Parsons 2 W 13th 1100 Parsons The New School for Design
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Course Description: This course is an introduction to the relevant critical frameworks within contemporary photography as reflected in the program’s five pathways: contemporary art, creative industry, fashion culture, imaging technology and social engagement. Structured to increase students’ knowledge and confidence in relating to contemporary concepts of photography, students are encouraged to develop their independent photographic practices through readings, presentations and visual and writing assignments. The central aim of this course is to develop students’ skills in presenting and writing about their own practices as part of a constantly evolving definition of photography. |
Materials and Supplies Course Readings and Materials |
Open to: Majors Only Credits: 3 Prerequisite: Core Studio 1 Corequisite: Core Studio 2 Required course: Sophomore, Spring semester Max enrollment: 15 |
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Learning Outcomes: The assignments for this course are aimed to develop students’ skills in researching and discussing contemporary ideas about photography. Students will be expected to read and digest the weekly texts in order to be able to participate fully in class discussions. Students should expect also to research and regularly give short presentations on key figures and ideas relating to photography. By the final weeks of the course, they will have researched, presented and properly edited a short written paper that elucidates the relationship between their own creative practices with the course’s particular notion of photography. Time for discussing and developing the final text will be allocated throughout the course. The aims of Photo Topics are to enable students to:
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Useful links: http://strobist.blogspot.com/2014/01/lighting-101-to-go.html |
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Final Grade Calculation Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria: |
Final Grade Calculation: Assignments: |
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Course Outline week |
Topic | Assignment | Due | Reading | ||||
1 1/27 |
Weeks 1 & 2: Photography’s Broad Terrain Weeks 1 and 2 are dedicated to creating an overview of the key ideas of the Photo Topics course. The principal components will be lecture by the class instructor and class discussion focused on the reading. Lecture discussion Uses and Abuses of photography |
Assignment Suggestions:
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Julian Stallabrass, ‘Sixty Billion Sunsets’, Gargantua, p 1339 |
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2 2/3 |
Discuss reading Look at maps |
Map of your interests | ||||||
3 2/10 |
Weeks 3 & 4: Photography as Social Practice
AKA Concerned photography AKA photojournalism
Weeks 3 and 4 concentrate on the "enduring" capacity of photography to activate positive social change. We consider the roles that photographers take in the scope of contemporary social practice from longterm documenters of human lives to facilitators, collaborators and participators within socially engaged creative practices. Suggested Photographers to discuss: Bruce Davidson, Malcom Shabazz, Wendy Ewald, J.R., Zoe Strauss, Susan Meiselas, Mark Strandquist, Pete Brook, GemmaRose Turnbull, Eliza Gregory, Emily Jacir Eirini Vourloumis, Brian McCarty's War Toy project, Annabel Clark, Jesse Hlebo, |
Assignment: |
Pablo Helguera, Education for Socially Engaged Art (all) On Looking excerpts |
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4 2/17 |
Discuss reading Look at On your own Block assignment |
Your own block | ||||||
5 2/24 |
Weeks 5 & 6: Photography as Fashion Culture Weeks 5 and 6 focus on fashion imagemaking. We survey the history of photography’s engagement with fashion and style and also the current scope of fashion photography as a creative industry. We discuss the implications of using of sexuality to sell clothes. Suggested Photographers to discuss: Parsons/New School Grads and faculty: Therese & Joel, Gentl & Hyers, Mary Rozzi, Martina Hoogland Ivanow, Jean Cabuncan, Barbara Bodrnick, Corrine Schiavone, Jon Grassi, Toby Kaufmann, Alexei Brodovich and here of Harpers Bazaar Magazine and his coterie, Avedon, Penn, Lillian Bassman, "Astonish me!" |
Group zine project: http://www.magcloud.com/products/print http://www.magcloud.com/products/formats |
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Marketa Uhlirova, ‘100 Years of the Fashion Film: Frameworks and Histories’, Fashion Theory, April 2013, Vol. 17 issue 2, p 137157 excerpt of Charlotte Cotton, ‘A history of contemporary fashion photography’, ‘Louis Vuitton: Fashion Photographs’, Rizzoli 2014 |
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Online readings/viewings: Banned Calvin Klein ad FASHION OR PORN? The Hypersexulalization of OF WESTERN CULTURE AND THE COMMODIFICATION OF SEX Vogue Italia editor admits 'fashion is one of the causes' of anorexia in Harvard speech about body image Reality Show Sends Fashion Bloggers to Work in Cambodian Sweatshop |
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6 3/2 |
Discuss reading Look at Fashion projects |
Presentations: Each participant in Photo Topics will give a ten minute presentation on their own practice and its broader photographic context. Students are expected to include the work of individual photographers and photographic ideas that inspire their photographic practice. |
Zine Spread | |||||
7 3/9 |
Week 7: Presentations Each participant in Photo Topics will give a ten minute presentation on their own practice and its broader photographic context. Students are expected to include the work of individual photographers and photographic ideas that inspire their photographic practice. |
Presentations | ||||||
8 3/16 |
Weeks 8 & 9: Photography as Creative Industry Weeks 8 and 9 engage with the creative industries of photography with a special emphasis on the state of play in editorial photography, advertising, photography festivals and fairs, and photography publishing. Suggested examples to discuss: Relevant Parsons grads: Anne Senstadt, Mary Mattingly, Alex Thebez, Jesse Hlebo,
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Assignment/ Activity Suggestion: ● Field trip or art fair AIPAD, MOMA modern photo, |
Reading: Marvin Heiferman, Photography Changes Everything, (selected essays) Hans Abbing, ‘Economic Value Versus Aesthetic Value’, Why Are Artists Poor?, p 5276 |
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3/23 Spring Break no Class Spring Break no Class |
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9 3/30 | Discuss readings | |||||||
10 4/6 |
Weeks 10 & 11: Photography as Technologies Weeks 10 and 11 focus on identifying what technologies create the scope of contemporary photography and how they determine the nature of our photographic practices. We consider how both analogue and digital technologies are part of contemporary photographic practices and bring photography’s rich heritage and its exciting future into play. Examples to discuss: Takeshi Murata, Eva and Franco Mattes, Corey Arcangel, Michael BellSmith, Lorna Mills, Gregg Leuch, Jeremiah Johnson, Jeremy Rotsztain, Tabor Robak, Ryder Ripps, Michael Manning, Rollin Leonard, Joel Holmberg, assume vivid astrofocus, Siegren Versteeg, Jason Salovan, Casey Reas, John Houck The McCoys, Packet Sniffing, Blaise Aguilera, Snapdragon, Physical computing, |
Suggested Assignment: |
Yochai Benkler, ‘Introduction: A Moment of Opportunity and Challenge’, The Wealth of Networks, p 135 Lev Manovich, ‘Inside Photoshop’, Software Takes Command, p 124157 |
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11 4/13 |
Discuss reading | |||||||
12 4/20 |
Week 12: field trip, workshop, or discussion to supplement previous weeks. |
AIPAD, MOMA modern photo, | ||||||
13 4/27 |
Weeks 13 & 14: Photography as Contemporary Art Weeks 13 and 14 focuses on the prevalent ideas at play within contemporary art photography. We consider especially the material forms of photography created specifically for the art gallery context, researching and thinking about contemporary practitioners who are continuing to innovate the scope of photography as art.
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Richard Sennett, ‘Prologue’, and ‘Ability’, The Craftsman, p 115, p 268285 Charlotte Cotton, ‘Introduction’, The Photograph as Contemporary Art, Third edition |
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14 5/4 |
Discuss readings | |||||||
15 5/11 |
Week 15: Presentations and final text submission In the final week of this course, participants present their final text that contextualizes their own practices in the scope of contemporary photography. You will preesnt a poperly researched, presented and properly edited a short written paper that elucidates the relationship between your own creative practices with the course’s particular notion of photography. Acknowledging that this is a studio art course, In lieu of a paper you may instead choose to do a creative project. |
Student Work Documentation I will expect a CD or DVD of ALL of your semester course work and assignments. |
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Grading and Evaluation (how you are graded) AKA assessment jargon Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria: 1. Demonstrate an increasing understanding of the historical, cultural, social, political and conceptual themes of photography through the application of research, reading and discussion.
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Assessable Tasks Assessable Tasks are activities, assignments, projects that satisfy the course's learning outcomes. Critique of F fashion photography's impact on culture Explore the relationship between concerned photogrpahy and social change. Explore the meaning of being an artist outside of the petty demands of the marketplace.
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Resources
The university provides many resources to help students achieve academic and artistic excellence. These resources include:
The University (and associated) Libraries: http://library.newschool.edu
The University Learning Center: http://www.newschool.edu/learning-center
University Disabilities Services: http://www.newschool.edu/student-services/student-disability-services . In keeping with the university’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to contact Student Disability Service (SDS). SDS will conduct an intake and, if appropriate, the Director will provide an academic accommodation notification letter for you to bring to me. At that point, I will review the letter with you and discuss these accommodations in relation to this course.
Assessable Tasks
Assessable Tasks are activities, assignments, projects that satisfy the course’s learning outcomes.
Divisional, Program and Class Policies
[You should include the following headings with the recommended text. In addition, you should include any other policies you may have, such as policies for late assignments, rewrites and extra credit; the use of cellphones, laptops, and other technology in the classroom; or makeup exams/absence on exam days.]
Responsibility
Students are responsible for all assignments, even if they are absent. Late assignments, failure to complete the assignments for class discussion and/or critique, and lack of preparedness for in-class discussions, presentations and/or critiques will jeopardize your successful completion of this course.
Participation
Class participation is an essential part of class and includes: keeping up with reading, assignments, projects, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.
Attendance
Faculty members may fail any student who is absent for a significant portion of class time. A significant portion of class time is defined as three absences for classes that meet once per week and four absences for classes that meet two or more times per week. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.
Student Work Documentation
Students are required to submit digital copies of all semester work to their instructor before the end of the term. The specifications are set by the faculty member in accordance to the school policy.
Canvas
I rarely use this awkward ill made tool. If I do use it I will be very clear about its use and will let you know ahead of time. Use of Canvas may be an important resource for this class. Students should check it for announcements before coming to class each week. There is no need for you to waste your time poking around in it.
Delays
In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.
Academic Integrity
This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students). These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”
It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.
Every student at Parsons signs an Academic Integrity Statement as a part of the registration process. Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.
Guidelines for Written Assignments
Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6th edition). The University Writing Center also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/admin/writingcenter/.
Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments. Submission of the same work for two assignments without the prior permission of instructors is plagiarism.
Guidelines for Studio Assignments
Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique. Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences. DO NOT USE other people's creative output and call it your own in my classes!
Student Disability Services
In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me. At that point I will review the letter with you and discuss these accommodations in relation to this course. Mr. Luchs’ office is located in 80 Fifth Avenue, Room 323 (3rd floor). His direct line is (212) 229-5626 x3135. You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/.
Grading Standards [Taken from Parsons Handbook]
A [4.0; 96–100%]
Work of exceptional quality, which often goes beyond the stated goals of the course
A- [3.7; 91 –95%]
Work of very high quality
B+ [3.3; 86–90%]
Work of high quality that indicates substantially higher than average abilities
B [3.0; 81–85%]
Very good work that satisfies the goals of the course
B- [2.7; 76–80%]
Good work
C+ [2.3; 71–75%]
Above-average work
C [2.0; 66–70%]
Average work that indicates an understanding of the course material; passable
Satisfactory completion of a course is considered to be a grade of C or higher.
C- [1.7; 61–65%]
Passing work but below good academic standing
D [1.0; 46–60%]
Below-average work that indicates a student does not fully understand the assignments;
Probation level though passing for credit
F [0.0; 0–45%]
Failure, no credit
Grade of W
The grade of W may be issued by the Office of the Registrar to a student who officially withdraws from a course within the applicable deadline. There is no academic penalty, but the grade will appear on the student transcript. A grade of W may also be issued by an instructor to a graduate student (except at Parsons and Mannes) who has not completed course requirements nor arranged for an Incomplete.
Grade of WF
The grade of WF is issued by an instructor to a student (all undergraduates and all graduate students) who has not attended or not completed all required work in a course but did not officially withdraw before the withdrawal deadline. It differs from an “F,” which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade. The WF is equivalent to an F in calculating the grade point average (zero grade points), and no credit is awarded.
Grades of Incomplete
The grade of I, or temporary incomplete, may be granted to a student under unusual and extenuating circumstances, such as when the student’s academic life is interrupted by a medical or personal emergency. This mark is not given automatically but only upon the student’s request and at the discretion of the instructor. A Request for Incomplete form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor with the following limitations: [You should include one the following standards, depending on the level of your course].
Undergraduate students: Work must be completed no later than the seventh week of the following fall semester for spring or summer term incompletes and no later than the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “WF” by the Office of the Registrar.