The stop-motion animation I was referring to in class where they used real human eyes for the figures.
http://www.youtube.com/watch?v=GGyLP6R4HTE
Wednesday, April 13, 2011
Monday, April 11, 2011
Frame reservation
11x14 -- 2 -- Emily L (x2)
16x20 -- 5 -- Amy, Stephanie
20x24 -- 2
24x30 -- 5 -- Sarah, Kate, Demi
30x40 -- 1 -- Emily M
16x20 -- 5 -- Amy, Stephanie
20x24 -- 2
24x30 -- 5 -- Sarah, Kate, Demi
30x40 -- 1 -- Emily M
Sunday, April 10, 2011
Thursday, April 7, 2011
Wednesday, April 6, 2011
Monday, April 4, 2011
Friday, April 1, 2011
project four in progress
just a screen shot of what I've been working on.
-sarah
Thursday, March 31, 2011
Tuesday, March 29, 2011
Questions CH1
#1 What does Barthes mean when he says "Whatever it grants to vision and whatever its manner, a photograph is always invisble; it is not it that we see"? (P.20)
#2 If self-awarness makes one more uncomfortable in front of the camera, how can we disconnect with ourselves in order to create a better self portrait?
#3 Can the photographer really control the "sentiment" created in a photograph? Do we not all see what we choose to see?
#4 Why is the photograph pure "contingency" if we have control to construct meaning from anything we see?
#5 Is the human inclination toward nostalgia what makes old photos feel so meaningful? Or is it something else?
Erin Scott
How does creating a self-portrait of yourself affect the meaning of the photograph?
Why is the idea of the “original source” so often questioned in photography?
Why does Barthes see photographs, and not any other medium, as an object?
How do Barthes views fit in with post-modernist ideas of originality?
Compare Barthes views with that of Native Americans.
Questions
Does studium imply subjectivity?
Is the audience to which photographs speak most important?
How can photography give someone a sentiment? Or all viewing the photo?
How can photography act in opposition to the cinema?
How does photography make people uneasy that traditional mediums cannot achieve?
Roland Barthes
1. How/why do these questions of the original source not come up in other mediums?
2. Relates to ideas of the signifier/signified
3. How do photographs help us bridge the gaps created by history
2. Relates to ideas of the signifier/signified
3. How do photographs help us bridge the gaps created by history
Roland Barthes - Camera Lucinda
1.) Does Barthes idea that the photograph exists as a duality, as something we can conceive but not perceive, help you to identify with the photographic image as an object?
2.) After reading Barthes experiences with being photographed, I believe that the physical, chemical and mechanical properties of image making in photography are foreign to the way in which we think of the ingenuity and originality of making art.
3.) I think that by Barthes identifying himself with an object as his way of reacting to being photographed is relate able to some of the notions of post-modernist photography and identifying what constitutes and image and authenticity.
4.) I enjoyed this article because it focuses on some of the same issues and experiences I have had with being photographed and photographs. Do you think that Barthes would feel the same about being photographed if he himself was taking, processing and creating the image?
5.) Why do you think that Barthes was able to find the "authenticity" of the photographic image in the old photo of his mother, rather than in the other countless photos?
Monday, March 28, 2011
Saturday, March 26, 2011
Thursday, March 24, 2011
Just kidding.. this is the proposal...
"We are the land" showcases the final pieces of the figure ground photography class. This collection explores the digital image and its role in post-modern photography and how it functions as a mode of artistic expression. Each image works in this way as a self-portrait in the form of a digitally altered landscape. The practice of creating an image digitally to validate our roles as not only artists, but as photographers, explores the roles of the image in our digital age and culture.
This show is a final installment showcasing the 2D photos of the figure ground class. The 14 pieces will be installed by the class on April 12th and de-installed the 19th. We will be hosting a reception April 14th from 6-8pm in the gallery space.
The proposal... (*drumroll please*)
"We are the land" showcases the final pieces of the figure ground photography class. This collection explores the digital image and its role in post-modern photography and how it functions as a mode of artistic expression. Each image works in this way as a self-portrait in the form of a digitally altered landscape. The practice of creating an image digitally to validate our roles as not only artists, but as photographers, explores the roles of the image in our digital age and culture.
Tuesday, March 22, 2011
This semester highlights
Projects
- Nagy's Ways of Photographic Seeing
- Single Image Narrative
- Appropriation
- Producing the Real
Highlights
- Developing a personal style
- post-modernism ad photography
- The tole of the photographer
- possible title (We are the Land)
- notion of the photograph as an art object/ proof of existence
- landscapes reflect the photographer (self-portrait)
- digital culture and the digital v.s the analog image
FINAL CLASS SHOW
Digital Project Critique à April 7th
Submissions for Show Due à April 7th
Install à April 12th
Reception à April 14th @ 6:00PM – 8:00PM
De-install à April 19th
From the install team
For the show, the frame sizes we currently have available include:
11x14 -- 2
16x20 -- 5
20x24 -- 2
24x30 -- 5
30x40 -- 1
Because the show is singular image for each person, we technically have enough frames for everyone's work if sizing permits. We're attempting to fit all the work into these frames. If not, you will need to spray-mount your image to foamcore (preferably black to match the frames) with a 1"-2" border which you will need to provide.
In a week or two, you can reserve a frame by commenting on this post or telling someone on the install team.
The due date for your official titles will be Thursday, April 07th, as we need time to design, print, and mount the tags. Otherwise your piece will be untitled.
Kate, Dana, Nathan, Shanie
11x14 -- 2
16x20 -- 5
20x24 -- 2
24x30 -- 5
30x40 -- 1
Because the show is singular image for each person, we technically have enough frames for everyone's work if sizing permits. We're attempting to fit all the work into these frames. If not, you will need to spray-mount your image to foamcore (preferably black to match the frames) with a 1"-2" border which you will need to provide.
In a week or two, you can reserve a frame by commenting on this post or telling someone on the install team.
The due date for your official titles will be Thursday, April 07th, as we need time to design, print, and mount the tags. Otherwise your piece will be untitled.
Kate, Dana, Nathan, Shanie
Photographic Concepts – Art Fundamentals
PGY 2442C Photographic Concepts: Figure/Ground
Tuesday and Thursday 3PM-6PM
Instructor: Austin Reeves
Email: Areeves@ufl.edu
Office: FAD 329
Hours: Fridays 10 – Noon and by appointment
fig•ure-ground
adjective [ attrib. ] Psychology & Art
Relating to or denoting the perception of images by the distinction of objects from a background from which they appear to stand out, esp. in contexts where this distinction is ambiguous.
Description:
A Photographic Concepts course is required to be taken by all SAAH students in their second year of study. This course is an introduction to the light and shape aspects of photographic images. Theories of space and 2D composition and basic camera and darkroom techniques are explored. In addition, students strive to develop critical thinking and research skills.
Objective of class:
Figure/Ground will allow you to focus on a single idea over the course of the semester - the formal and conceptual underpinnings of the singular image. At the end of this class, you will be more in control of compositional strategies in your individual images, you will have worked in both digital and wet darkrooms, will continue to improve and build on your technical skills (including metering, lighting, and digital and darkroom output), and will be better able to articulate and analyze the singular image. Readings will occur regularly throughout the semester, which will help you to better understand photography through its history, context, and function as both a cultural object and an art object.
Methods:
The first part of the course will focus on a review of your darkroom skills, concentrating on the basics of exposure, printing, contrast control, tonality and composition. The second half of the course will focus on digital shooting and scanning, including RAW file usage, inkjet and film digital output. Through exercises focused on creating and recreating a single image, you will be able to improve your composition and lighting, figure/ground relationships, foreground and background, all of which will help you to communicate your ideas clearly and forcefully. Each assignment will enable you to build another conceptual and technical skill, which by the end of the class will allow you to create thoughtful, experimental, and controlled images.
Required Text: Can be purchased online or at the UF bookstore.
Liz Wells, The Photography Reader. Routledge, 2003. ISBN10: 0-415-24660
Attendance and Make up policy:
The beginning of each class will be a sign in sheet. It is your responsibility to sign it and be recorded for the day. Signing the sheet and then immediately leaving the class during the lab day will be considered absent. You will be allowed 3 unexcused absences this semester, each absence there after will lower your final grade by half a letter grade (A will turn into a B+). Only students with 3 or fewer unexcused absences will be eligible to earn an A in this course. Six unexcused absences will result in a failing grade. Unexcused absences are those for which you have no doctors note or for which you did not obtain prior permission.
Evaluation/Grading Methods:
Final Grades will be based on discussion participation, photo projects, assignments, blog participation, and the final photo-based portfolio.
Grading Scale:
A = 100-93 Superior work, all class criteria surpassed.
A- = 92-90 Very good work, all class criteria surpassed.
B+ = 89-87
B = 86-83 Above average work, all criteria met.
B- = 82-80
C+ = 79-77 Adequate, average work.
C = 76-73
C- = 72-70
D+ = 69-67 Barely meeting criteria.
D = 67-63
D- = 62-60
E = 59-0 Failure to meet criteria.
Critiques & Photo Projects:
The four main photo projects in this course are averaged out together to make the largest portion of the final grade. Therefore the following criteria are used to determine your project’s grade. Use this blueprint when constructing your project from start to finish.
Completion of Assignment – Were all the requirements fulfilled?
Exploration of Concept - The depth in which the concept was explored via your contact sheets, idea mapping, brainstorming as well as conversing with me and your fellow students about your ideation in class and on the blog. You may also want to include anything that has been influential to your project such as other artists, artwork, literature read, etc. in your artist statement.
Communication- How clear and powerful the idea is expressed through your chosen images as well as arrangement and fluidity of the body of work to reflect your statement.
Presentation-The quality of the finished prints, which includes technically fine tuned prints showing proper contrast and correct distribution of blacks, whites and grays. No dust and scratch marks shown in the photo and proportional white borders on all photographs printed for that series.
Critiques are a crucial component of the course. It is imperative that you make it to critiques ON TIME to participate and offer your peers feedback on their artwork. Unexcused late project grades will be lowered by half a letter grade (for example a B+ will become a B if handed in late).
How grades will be determined:
4 Main Photo Projects - 40 % of final grade
Final Portfolio - 30 % of final grade
Reading, Questions &
Discussion Participation - 10 % of final grade
Participation & Attendance - 10 % of final grade
Posting on Blog - 10 % of final grade
Equipment and Materials that you will need can be found at Harmon’s and online
www.calumetphoto.com www.bhphotovideo.com www.adorama.com
-Compressed Air
-China marker (any color)
-35mm SLR manual camera with an internal light meter
-Towel for darkroom usage
-3 ring binder for contact sheets filled with plastic sleeves to hold your 8x10 or larger photographs
-Film, at least 14 rolls (suggested Ilford 400 ISO) 36 exposure rolls
-Plastic sleeves to protect negatives
-Paper: Ilford 8x10” Fiber paper Pearl surface or larger. You may use RC paper for test strips and contact sheets, but final prints will be on fiber paper.
-From the fourth assignment on you will be allowed to print digital images onto inkjet paper. We will discuss where to get inkjet paper when the time comes.
Course Requirements:
You are expected to complete the photography projects, writing assignments, posting to the blog, contact sheets, reading, final portfolio and dedicate time both during and outside of class hours towards the proficiency of the basic black & white photography fundamentals. You must demonstrate individual participation by asking questions, coming to class and using the available resources independent of class time.
Assignments:
You will receive more information when the projects are assigned.
Project 1 - Read Chapter 10 - Laszlo Moholy-Nagy and make one photograph for each of the "eight varieties of photographic vision."
Project 2 - Construct a narrative in a single image. Utilize the full frame, outside the frame, camera position, subject position in relation to picture plane, etc.
Project 3 – Read Chapter 17 - Reconstruct a photograph or photographic image that exists in the world, changing the scale and figure/ground relationship.
Project 4 - Read Chapter 21 - Producing the Real - Create a digitally collaged image that challenges the nature of the photographic image as 'real.'
Final project: Create a body of work of at least 10 single images, each of which works by itself. These photographs can be color or black and white. These "singular prints" should be presented in an archival print box or portfolio.
Reading:
In addition to the hands-on aspect of this class I will also require reading from the textbook assigned in this syllabus as well as literature that I may prescribe. You are required to write and turn in five questions pertinent to the reading on the following class meeting. These questions may be about sections of the reading that you didn’t understand, you don’t agree with, are curious how others interpreted them, etc. Please include a page number with your question when referencing a specific quote or paragraph.
Contact Sheets:
One week after the assignment sheet has been handed out; I expect at least two contact sheets ready for me to look at. This helps me to become better acquainted with your work and helps you stay on track with your assignment. Failure to do so will be a loss of points from your assignment grade.
The Blog:
Two weeks after the assignment sheet has been handed out, you are required to scan and post a few of your prints and a short artist statement on the class blog. This will help the other students become familiar with what you’re working on and put them in a position to offer constructive in-progress criticism. It will also produce more meaningful and insightful comments during the classroom critiques. Occasionally I will post discussion questions on the blog for everyone to way in on. Failure to post on the blog when required will result in a loss of points from your final grade.
Entering a Juried Show:
As budding artists, it is important to enter your work in juried art shows to gain recognition in your field and among your peers as well as filling up that resume. Since this class is about creating the singular image, I thought it would be great to put your visually strong images to the test by requiring you to enter your work into a juried show. All you will need to turn will be your acceptance or rejection letter from a juried show that you entered your photos into. This will be due by the end of the semester. Possible juried show sites to look at are: www.artshow.com/juriedshows/ and www.lvartscommission.com/artist-opportunities/
Academic Honesty Policy:
Students are expected to abide by the UF Academic Honesty Policy, which defines an academic honesty offense as “the act of lying, cheating, or stealing academic information so that one gains academic advantage.”
As a University of Florida student, one is expected to neither commit nor assist another in committing an academic honesty violation. Additionally, it is the student’s duty to report observed academic honesty violations. These can include: cheating, plagiarism, bribery, misrepresentation, conspiracy, or fabrication.
http://www.dso.ufl.edu/judicial/procedures/academicguide.php
Accommodations for Students with Disabilities:
Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the instructor when requesting accommodation. http://www.dso.ufl.edu/drc/
HEALTH AND SAFETY POLICY:
This course will adhere to the School of Art and Art History’s Health and Safety Policy which will be reviewed in class. All students are required to sign and submit to the office (FAC 103) the SAAH Health and Safety Student Signature page. The handbook and the signature page are located at: http://saahhealthandsaftey.weebly.com/handbook.html
Tentative Schedule
January
Week 1
Thursday the 6th: Syllabus handed out and discussed, merriment and discourse will follow.
Darkroom refreshers.
Give first assignment
Read Ch. 10 in Photography Reader for Tuesday discussion
Due Tuesday: 5 Questions about the chapter
Week 2
Tuesday the 11th: Show examples
Discuss Ch. 10 and assignment
Turn in 5 questions for reading
Camera Refreshers
Thursday the 13th: Lab
Show contact sheets
Read Ch. 6
Week 3
Tuesday the 18th: Discuss Ch. 6
Turn in 5 questions for reading
Lab
Post images on blog by Thursday
Thursday the 20th: Lab
Read Ch. 18
Week 4
Tuesday the 25th: Discuss Ch. 18
Turn in 5 questions for reading
Lab
Thursday the 27th: Critique First Assignment
Second Assignment Given
Read Ch. 11
February
Week 5
Tuesday the 1st: Show examples and discuss assignment
Discuss Ch. 11
Turn in 5 questions for reading
Thursday the 3rd: Lighting Demo
Show contact sheets
Lab if time
Read Ch. 14
Week 6
Tuesday the 8th: Discuss Ch.14
Lab
Turn in 5 questions for reading
Post images on blog by Thursday
Thursday the 10th: Meet at the Harn
Looking at and Reading the photograph
Week 7
Tuesday the 15th: Lab
Thursday the 17th: Critique Second Assignment
Give Third Assignment
Read Ch. 17
Week 8
Tuesday the 22nd: Show examples
Discuss Ch. 17 and assignment
Turn in 5 questions for reading
Thursday the 24th: Show contact sheets
Lab
Read Ch. 13
March
Week 9
Tuesday the 1st: Discuss Ch. 13
Turn in 5 questions for reading
Post images on blog by Thursday
Thursday the 3rd: Lab
Read Ch. 30
Week 10
Tuesday the 8th: Spring Break
Thursday the 10th: Spring Break
Week 11
Tuesday the 15th: Critique Third Assignment
Give Fourth Assignment and Final Assignment
Read Ch. 21
Thursday the 17th: Digital cameras, shooting in RAW, scanning film, and photoshop demo.
Week 12
Tuesday the 22nd: Show examples
Discuss Ch. 21 and assignment
Turn in 5 questions for reading
Thursday the 24th: Lab
Read Ch. 1
Post images on blog by Tuesday
Week 13
Tuesday the 29th: Discuss Ch.1
Turn in 5 questions for reading
Lab
Thursday the 31st: Lab
Week 14:
Tuesday the 5th: Critique Fourth Assignment
Thursday the 7th: Individual Meetings
Lab
Week 15:
Tuesday the 12th: Individual Meetings
Lab
Thursday the 14th: Lab
Week 16:
Tuesday the 19th: Lab
Turn in proof of juried show application
Week 17
Final Critique???????
PGY 2442C Photographic Concepts: Figure/Ground
Tuesday and Thursday 3PM-6PM
Instructor: Austin Reeves
Email: Areeves@ufl.edu
Office: FAD 329
Hours: Fridays 10 – Noon and by appointment
fig•ure-ground
adjective [ attrib. ] Psychology & Art
Relating to or denoting the perception of images by the distinction of objects from a background from which they appear to stand out, esp. in contexts where this distinction is ambiguous.
Description:
A Photographic Concepts course is required to be taken by all SAAH students in their second year of study. This course is an introduction to the light and shape aspects of photographic images. Theories of space and 2D composition and basic camera and darkroom techniques are explored. In addition, students strive to develop critical thinking and research skills.
Objective of class:
Figure/Ground will allow you to focus on a single idea over the course of the semester - the formal and conceptual underpinnings of the singular image. At the end of this class, you will be more in control of compositional strategies in your individual images, you will have worked in both digital and wet darkrooms, will continue to improve and build on your technical skills (including metering, lighting, and digital and darkroom output), and will be better able to articulate and analyze the singular image. Readings will occur regularly throughout the semester, which will help you to better understand photography through its history, context, and function as both a cultural object and an art object.
Methods:
The first part of the course will focus on a review of your darkroom skills, concentrating on the basics of exposure, printing, contrast control, tonality and composition. The second half of the course will focus on digital shooting and scanning, including RAW file usage, inkjet and film digital output. Through exercises focused on creating and recreating a single image, you will be able to improve your composition and lighting, figure/ground relationships, foreground and background, all of which will help you to communicate your ideas clearly and forcefully. Each assignment will enable you to build another conceptual and technical skill, which by the end of the class will allow you to create thoughtful, experimental, and controlled images.
Required Text: Can be purchased online or at the UF bookstore.
Liz Wells, The Photography Reader. Routledge, 2003. ISBN10: 0-415-24660
Attendance and Make up policy:
The beginning of each class will be a sign in sheet. It is your responsibility to sign it and be recorded for the day. Signing the sheet and then immediately leaving the class during the lab day will be considered absent. You will be allowed 3 unexcused absences this semester, each absence there after will lower your final grade by half a letter grade (A will turn into a B+). Only students with 3 or fewer unexcused absences will be eligible to earn an A in this course. Six unexcused absences will result in a failing grade. Unexcused absences are those for which you have no doctors note or for which you did not obtain prior permission.
Evaluation/Grading Methods:
Final Grades will be based on discussion participation, photo projects, assignments, blog participation, and the final photo-based portfolio.
Grading Scale:
A = 100-93 Superior work, all class criteria surpassed.
A- = 92-90 Very good work, all class criteria surpassed.
B+ = 89-87
B = 86-83 Above average work, all criteria met.
B- = 82-80
C+ = 79-77 Adequate, average work.
C = 76-73
C- = 72-70
D+ = 69-67 Barely meeting criteria.
D = 67-63
D- = 62-60
E = 59-0 Failure to meet criteria.
Critiques & Photo Projects:
The four main photo projects in this course are averaged out together to make the largest portion of the final grade. Therefore the following criteria are used to determine your project’s grade. Use this blueprint when constructing your project from start to finish.
Completion of Assignment – Were all the requirements fulfilled?
Exploration of Concept - The depth in which the concept was explored via your contact sheets, idea mapping, brainstorming as well as conversing with me and your fellow students about your ideation in class and on the blog. You may also want to include anything that has been influential to your project such as other artists, artwork, literature read, etc. in your artist statement.
Communication- How clear and powerful the idea is expressed through your chosen images as well as arrangement and fluidity of the body of work to reflect your statement.
Presentation-The quality of the finished prints, which includes technically fine tuned prints showing proper contrast and correct distribution of blacks, whites and grays. No dust and scratch marks shown in the photo and proportional white borders on all photographs printed for that series.
Critiques are a crucial component of the course. It is imperative that you make it to critiques ON TIME to participate and offer your peers feedback on their artwork. Unexcused late project grades will be lowered by half a letter grade (for example a B+ will become a B if handed in late).
How grades will be determined:
4 Main Photo Projects - 40 % of final grade
Final Portfolio - 30 % of final grade
Reading, Questions &
Discussion Participation - 10 % of final grade
Participation & Attendance - 10 % of final grade
Posting on Blog - 10 % of final grade
Equipment and Materials that you will need can be found at Harmon’s and online
www.calumetphoto.com www.bhphotovideo.com www.adorama.com
-Compressed Air
-China marker (any color)
-35mm SLR manual camera with an internal light meter
-Towel for darkroom usage
-3 ring binder for contact sheets filled with plastic sleeves to hold your 8x10 or larger photographs
-Film, at least 14 rolls (suggested Ilford 400 ISO) 36 exposure rolls
-Plastic sleeves to protect negatives
-Paper: Ilford 8x10” Fiber paper Pearl surface or larger. You may use RC paper for test strips and contact sheets, but final prints will be on fiber paper.
-From the fourth assignment on you will be allowed to print digital images onto inkjet paper. We will discuss where to get inkjet paper when the time comes.
Course Requirements:
You are expected to complete the photography projects, writing assignments, posting to the blog, contact sheets, reading, final portfolio and dedicate time both during and outside of class hours towards the proficiency of the basic black & white photography fundamentals. You must demonstrate individual participation by asking questions, coming to class and using the available resources independent of class time.
Assignments:
You will receive more information when the projects are assigned.
Project 1 - Read Chapter 10 - Laszlo Moholy-Nagy and make one photograph for each of the "eight varieties of photographic vision."
Project 2 - Construct a narrative in a single image. Utilize the full frame, outside the frame, camera position, subject position in relation to picture plane, etc.
Project 3 – Read Chapter 17 - Reconstruct a photograph or photographic image that exists in the world, changing the scale and figure/ground relationship.
Project 4 - Read Chapter 21 - Producing the Real - Create a digitally collaged image that challenges the nature of the photographic image as 'real.'
Final project: Create a body of work of at least 10 single images, each of which works by itself. These photographs can be color or black and white. These "singular prints" should be presented in an archival print box or portfolio.
Reading:
In addition to the hands-on aspect of this class I will also require reading from the textbook assigned in this syllabus as well as literature that I may prescribe. You are required to write and turn in five questions pertinent to the reading on the following class meeting. These questions may be about sections of the reading that you didn’t understand, you don’t agree with, are curious how others interpreted them, etc. Please include a page number with your question when referencing a specific quote or paragraph.
Contact Sheets:
One week after the assignment sheet has been handed out; I expect at least two contact sheets ready for me to look at. This helps me to become better acquainted with your work and helps you stay on track with your assignment. Failure to do so will be a loss of points from your assignment grade.
The Blog:
Two weeks after the assignment sheet has been handed out, you are required to scan and post a few of your prints and a short artist statement on the class blog. This will help the other students become familiar with what you’re working on and put them in a position to offer constructive in-progress criticism. It will also produce more meaningful and insightful comments during the classroom critiques. Occasionally I will post discussion questions on the blog for everyone to way in on. Failure to post on the blog when required will result in a loss of points from your final grade.
Entering a Juried Show:
As budding artists, it is important to enter your work in juried art shows to gain recognition in your field and among your peers as well as filling up that resume. Since this class is about creating the singular image, I thought it would be great to put your visually strong images to the test by requiring you to enter your work into a juried show. All you will need to turn will be your acceptance or rejection letter from a juried show that you entered your photos into. This will be due by the end of the semester. Possible juried show sites to look at are: www.artshow.com/juriedshows/ and www.lvartscommission.com/artist-opportunities/
Academic Honesty Policy:
Students are expected to abide by the UF Academic Honesty Policy, which defines an academic honesty offense as “the act of lying, cheating, or stealing academic information so that one gains academic advantage.”
As a University of Florida student, one is expected to neither commit nor assist another in committing an academic honesty violation. Additionally, it is the student’s duty to report observed academic honesty violations. These can include: cheating, plagiarism, bribery, misrepresentation, conspiracy, or fabrication.
http://www.dso.ufl.edu/judicial/procedures/academicguide.php
Accommodations for Students with Disabilities:
Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the instructor when requesting accommodation. http://www.dso.ufl.edu/drc/
HEALTH AND SAFETY POLICY:
This course will adhere to the School of Art and Art History’s Health and Safety Policy which will be reviewed in class. All students are required to sign and submit to the office (FAC 103) the SAAH Health and Safety Student Signature page. The handbook and the signature page are located at: http://saahhealthandsaftey.weebly.com/handbook.html
Tentative Schedule
January
Week 1
Thursday the 6th: Syllabus handed out and discussed, merriment and discourse will follow.
Darkroom refreshers.
Give first assignment
Read Ch. 10 in Photography Reader for Tuesday discussion
Due Tuesday: 5 Questions about the chapter
Week 2
Tuesday the 11th: Show examples
Discuss Ch. 10 and assignment
Turn in 5 questions for reading
Camera Refreshers
Thursday the 13th: Lab
Show contact sheets
Read Ch. 6
Week 3
Tuesday the 18th: Discuss Ch. 6
Turn in 5 questions for reading
Lab
Post images on blog by Thursday
Thursday the 20th: Lab
Read Ch. 18
Week 4
Tuesday the 25th: Discuss Ch. 18
Turn in 5 questions for reading
Lab
Thursday the 27th: Critique First Assignment
Second Assignment Given
Read Ch. 11
February
Week 5
Tuesday the 1st: Show examples and discuss assignment
Discuss Ch. 11
Turn in 5 questions for reading
Thursday the 3rd: Lighting Demo
Show contact sheets
Lab if time
Read Ch. 14
Week 6
Tuesday the 8th: Discuss Ch.14
Lab
Turn in 5 questions for reading
Post images on blog by Thursday
Thursday the 10th: Meet at the Harn
Looking at and Reading the photograph
Week 7
Tuesday the 15th: Lab
Thursday the 17th: Critique Second Assignment
Give Third Assignment
Read Ch. 17
Week 8
Tuesday the 22nd: Show examples
Discuss Ch. 17 and assignment
Turn in 5 questions for reading
Thursday the 24th: Show contact sheets
Lab
Read Ch. 13
March
Week 9
Tuesday the 1st: Discuss Ch. 13
Turn in 5 questions for reading
Post images on blog by Thursday
Thursday the 3rd: Lab
Read Ch. 30
Week 10
Tuesday the 8th: Spring Break
Thursday the 10th: Spring Break
Week 11
Tuesday the 15th: Critique Third Assignment
Give Fourth Assignment and Final Assignment
Read Ch. 21
Thursday the 17th: Digital cameras, shooting in RAW, scanning film, and photoshop demo.
Week 12
Tuesday the 22nd: Show examples
Discuss Ch. 21 and assignment
Turn in 5 questions for reading
Thursday the 24th: Lab
Read Ch. 1
Post images on blog by Tuesday
Week 13
Tuesday the 29th: Discuss Ch.1
Turn in 5 questions for reading
Lab
Thursday the 31st: Lab
Week 14:
Tuesday the 5th: Critique Fourth Assignment
Thursday the 7th: Individual Meetings
Lab
Week 15:
Tuesday the 12th: Individual Meetings
Lab
Thursday the 14th: Lab
Week 16:
Tuesday the 19th: Lab
Turn in proof of juried show application
Week 17
Final Critique???????
Chapter 21 Questions/Observations
1) What is the association between the compulsion to create multiple images and the idea that the object impresses itself upon the film in its chemical process?
2) When did the "print" become the impractical vehicle for image representation?
3) Do you like strawberry or vanilla ice cream more? What do you do when someone offers you Neapolitan ice cream, do you pick out the flavors you don't like?
4) What was it like making people do keg-stands in St. Louis?
5) I have a problem with using digital media and software to create a composed image from various photographs. No matter how much you edit and alter the image, there is still a disparity between the images and the various tones and lighting can seem to almost never be replicated.
digitization-questions
1. How has the value of an image been redefined in the digital age?
2. Is there a way we can reassert the significance a photograph in a digital era?
3. In the increasingly ubiquitous medium of photography, how does the definition of what a photographer is change?
4. If we cannot necessarily use a photograph as empirical proof of something, what are its other uses?
5. How can we learn to embrace this new technology while in the context of photography as a traditional art form?
2. Is there a way we can reassert the significance a photograph in a digital era?
3. In the increasingly ubiquitous medium of photography, how does the definition of what a photographer is change?
4. If we cannot necessarily use a photograph as empirical proof of something, what are its other uses?
5. How can we learn to embrace this new technology while in the context of photography as a traditional art form?
Monday, March 21, 2011
Richard Prince article
http://artsbeat.blogs.nytimes.com/2011/03/21/judge-rules-against-artist-richard-prince-in-copyright-case/?ref=design
Sunday, March 20, 2011
Ch 17 Questions
Looks like I missed this one....
#1 If appropriation is now considered as not only acceptable but encouraged, when does "theft" occur?
#2 Is it worse to steal and idea or an image?
#3 Does the value of the image diminish if the image is commonly seen?
#4 And if so.. Why does rarity bring value?
#5 Where and how does patriarchy play a roll in image making?
-Erin Scott
Wednesday, March 16, 2011
Assignment 4!!!!!
PGY2442C Figure/Ground
Austin Reeves
areeves@ufl.edu
Handed Out: 3/16/11
Blog Post Due: 3/24/11
Critique: 4/5/11
Assignment 4
Producing the Real
In previous readings we’ve touched upon the notion of the photograph as evidential proof of existence. Whether it is a documentary photograph or a tableau photograph, the image created is proof that such an event took place. With the introduction of the digital image and photoshop, it is much easier to take advantage of this reliance on the photograph as a document of truth. Your assignment is to create an entirely new landscape, cityscape, or both through digital manipulation. You must combine at least five objects (land, trees, buildings, people, cars, planes, etc…) to create your own “reality”. All objects used must be photographed by you and not ripped from the net. Inkjet paper can be purchased at Harmon’s, their largest size is 13x17”. If you want a larger paper size, Lexjet (www.lexjet.com) is based out of Jacksonville and can standard deliver your paper in one business day. You have the digital power to create a new world catered to your desires. What would your utopic world look like? What wouldn’t exist? Would it be orderly or chaotic? Natural or synthetic? How will this world reflect who you really are?
Due on 4/6/10: 1 artist statement
1 print on inkjet paper
Because this assignment will be done with a digital camera you will be required to take a minimum of 150 images. And print a thumbnail contact sheet of all your images.
Austin Reeves
areeves@ufl.edu
Handed Out: 3/16/11
Blog Post Due: 3/24/11
Critique: 4/5/11
Assignment 4
Producing the Real
In previous readings we’ve touched upon the notion of the photograph as evidential proof of existence. Whether it is a documentary photograph or a tableau photograph, the image created is proof that such an event took place. With the introduction of the digital image and photoshop, it is much easier to take advantage of this reliance on the photograph as a document of truth. Your assignment is to create an entirely new landscape, cityscape, or both through digital manipulation. You must combine at least five objects (land, trees, buildings, people, cars, planes, etc…) to create your own “reality”. All objects used must be photographed by you and not ripped from the net. Inkjet paper can be purchased at Harmon’s, their largest size is 13x17”. If you want a larger paper size, Lexjet (www.lexjet.com) is based out of Jacksonville and can standard deliver your paper in one business day. You have the digital power to create a new world catered to your desires. What would your utopic world look like? What wouldn’t exist? Would it be orderly or chaotic? Natural or synthetic? How will this world reflect who you really are?
Due on 4/6/10: 1 artist statement
1 print on inkjet paper
Because this assignment will be done with a digital camera you will be required to take a minimum of 150 images. And print a thumbnail contact sheet of all your images.
Tuesday, March 15, 2011
Sunday, March 6, 2011
Appropriation
Completely forgot about these due to Portfolio/Spring Break madness! :C I sorry
I wanted to appropriate Nan Goldin's self-portraits/Suzanne crying by incorporating her snapshot-esque, intimate style. I'm interested in the use of lamp light and creating these raw documentary portraits.
I wanted to appropriate Nan Goldin's self-portraits/Suzanne crying by incorporating her snapshot-esque, intimate style. I'm interested in the use of lamp light and creating these raw documentary portraits.
Friday, March 4, 2011
I forgot to post these until now (was in studio all night).
I am "appropriating my own images" by taking the original image, and manipulating it, printing it, and then re-photographing it and printing in the darkroom. I'm drawing on inspiration of Andy Warhol's silkscreens of famous icons, and in turn creating my own icon. (Pink Girl becomes an icon when she becomes a deviant)
Thursday, March 3, 2011
Project 3.
For this project, I appropriated some of the works of Cindy Sherman and Duane Michals to poke fun at them. These are some of my favorite shots. :3
These are single and multiple exposures of a captioned television screen playing The Great Ziegfeld, a triple Academy Award winning biopic from 1936. The film portrays Florenz Ziegfeld, who dedicated his life to making his mark in show business by signing up-and-coming starlets and directing extravagant shows.
Project 3 Images
These are in progress photos of Erin Scott's work... my blogger account isnt working. Im working with appropriated images from magazines and challenging the authority of the artist and how naming somethings grants power over it.
Three Images That I am Appropriating
I am going to appropriate this album by the black keys for one of my three selections
This piece by Vito Acconci is entitled Following. I plan on appropriating two of the photographs
Tuesday, March 1, 2011
A chance for you to show your work!!!
"the gallery" Call to Artists 2011
Now accepting proposals for J. Wayne Reitz Union’s “the gallery” for Fall 2011. All applications due March 25th no later than 11:59pm. Applications are online at www.union.ufl.edu/gallery
. Must be a UF student, spouse, faculty member, or alumni and MUST fill entire gallery space.
Please include a disk with jpg images- no more than 5 images for a solo show and no more than 3 per person for group shows. All applications can be dropped off in the Arts and Crafts Center in the basement of the J. Wayne Reitz Union.
Thank you,
Odette Rivera
"the gallery" intern
B-1 JWRU
PO Box 118505
Gainesville, FL 32611-8505
www.union.ufl.edu/gallery
gallery@union.ufl.edu
352.392-51142 voice mail
352-392-2378 Arts & Crafts Center phone
Now accepting proposals for J. Wayne Reitz Union’s “the gallery” for Fall 2011. All applications due March 25th no later than 11:59pm. Applications are online at www.union.ufl.edu/gallery
. Must be a UF student, spouse, faculty member, or alumni and MUST fill entire gallery space.
Please include a disk with jpg images- no more than 5 images for a solo show and no more than 3 per person for group shows. All applications can be dropped off in the Arts and Crafts Center in the basement of the J. Wayne Reitz Union.
Thank you,
Odette Rivera
"the gallery" intern
B-1 JWRU
PO Box 118505
Gainesville, FL 32611-8505
www.union.ufl.edu/gallery
gallery@union.ufl.edu
352.392-51142 voice mail
352-392-2378 Arts & Crafts Center phone
Roland Barthes
1. How else can we relate linguistics to art?
2. What can art communicate as its own language that spoken language cannot accomplish?
3. Do literate people interpret text-free images differently than illiterate people?
4. Can these themes apply to non-advertising images?
5. Is it possible to create a photograph free of these associations?
2. What can art communicate as its own language that spoken language cannot accomplish?
3. Do literate people interpret text-free images differently than illiterate people?
4. Can these themes apply to non-advertising images?
5. Is it possible to create a photograph free of these associations?
Saturday, February 26, 2011
Franco-phile
http://www.slashfilm.com/james-franco-movies-unused-footage-gus-van-sants-private-idaho/#more-98817
Thursday, February 24, 2011
PGY2442C Figure/Ground
Austin Reeves
Areeves@ufl.edu
Handed Out: 2/17/11
Contact Sheets Due: 2/24/11
Blog Post Due: 3/3/11
Critique: 3/15/11
Assignment 3
Deconstruct-Reconstruct
In chapter 18 of The Photography Reader, we touched upon the subject of appropriation with photographers such as Richard Prince, Louis Lawler, and Sherrie Levine, as one genre of postmodern photography. Chapter 17 delves further into the topic of postmodern photography specifically highlighting the work of Barbara Kruger, Richard Prince, Vikky Alexander, Silvia Kolbowski, and Sherrie Levine. For your third assignment, you are to reconstruct 3 photographs or photographic images (art or news related) and alter them in some way. This could be through changing the scale of objects, altering the figure/ground relationship, moving objects around or switching subjects, or even combining two different images of one event into one photograph. How you go about altering the image is your choice. For the critique you will choose the best of the three prints. Some things to keep in mind: What does it mean to take a photograph? Or to make a photograph? Is an image less important/meaningful if it is based directly from a well known work of art? Do both artists deserve to be credited for the final product?
Due on 3/15/11: 3 contact sheets
1 artist statement
1 print on fiber paper
MUST BE SHOT IN BLACK AND WHITE FILM AND MUST BE A PRINT FROM THE WET LAB!!! SIZE OF FILM IS UP TO YOU.
Austin Reeves
Areeves@ufl.edu
Handed Out: 2/17/11
Contact Sheets Due: 2/24/11
Blog Post Due: 3/3/11
Critique: 3/15/11
Assignment 3
Deconstruct-Reconstruct
In chapter 18 of The Photography Reader, we touched upon the subject of appropriation with photographers such as Richard Prince, Louis Lawler, and Sherrie Levine, as one genre of postmodern photography. Chapter 17 delves further into the topic of postmodern photography specifically highlighting the work of Barbara Kruger, Richard Prince, Vikky Alexander, Silvia Kolbowski, and Sherrie Levine. For your third assignment, you are to reconstruct 3 photographs or photographic images (art or news related) and alter them in some way. This could be through changing the scale of objects, altering the figure/ground relationship, moving objects around or switching subjects, or even combining two different images of one event into one photograph. How you go about altering the image is your choice. For the critique you will choose the best of the three prints. Some things to keep in mind: What does it mean to take a photograph? Or to make a photograph? Is an image less important/meaningful if it is based directly from a well known work of art? Do both artists deserve to be credited for the final product?
Due on 3/15/11: 3 contact sheets
1 artist statement
1 print on fiber paper
MUST BE SHOT IN BLACK AND WHITE FILM AND MUST BE A PRINT FROM THE WET LAB!!! SIZE OF FILM IS UP TO YOU.
Tuesday, February 22, 2011
Why do most female artists get labeled as feminists in some way at some point in their careers?
How does Sherrie Levin question ideas of originality and authorship?
How does the number of times a photograph is reproduced affect its value?
How does the knowledge that an image is appropriated affect its meaning?
What are the parallels between the struggle to call photography “fine art” today and during the late 1800’s?
chap 17
1. Can Levine be given 100% credit of the reproduction of Weston's original work? 2. Is there a certain degree to how much appropriation is actually appropriation and not just plagiarism? Or is it just subjective? 3. How different wold the impact be if a student appropriated the image like Levine? I just think its interesting that since Levine "appropriated the image" its creates a debate, however I feel like if a student did it, people would just say its plagiarism. Even know students and professors have a certain standard in a university, I still just think its interesting that we learn about artists who does work that we would get in trouble for. 4. Does Levine's work really not have authorship? The book states that "To refuse authorship itself functions to puncture the ideology of the artists as the bearer of a privileged subjectivity." I disagree because I feel like she is still have authorship because it is still her photograph that she subjectively chose to photograph. 5. is it considered plagarism is a photographer, painter, drawer all created the same exact composition and image?
Chapter 17 - Solomon-Godeau Article
1)How was the physical printing and manifestation of the image on paper become problematic int he search for the real thing, according to Solomon-Godeau's statement on page 153?
2)the idea of appropriation becomes the central topic in this chapter, when talking about Levine's copy photographs and how the are "made to seem" to be able to capture the idea of something as broad at 'Nature', it would be a worth while experiment to appropriate some image by continuously recopying the image through various modes of copying and displaying these images.
3)Why has photography become the ideal scapegoat from things like copyright infringement and what does that say about its presence within an artistic realm? does the social and governmental recognition of the notion that the image, namely a photograph, needs to be protected by and for the photographer?
4)With the technological advances of photography being anything less than exponential in the past two centuries, in what ways might you think societal views of appropriation will change due to the introduction of post-modernism and photography?
5)In terms of actually appropriating an image, do you think that the photographing on an already existing image is where post-modernism lies or would it be fair to say that in a post-modernist point of view, the appropriation of the already existing image could be valid through ANY mode of means of transference or reproduction
Art Photography and Postmodernism-stuff
1) I like the idea of making the viewer aware of what is being observed by photographing and appropriating something.
2) I had never really thought of what Sherrie Levin does as something that goes beyond the exploration of what an 'original' is. By appropriating, she refuses authorship and rejects notions of originality and subjectivity.
3)Why is the notion of the author linked with patriarchy? It seems like he simply declares this and does not explain why.
4)Solomon-Godeau concludes that Levine is a type of feminist, which seems to be an inescapable label for most female artists.
5)I find it interesting that the present state of photography is not that much different from the state of photography in the 1880's, when they faced the threats posed by increased ubiquity and ease in the photographic process. We see this same trend presently but on a much larger scale and in even larger quantities. With the inception of digital photography and the invention of the internet, issues relating to the ubiquity of images and the question of photography as a legitimate art form are amplified.
2) I had never really thought of what Sherrie Levin does as something that goes beyond the exploration of what an 'original' is. By appropriating, she refuses authorship and rejects notions of originality and subjectivity.
3)Why is the notion of the author linked with patriarchy? It seems like he simply declares this and does not explain why.
4)Solomon-Godeau concludes that Levine is a type of feminist, which seems to be an inescapable label for most female artists.
5)I find it interesting that the present state of photography is not that much different from the state of photography in the 1880's, when they faced the threats posed by increased ubiquity and ease in the photographic process. We see this same trend presently but on a much larger scale and in even larger quantities. With the inception of digital photography and the invention of the internet, issues relating to the ubiquity of images and the question of photography as a legitimate art form are amplified.
Monday, February 21, 2011
chapter 17 questions
1. Can you declare Weston's study of Neil as "the real thing," as well as Sherrie Levine's study of Neil?
2. Do you think the number of prints made of a certain image detract from the "realness" of the photo?
3. If Levine rejects authorship of her photos, does that still place copyright regulations on it? Or no because the image itself is illegal?
4. Is Levine's purpose of duplicating images to contest her power with the authors of the original images?
5. I disagreed when they stated, pg. 156 "...what we might consider as its methods or ideology, have remained substantially unchanged throughout all its carious permutations - stylistic, technological, and cultureal - that is has undergone during its hundred and fort year history." Then I went back and read this was written in 1983, so a lot of things have changed since then, including Flicker accounts, Photoshop, the accessibility of digital cameras etc.
:) Steph
Richard Prince article
https://elearning2.courses.ufl.edu/access/content/attachment/4753a109-a862-4b69-9852-2dc0f8ea60ee/Assignments/ba2214e0-23a0-4ecf-a4f6-2527194845dc/Richard%20Prince%20Spiritual%20America.pdf
Friday, February 11, 2011
Thursday, February 10, 2011
Guten Tag
Just experimenting with the large format so I can get used to it. This is stuff. Stuff in my life.
Project 2.
With this project, I plan to have creepy vibe within the composition. These images I took so far are ideas for the narrative before I shoot in coloured film (yes, I spelled it with a 'u' so get over it -- keke~).
Pink Girl
These are character sketches for Pink Girl, a persona I created and intend to expand upon during this class. I'm very much influenced by color meanings, which I am currently using to help shape this character. I would like to thank Jamie for helping me shoot these.
project 2
These are just a few colour ones I have. The ones I like the most are black and white and are drying right now so I'll put them up when they're dry :)
-Sarah
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