Photography 200 C

Conceptual Photography

  • 3 Units -
  • 2 hour lecture,
  • 4 hour lab

COURSE CONTENT AND SCOPE (instructional topics or units)

  1. Review the historical genre of contemporary photography since the 1970’s and it’s relationship to conceptual photography, including a survey of photographers and artists working conceptually.
  2. Summarize the historical Conceptual Art movement of the 1960’s and its imperative reliance on photography.
    1. Including documenting photography of actions
    2. Ed Ruscha, John Baldesarri, of Yves Klein
    3. “Fluxus” and “Happenings”
    4. Yoko Ono, Joseph Beuys, Allan Kaprow
  3. Explain the influence of video art & Avant-garde cinema on conceptual Photography:
    1. French New Wave – Godard
    2. David Lynch (inspired Crewdson), films vs. photography
    3. Bas Jan Ader, William Wegman, Trisha Donnelly
    4. Jean Cocteau – surrealism
    5. Miranda July – conceptual assignments from Learning to Love You More
  4. Relate the influences of conceptually based work and its success in contemporary commercial photography.
    1. Terry Richardson, Steven Klein, JUCO
  5. Examine Conceptual Photographers and their impact on social roles and political activism.
    1. Effects on funding from the National Endowment of the Arts
    2. Andre Serrano, Robert Maplethorpe, Cathie Opie.
  6. Analyze “Critical Theory” and it’s influence on Conceptual Photography:
    1. Rolande Barthes – Camera Lucida
    2. Susan Sontag – On Photography
    3. Kant – Aesthetic of the “Sublime”
    4. Walter Benjamin – the “Flânuer”, Arcades Projects
    5. Post-Modern French Philosophers: Deluze (Aesthetics) / Foucault / Derrida (deconstruction)
    6. Matthew Thomas – Anxiety of Photography
  7. Differentiate Exhibition Types:
    1. Traditional approaches
    2. Alternate spaces & Non-Profits 
    3. Public installations
    4. Galleries vs. Museums
    5. Rising impact of Art Fairs 
    6. International Biennales and Documenta 
  8. Distinguish between Special Applications and Approaches:
    1. Series and sequential photography
    2. Surrealism and the avant-garde
    3. Multi-media applications
    4. Installation
  9. Generate several individual and group projects that will take the student from concept and to the actual execution of the project.
    1. Refinement of idea
    2. Selection of process
    3. Project execution
  10. Demonstrate conceptual proficiency through the production of a final project that consists of an idea-based body of new work.
    1. Visual presentation is a crucial component of the final project and students must evolve their work conceptually with the consideration of how it will function in a site-specific installation/exhibition either on campus or at an off-campus
      1. Students will be required to produce a statement of intent for their final project and an artist statement
      2. Students must coordinate, plan, promote, install and their own work using professional exhibition techniques according to museum standards as taught by the instructor.
      3. Students will be required to design and produce both a printed and social media exhibition announcement host a public reception for the opening of the exhibition.
      4. Students will also be required to photographically document the installation and present the results to the instructor for evaluation and critique.
      5. The class will de-install the installation when the exhibition is over and return the space to its original condition by using gallery & museum preparator techniques as taught by the instructor.