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.

Thursday, May 2, 2013

Due May 6th

Readings:

Re-reading Edward Weston: Feminism, Photography and Psychoanalysis by Roberta McGrath

Cindy Sherman: Burning down the House by Jan Avgikos

Bring three to five examples (not by Weston or Sherman) that illustrate extended positions presented in the text.


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Monday, April 29, 2013

Readings: Apr. 29

Evidence, Truth and Order: Photographic Records and the Growth of the State by John Tagg

In, Around, and Afterthoughts (On Documentary Photography) by Martha Rosler
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Monday, April 22, 2013

April 22nd

Reading:

Photography and Fetish by Christian Metz

Winning the Game when the Rules have been Changed: Art Photography and Postmodernism by Abigail Solomon-Godeau

The Crisis of the REal: Photography and Postmodernism by Andy Grundberg

NOTE:  on-going work on peer review due next class.

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Monday, April 8, 2013

DUE: Thursday, April 11

PEER REVIEW: establish primary contact for class 05 presentation and paper.

On the Invention of Photographic Meaning by Allan Sekula

***  Bring to class contemporary visual models that illustrate similar conceptual structures identified within the reading(s) and be prepared to discuss their relationship(s): complements; contrasts; contradictions; or the evolution of lens-based representation.

As always, be sure to post reading review and author information on our blog.
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Sunday, April 7, 2013

Due: Monday, April 8th

 - What has Occurred Only Once: Barthes's Winter Garden/Boltanski's Archives of the Dead by Marjorie Perloff

- Benjamin and the Political Economy of the Photograph by W.J.T. Mitchell

Post a short (two-three paragraph) synopsis of the readings on the class blog.  In addition to each text synopsis you are to provide a brief autobiographical summation of the author.

Bring to class quotes and selected visual representations in conjunction with the readings.  Note: Select images of personal value (subject matter) not directly addressed in the readings.
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Wednesday, April 3, 2013

Due: Thursday, April 4th

Reading:

•    The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin

•    Extracts from Camera Lucida by Roland Barthes

Please post a short (two – three paragraph) synopsis of the readings on the class blog (select "comments" and post in the space provided).  In addition to each text synopsis you are to provide a brief autobiographical summation of the author.

Bring to class quotes and selected visual representations in conjunction with the readings. Note: Select images of personal value (subject matter) not directly addressed in the readings

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