Week
|
Topic
|
Reading
|
| 1 |
Course intro; From optics to
chemistry in the 19th century ;
alternative approaches to the history of photography
|
Text, chapter 1
Talbot essays on photogenic drawing |
| 2 |
the daguerreotype: portraits
and the beginning of studio practices
the calotype provides
a different beginning
|
ch. 2, 3 |
| 3 |
new technologies: the paper/glass
debate and the amateur/professional debate
|
ch. 4
|
| 4 |
documenting reality in the 19th
century: photographing war and society
SEPT
23: SUBMIT PROJECT IDEA FOR APPROVAL
|
ch. 5; graduates: Sontag, Regarding
the Pain of Others |
| 5 |
creating a photographic language:
spiritualism, positivism, art
|
ch. 6, 8 |
| 6 |
creating a photographic language:
the landscape
|
ch. 7
Krauss: Photography’s Discursive
Spaces
Kelsey: Viewing the Archive (graduates)
|
| 7 |
Camera Work, pictorialism and the photo-secession
|
ch. 9; Wilson: The Intimate
Gallery
|
8
|
photographic modernism, pt 1:
the new vision
TERM
PROJECT MEETINGS PRIOR TO OCT. 25
|
ch. 10; selections from Moholy-Nagy |
| 9 |
photographic modernism, pt. 2 |
ch. 11 |
| 10 |
constructing social reality:
social document or subjective truth? |
ch. 12-13; grads: two articles
by Benjamin |
| 11 |
the new photojournalism |
ch. 14;
Bright on landscape photog.
Rosler on documentary photography
|
| 12 |
the subversive 60s: pop, minimalism
and photography |
ch. 16-17; Graduates: one of Iverson, James, and
Skrebowski |
|
THANKSGIVING BREAK |
|
| 13-14 |
the "death" of the author and
photography; new media and new subjects |
ch. 18
|
| |
CLASS EXHIBITION
DEC. 12: WRITTEN COMPONENT OF FINAL PROJECT DUE BY 5 PM
|
|