PROBLEMS IN PHOTOGRAPHY

CLASS PROJECTS SPRING 2017

 
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PROJECT #2: self-directed

INDIVIDUAL MEETING CRITERIA

- Substantial sketches / notes / plans / etc.

- Research (i.e. other artist's work, art historical works, exhibitions of influence, etc.)

- Robert must see at least 5 of your finished works prior to your critique

- You must have at least two individual meetings prior to your critique: one initial meeting, another follow-up meeting to check your progress

- You must show proof of you looking up suggested artists / art movements / exhibitions. My suggestions for your are tailored to you and are intended to assist your own art practice and research.   



OUTLINE
~ 15 (or more) prints; size contingent on image content
~ 2 paragraph project statement [pdf ~ submitted via Dropbox] [printed for class]
~ 1 page of corresponding titles to each work [pdf ~ submitted via Dropbox] [printed for class]

CRITIQUE DATES

Tuesday, February 28

6-6:45PM, Hayley
7-7:45PM, Amy L.
8-8:45PM, Amy S.

Thursday, March 2

6-6:45PM, Kathleen
7-7:45PM, Kinga

*** You must have your work printed and up on the wall at the start of each critique day.
*** NOTE: Your work is due only on the day you are critiquing. 

OBJECTIVE  
Create an original series of work that addresses your interests both formally and conceptually. 

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FILE SUBMISSION      
Unless stated otherwise, for each project you are to submit JPEGs of each of your final, edited photographs.
Please submit these JPEGs via the Dropbox link on the main class page.

FILE SIZING
Each file submitted must follow these guidelines:

  • .JPEG or .JPG file extension

  • fit within a container of 2000px x 2000px

  • 150 DPI/PPI resolution

  • less than 4MB in size

FILE NAMING
Please name the files accordingly for each assignment:

Firstname-Lastname_001.JPG
Firstname-Lastname_002.JPG
Firstname-Lastname_003.JPG
Firstname-Lastname_004.JPG
Firstname-Lastname_005.JPG
Firstname-Lastname_006.JPG
...

 

SLIDESHOW IMAGE RESEARCH MINI-ASSIGNMENT:


This is an assignment aimed at getting you to broaden your research into contemporary photographers / artists, and for you to share that research with the class. You will be culling the internet and NIU library to find new photographers / artists that use photography as a main fixture or motif within their artistic practice.

Here are the guidelines:

  • You will be submitting 20 images total
     
  • You must select 10 artists, providing 2 images per photographer/artist that best describes their practice (or that you find most interesting)
     
  • At least 2 of the photographers/artists must be found in the physical copy of Aperture Magazine (located at NIU Library)
     
  • At least 2 of the photographer/artists must be found in either Art Forum, Art In America, or Art Review (located at NIU Library)
     
  • The artist must be represented by a gallery, or must have had a substantial solo presentations at a various galleries nationally and/or internationally
     
  • You must be able to speak to the photographer/artist's work you are selecting (i.e. what drew you to their work? what is it about the specific images that interests you?)
     
  • Here are some websites worth checking out when searching for artists: 

    http://iheartphotograph.blogspot.com/
    http://contemporaryartblogs.com/blogs/
    http://www.contemporaryartdaily.com/
    https://www.artsy.net/
     
  • Here is the information you must provide for each image: 
  1. Photographer/Artist Name
  2. Title of Photograph/Artwork 
  3. Year of Photograph/Artwork
  4. Medium of Photograph/Artwork
  5. Gallery that represents Photographer/Artist (for this you will need to do some sleuthing)
 

FOR EXAMPLE:

1.

Luke Fowler Location Recording, Norfolk (from project, 'Two-Frame Films') 2007 Giclee print Represented by: The Modern Institute (Glasgow); Galerie Gisela Capitain (Cologne); among others

Luke Fowler
Location Recording, Norfolk (from project, 'Two-Frame Films')
2007
Giclee print
Represented by: The Modern Institute (Glasgow); Galerie Gisela Capitain (Cologne); among others

This information along with the images must be typed-up and submitted as a single PDF file via our class Dropbox link. Please be sure to number the entries and have the images clearly correspond with the artwork information. 

Also submit a .ZIP with all the JPEGs of the works to the Dropbox. Thanks!!!


Here's our class Dropbox link, in case you need it again:       https://www.dropbox.com/request/PA8LeCWiEtCB17Zs16p8


 
 

ARCHIVE OF PAST PROJECTS:

 

PROJECT #1: dérive w/ me

“In a dérive one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there… But the dérive includes both this letting go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities.” - Guy Debord

This project is an attempt to get in a new mindset for making photographs this semester. You will be walking (and driving) aimlessly, without purpose, and, in doing so, embodying the “psychogeographic” mindset. Psychogeography, according to Guy Debord, is “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” By examining the practices of the Situationist International and contemporary artists that use location and place to create their work, you will be cultivating a greater awareness of your surroundings and how you see and feel about them. Integral to this project of the dérive is your own experimentations and approaches of how you use photography to both document and enact the creation of your “work”.

Dérive #1: IRL

  • Formulate a strategy of how you will be enacting your IRL dérive. Be imaginative, and be sure to leave things open to new possibilities.
  • Set aside a fair amount of time to enact your dérive. 
  • Take photographs along the way of things that are striking to you, confusing to you, etc. Take photographs of the people, places, things, and feelings along the journey. Tap into the ineffable.
  • Proceeding your dérive: select, edit, and print the most significant / compelling images. 
  • Write a reflection of the dérive (half a page in length). Speak to how your dérive relates to Guy Debord’s theory. 
  • In the same document with your reflection writing, articulate the strategy that you / your group decided on prior to your dérive.

Dérive #2: Virtual

  • Decide where you wish to begin your virtual dérive (via Google Maps). This can be anywhere in the world.
  • Begin “walking” around and looking at things, much like you did IRL. 
  • Screenshot (Mac: Command + Shift + 3) scenes and things in the same manner that you did when photographing IRL. 
  • Write a reflection of the dérive (half a page in length). Articulate how this dérive compares to the IRL version.

OUTLINE
Collaborate with one or two other people from our class and go on a photographic dérive. As a class we will be discussing what a dérive is and what a dérive can accomplish. Ultimately, each group will embark on thier own dérive and will be expected to articulate where they went and some general sense of what was learned / accomplished by doing so.

OBJECTIVES

  • Walk aimlessly as a methodology for making new photographs and experiencing new things. 


  • Learn about Situationist International Movement and it relationship to mapping and making art. 


  • Locate nexus between mapping and art in the work of contemporary psychogeography. 


  • Experiment with how you approach making images while on your dérive. You are only limited by the reaches of your own imagination.

NUMBER OF PRINTS DUE
at least (x10) 8x10 prints per person

DUE DATE
Tuesday, January 31, 2017