://www.lehman.edu/issp, or please call the ACE at 718-960-8175, and the SLC at 718-960-7707.
Academic Integrity and Plagiarism Policy
Don't Cheat - don't steal - don't lie
All of the assignments must be completed by the date listed on your syllabus, as late work is not accepted in this course.
Classroom Specific Policies
Checking your facebook/social media/email during class time isstrictly prohibited and a valid reason for me to dismiss you from class. This will count as an absence. Everyone around you knows you are not paying attention to the material including myself.
Include statements important to the instructor such as use of cell phones, lateness, make-up exams, class participation, etc.
Papers: do not plagarize your work. The bulk of your papers must be your own words/thoughts. You may quote source material, but this may not comprise more than 20% of your paper. You must provide footnotes and a bibliography if you reference any outside sources. If I catch you plagarizing, you will automatically fail the entire course.
A- [3.7; 91 –95%]
B+ [3.3; 86–90%]
B [3.0; 81–85%]
B- [2.7; 76–80%]
C+ [2.3; 71–75%]
C [2.0; 66–70%]
C- [1.7; 61–65%]
D [1.0; 46–60%]
F [0.0; 0–45%]
Grades of Incomplete
Seminal readings about photography that every photograper should be aware of:
1. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”, in “Illuminations” ed., Hannah Arendt
2. Walter Benjamin, “The Author as Producer”, in “Reflections” ed., Hannah Arendt
3. Roland Barthes, “The Rhetoric of the Image”, in “Image Music Text”
4. Roland Barthes, “The Photographic Message”, in “Image Music Text”
5. Roland Barthes, “The Death of the Author” in “Image Music Text”
6. Roland Barthes, “Camera Lucida” Amazon
7. Baudrillard, “Simulacra and Simulation”
7. Susan Sontag, “On Photography” Amazon
8. Susan Sontag “Regarding the Pain of Others” Amazon
9. Vilem Flusser, “Towards a Philosophy of Photography” Amazon
10. Michael Fried, “Art and Objecthood” Amazon
11. Michel Foucault, “Of Other Spaces: Heterotopias”
12. Martha Rosler, “In, Around, and Afterthoughts (On Documentary Photography)” in “The Contest of Meaning”, ed., Richard Bolton
13. Deborah Bright, “Of Mother Nature and Marlboro Men: An Inquiry Into the Culture Meanings of Landscape Photography”, in “The Contest of Meaning”, ed., Richard Bolton
14. Allan Sekula, “The Body and the Archive” in “The Contest of Meaning”, ed., Richard Bolton (also in October, Winter 1986) Amazon
15. Allan Sekula, “Reading an Archive” from “Blasted Allegories”, ed., Brian Wallis
16. Christopher Phillips, “ The Judgment Seat of Photography” in “The Contest of Meaning”, ed., Richard Bolton Amazon
17. Walter Benjamin, “A Short History of Photography”, in “Classic Essays on Photography”, ed., Alan Trachtenberg
18. Andre Bazin, “The Ontology of the Photographic Image”, in “Classic Essays on Photography”, ed., Alan Trachtenberg
19. Siegfried Kracauer, “Photography” in “Classic Essays on Photography”, ed., Alan Trachtenberg
20. Hubert Damisch, “Five Notes for a Phenomenology of the Photographic Image” in “Classic Essays on Photography”, ed., Alan Trachtenberg Amazon
21. Craig Owens, “Photography En Abyme”, in “Beyond Recognition” Amazon
22. Craig Owens, “The Discourse of Others: Feminism and Postmodernism”, in “Beyond Recognition”
23. Douglas Crimp, “Pictures” October, Volume 8, 1979, also in “Art after Modernism: Rethinking Representation”, ed., Brian Wallis
24. John Szarkowski, “Mirrors and Windows” Amazon
25. Rosalind Krauss, “Notes on the Index: Part 1 and Part 2” in “The Originality of the Avant – Garde and other Modernist Myths” Amazon
26. Laura Mulvey, “Visual Pleasure and Narrative Cinema” in “Visual and Other Pleasures”
27. Jerry Uelsmann Post-Visualization
Hyperreality By Jean Baudrillard
You have a job as a student. That job is to come to class, be attentive, ask
questions, keep your mind open to new ideas and fulfill assigned projects on time. Doing your job will assist you in being
perceived as a serious student.
Lastly, learning is synthesis of ideas. Try to use the ideas presented in this class to your best advantage by putting them together with what you already know to produce high quality work. If you have problems, see me.
You are the one who will determine whether or not this course is a success for you. Take your work here seriously and you will learn things, have fun and enhance your GPA.
Vintage cameras http://www.collection-appareils.fr/carrousel/html/index.php
Photo history http://petapixel.com/2014/04/27/fascinating-old-video-looks-back-first-hundred-years-photography/
Real or fake vintage process http://www.realorrepro.com/article/Photographic--Images
Photo history capa film controversy http://time.com/120751/robert-capa-dday-photos/
Camera Work magazine http://www.photogravure.com/collection/searchResults.php?page=1&view=small&artist=0&portfolio=Camera+Work&period=0&atelier=0&cameraWork=0&keyword=camera+work
http://www.youtube.com/watch?v=z_guKLKwjgY&feature=youtu.be PH Emerson video
The talks about fashion photo http://the-talks.com/topics/
Arthur Tress http://petapixel.com/2014/07/10/haunting-surreal-photo-series-60s-inspired-childrens-nightmares/
http://museum.stanford.edu/news_room/watkins.html Carleton Watkins
Lewis Carroll http://petapixel.com/2014/04/18/look-unknown-controversial-photography-career-lewis-carroll/
Carleton Watkins http://blog.sfgate.com/bookmarks/2014/05/02/slide-show-carleton-watkins-150-year-old-photos-of-the-american-west/#23016101=0
Making a tintype http://www.youtube.com/watch?v=fY5KQQLBbcs&index=15&list=PLCE730E9EE9EF71A0
world’s first photoshopped image
blues sensitive films, greasepaint
Photo history http://lnx.phototeka.it/documenti/Cenni_storici_fotografia.pdf