History of Photography Past Present and Future

Hi all here is the results of the voting and slide list of artists we have looked at in class all semester.

Remember to take a look at the results and look up the various artists and come to class on the 27th and 28th ready to discuss them as we go through the imagery and debrief.

Also to remember that the Final Paper/Project is due on Friday, 4 May. No papers will be accepted after that date.

fahs_011_sp_07_slidelist.doc
sp07_nea_final_results.doc

This week we will be meeting at 12:15 on Thursday
for a special presentation on Mexico City, so get
your food a little early and come check it out.

Thursday, 19 April: Group meets as a whole at 12:15
to further review and discuss the contemporary scene.

Friday, 20 April; mock National Endowment for the Arts JURYING of contemp work.

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Hey gang,

This Thursday everyone will be meeting for section in the upstairs Art History class room and we will have a lecture on Friday. Jim will be out of town so its just you all, me & Leigh.

The readings are:
#86 Ch.6 Ectoplasm from Each Wild Idea - Geoffrey Batchen.
#88 Disappearance: twentieth-century photography, art & travelling - Peter Osbourne
#90 The Shadow of the Object - Sarah Kember
#91 Paradoxes of digital photography - Lev Manovich
#94 From the Photograph to Postphotographic Practice by David Thomas from Electronic Culture

See you Thursday

The readings for March 30, 2007 are #’s 63-68

Lecture #11: Thursday, 29 March: THE GREAT CHANGE I
Section #8: Friday, 30 March

Lecture #12: Thursday, 5 April: Section (I’ll be
away)Importnat/Discussion of Final Projects/Papers. Friday, 6 April:
THE GREAT CHANGE II

Lecture #13: Thursday, 12 April: THE CONTEMPORARY SCENE: An Overview

Lecture #14: Friday, 13 April:NEA Jurying/Voting

Thursday, 19 April: NEA Jurying Debriefing I
Friday, 20 April: NEA Jurying Debriefing II

Thursday, 26 April: Final History Chapter Presentations I
Friday, 27 April: Final History Chapter Presentations II

Final papers due Friday, 4 May @ 5:00 PM. No exttensions!

Please note 26/27 April classes go for two (2) hours. Clear your calendars!

READING for Friday, 30 March:

63.) 15 pgs: Introduction & The Photograph, from Understanding Media:
The Extensions of Man. Marshall McLuhan, McGraw Hill, Signet Books,
NY. 1964.
64.) 3 pgs: “The Colonial Backdrop,” Arjun Appadurai from From the
Background to the Foreground: The PhotoBackdrop & Cultural Expression.
AfterImage, March/April, 1997.
65.) 14 pgs: Ways of Seeing, John Berger. Penguin Art & Architecture
Series, 1960.
66.) 4 pgs: The Ecstacy of Communication, Jean Baudrillard. Translated
by Bernard & Caroline Schutze, edited by Sylvere Lotringer.
Semiotext(e) Foreign Agents Series, 1987.
67.) 11 pgs: excerpts from Camera Lucida: Reflections on Photography.
Roland Barthes, translated by Richard Howard. Farrar, Straus & Giroux.
1981.
68.) 17 pgs: Introduction & Postmodernism from The Condition of Post
Modernity. David Harvey. Blackwell, Cambridge, MA/London. 1992 edition

This Friday we will have a guest visitor, a former SMFA student who now
works 2/3rds of the time as a high end assistant in NY to support
the other 1/3 working for NGO’s in places like Sri Lanka as a
documentary photographer. Currently he is just putting his book
together to try for more assignments.

We have the opportunity to talk with him as a class for section this Friday, check out
his website: davidlang.com
and be prepared with questions and discussion ideas.

Keep up with the readings because we will eventually get to them.

This Friday from 10:30-12:00 there is a Colloquium in Remis Auditorium,
called The Work of Photography in the Age of Digital Replication,
it is open to everyone.

Remember that the #’s assigned are particular to this year and do NOT correspond ith the handwritten article (as opposed to page) numbers on the individual pages in the Reader.

the Readings for Friday are….
READ 53.) 13 pgs: Charis Wilson from The Lives of the Muses: Nine Woment and the Artists They Inspired, Francine Prose. Harper Collins, 2002

READ 54.) 19 pgs. The Kind of People Who Make Good Americans: Nationalism and LIFE’S Family Ideal, Chapter 3 from LIFE’S America, Family & Nation in Postwar Journalism, Wendy Kozol. Temple U Press, 1994

READ 55.) 14 pgs: Constructing a World of Photography, Eric J. Sandeen from Picturing an Exhibition: the Family of Man and 1950s America. University of New Mexico Press. 1995.

SKIM 56.) 9 pgs: After the Magazines John Szarkowski from Photography Until Now. Museum of Modern Art, NY.

SKIM 57.) 9 pgs: Introduction, James Agee from A Way of Seeing: Photographs of New York by Helen Levitt. Helen Levitt. Viking Press, NY. 1965.

READ 58.) 4 pgs: Introduction, Jack Kerouac from The Americans by Robert Frank. Grove Press, NY. 1959 (first US edition).

READ 59.) 11 pgs: Chapter 13: The Ends of American Photography: Robert Frank as National Medium. from What Do pictures Want? The Lives and Loves of Images. W.J.T. Mitchell. UChicago Press, 2005

SKIM 60.) 8 pgs: The Plaintiff Speaks, Clarissa T. Sligh from Picturing Us: African American Identity in Photography, Deborah Willis, editor. The New Press, NY. 1994.

SKIM 61.) 4 pgs: both Bernice Abbott Photography at the Crossroads orig. in Universal Photo Almanac 1951. reprinted in Illuminations Women Wrtiting on Photography Liz Heron & Val Williams, editors. Duke U Press, 1996 & It Has To Walk Alone from Infinity Vol 7, No. 11

SKIM 62.) 6 pgs: Introduction from The Photographer’s Eye John Szarkowski. MOMA, NY. 1966

Important information for this week and beyond:

1.) Checking attendance, there has been a level of spottiness that isn’t appropriate. Some folks have been very good about letting us know that they are sick, on a particular mission or otherwise indisposed. Others have not. Please be aware that this is noted.

Here are the class attendance stats as of last Friday
Zero or with excused absences: 14.
One missed class: 7.
Two missed classes: 6.
Three missed classes: 3.
Four missed classes: 2.

You should know that people missing more than two classes simply will get their grade reduced or an incomplete with out warning. You need to communicate with us to excuse your absences. People with Three and Four are now officially docked. We will be posting the number of absences by ID number this Friday.

2.) Each class member needs to e-mail their idea(s) for the Mid Term research Paper to the three of us by next Friday the 23rd. We will then comment and schedule individual meetings for the following week on Friday during section on March 2. The Research Papers are due on in Jim’s mailbox on the Monday after Spring Vacation, 26 March.

47.) 4 pgs: Life Begins Margaret Bourke-White from Portrait of Myself 1964 reprinted in Illuminations: Women Writing on Photography from the 1850’s to the Present Liz Heron & Val Williams, editors. Duke U Press. 1996
48.) 6 pgs: Looking at Life Carol Squiers. Artforum December, 1981 reprinted in Illuminations: Women Writing on Photography, etc.
49.) 15 pgs: To Give Memory a Place: Contemporary Holocaust Photography and the Landscape Tradition from Spectral Evidence: The Photography of Trauma. Ulrich Baer, MIT Press, 2002
50.) 15 pgs: Forgetting to Remember: Photography as Ground of Early Atrocity Memories from Remembering to Forget: Holocaust Memory Through the Camera’s Eye Barbie Zelizer. UChicago. 1998
51.) 4 pgs: A Thousand Words: Good as a Gun: When Cameras Define a War John Kifner, New York Times, 30 November, 2003 and Puzzling Photographs Cry Out for Meaning by Michael Kimmelman. New York Times, 6 December, 2003
52.) 11 pgs: Chapter One: Death’s Display Showcase, Walter Benjamin from Death’s Showcase: The Power of Image In Contemporary Democracy by Ariella Azoulay. MIT Press, 2001

A list for the slides we have seen in class thus far can be found here fahs_011_sp_07_slidelist.doc

Since we will only be meeting once this week, on Friday everyone will meet in B311. Leigh will lecture about Henri Cartier-Bresson and the decisive moment then we will discuss how this relates to the ideas we have encountered thus far in the readings and our understanding of what photography is today.

Please read from a few weeks back
The Decisive Moment, Henri Cartier-Bresson, Simon and Schuster Press, New York