SURVEILLANCE
WEEK ONE, September 27:
Assignment: SURVEIL YOURSELF (Due on Week 2):
Make a list of everything you do within 10 ft of your cell phone or computer for 24 hours. Choose one gesture from this list to document for an additional 24-72 hours. Pay attention to location, time, and context. You may document this gesture however you would like, but you must post both your list and your documentation to your blog before the start of class next week. Some suggestions for how you might want to document your gesture include: photograph(s), video(s), webcam(s), drawing, map, performance, choreography, animation, collage, etc. Use technology you already know how to use.
Artist References:
Jill Magid, Evidence Locker, 2004
Bruce Nauman, Going Around the Corner Piece, 1970
Eleanor Anton, Carving A Traditional Sculpture, 1972
Ellie Harrison, Eat 22, 2001-2002
Tehching Hsieh, One Year Performance, 1980-1981
Wafaa Bilal, 3rdi, 2011
Reading:
The Medium is the Massage, Marshal McLuhan and Quinten Fiore (On Blackboard)
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WEEK TWO, September 3:
Artist Resources:
Medium is the Massage, McLuhan and Fiore (On Blackboard)
Hannah Hoch: Weltrevolution, The Dream of His Life (Berlinische Gallerie: 1, 2) (1)
John Heartfield: AIZ (Workers' Illustrated Newspaper) (1, 2, 3), Butter: Hurray, the butter is all gone! As Goering said in his Hamburg address: "Iron ore has made the Reich strong. Butter and dripping have at most made the people fat."
Max Ernst: 1, 2, 3, 4
Miecztslaw Berman: Lindbergh II
The Art of Peeping, The Guardian.co.uk
more on Arne Svenson:
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WEEK 4:
PHOTO-DOCUMENTARY PROJECT FOR CRITIQUE 1
WEEK ONE, September 27:
Assignment: SURVEIL YOURSELF (Due on Week 2):
Make a list of everything you do within 10 ft of your cell phone or computer for 24 hours. Choose one gesture from this list to document for an additional 24-72 hours. Pay attention to location, time, and context. You may document this gesture however you would like, but you must post both your list and your documentation to your blog before the start of class next week. Some suggestions for how you might want to document your gesture include: photograph(s), video(s), webcam(s), drawing, map, performance, choreography, animation, collage, etc. Use technology you already know how to use.
Artist References:
Jill Magid, Evidence Locker, 2004
Bruce Nauman, Going Around the Corner Piece, 1970
Eleanor Anton, Carving A Traditional Sculpture, 1972
Ellie Harrison, Eat 22, 2001-2002
Tehching Hsieh, One Year Performance, 1980-1981
Wafaa Bilal, 3rdi, 2011
Reading:
The Medium is the Massage, Marshal McLuhan and Quinten Fiore (On Blackboard)
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WEEK TWO, September 3:
Assignment: 'ZINE (Due on Week 3)
Make a 'zine of at least 10 -15
pages. Work in small teams of 2 or 3. Make at least 3 or 4 copies.
Objectives:
1) Evidence that you are exploring a variety of approaches to the
rules composition.
2) Using the library and appropriating content wisely,
inventively, and ambitiously.
3) Playfulness with visual and written language based on your
chosen theme(s).
Your 'zine should include at least 50%
content that you find and photocopy from monographs, periodicals, or
other ephemera from the library. Therefore, you may use up to 50%
other, original, or appropriated imagery and/or language. You will
need access to a photocopier, paper, scissors, a glue stick (or
something similar), and a stapler for this project. You can
access photocopiers in the library, the copy centers in the basement
of Schine, and in Marshall Square Mall.
This assignment is to give you a chance
to experiment with the rules of composition before you head
out into the field (next week!). Interesting composition makes for
interesting images. Thoughtful composition can communicate lots of
information to help viewers enter and read your work. For the sake of
fun, I'd suggest making BIG, bold, outrageous
decisions. Be punk, be avante garde, be brave! Experiment before you
glue stuff down.
There are many ways of collaborating,
so figure out what works best for your group. Be prepared to discuss
the approach you took, and how it worked out. Try out one of these strategies, or define your own:
- Utopian: Everyone does everything together.
- Collective: The team agrees on a set of rules, terms, and a title. Everyone shares equal responsibility, and each person is responsible for producing their own pages. You come back to put it all together.
To create a “theme” for your
zine, select one term from each of the groups listed below.
Use these search terms as a starting point for finding resources to
appropriate for use in your 'zine(s).
Group 1:
Satellites
Intelligence
Space
Electronic
Sound
System
Underwater
Espionage
Fishing
Spy
Astronautics
Astronauts
Coastal
Traffic
Borders
Group 2:
Mirrors
Magic Mirrors
Magnets
Frame
Eye
System
Face
Photoreceptors
Vision
Window
Birds
Fruits
Door
Cleaning
Energy
Group 3:
Emotions
Face
Phrenology
Physiognomy
Archeology
Anatomy
Botany
Biochemistry
Eating
Fire
Fractures
Gambling
Hoarding
Plastic
Lasers
Artist Resources:
Medium is the Massage, McLuhan and Fiore (On Blackboard)
Hannah Hoch: Weltrevolution, The Dream of His Life (Berlinische Gallerie: 1, 2) (1)
John Heartfield: AIZ (Workers' Illustrated Newspaper) (1, 2, 3), Butter: Hurray, the butter is all gone! As Goering said in his Hamburg address: "Iron ore has made the Reich strong. Butter and dripping have at most made the people fat."
Max Ernst: 1, 2, 3, 4
Miecztslaw Berman: Lindbergh II
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WEEK THREE, September 10:
Assignment: SURVEILLANCE: Connective Corridor/Closed Circuit (CC/CC) (Due on week 5-- in two weeks!)
This is a photo project for your first critique. Share a “truth” about a person, place, or thing in 3-5 original images taken along the Connective Corridor. You will post these imaged to the blog. Select 2 of these photos to function as a diptych. You must use photoshop to process your final images.
For week 4: Come to class with notes and photo sketches (take lots of photos!) from at least 2 destinations on the Connective Corridor bus line. While in the field, be adventurous and inquisitive. Ask questions, talk to people. Read signs, read between them. Be prepared to talk thoughtfully about your research in class next week during one-on-one meetings with your instructor.
Lecture: Photography, Surveillance, and Society
Artist References:
Alphonse Bertillon (artstor)
Francis (Frank) Galton (artstor)
Walker Evans (artstor)
Eugene Atget (artstor)
Martha Rosler, Vital Statistics of a Citizen, Simply Obtained (1977)
Diane Arbus (artstor)
Nan Goldin (artstor)
Readings for Next week:WEEK THREE, September 10:
Assignment: SURVEILLANCE: Connective Corridor/Closed Circuit (CC/CC) (Due on week 5-- in two weeks!)
This is a photo project for your first critique. Share a “truth” about a person, place, or thing in 3-5 original images taken along the Connective Corridor. You will post these imaged to the blog. Select 2 of these photos to function as a diptych. You must use photoshop to process your final images.
For week 4: Come to class with notes and photo sketches (take lots of photos!) from at least 2 destinations on the Connective Corridor bus line. While in the field, be adventurous and inquisitive. Ask questions, talk to people. Read signs, read between them. Be prepared to talk thoughtfully about your research in class next week during one-on-one meetings with your instructor.
Lecture: Photography, Surveillance, and Society
Artist References:
Alphonse Bertillon (artstor)
Francis (Frank) Galton (artstor)
Walker Evans (artstor)
Eugene Atget (artstor)
Martha Rosler, Vital Statistics of a Citizen, Simply Obtained (1977)
Diane Arbus (artstor)
Nan Goldin (artstor)
IO Tillet Wright (TEDtalk)
Laura Poitras, Creative Time
Early Cinema:
The Peeping Tom, 1897
The Art of Peeping, The Guardian.co.uk
How Laura Poitras Helped Edward Snowden Spill His Secrets, NYTIMES Magazine
more on Arne Svenson:
- http://nypost.com/2013/08/09/judge-backs-the-right-of-creepy-tribeca-artist-to-photograph-people-through-their-windows/
- http://www.panus.me/2013/08/16/privacy-lawsuit-against-artist-arne-svenson-dismissed/#
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WEEK 4:
PHOTO-DOCUMENTARY PROJECT FOR CRITIQUE 1
TRM 153
INSTRUCTIONS:
Following your one-on-one conversation with the instructor, return to one of your locations along the Connective Corridor. Using a DSLR camera, take additional photographs. Plan out your shots, and take many. If your subject is a person, define your relationship to your subject: Do they know you are taking their picture? Are they taking yours? Is it collaborative? Are you directing your subject? Are they directing you? Are you surveilling them?
For critique, you will select 2 images to present. You will present the two images (a) individually as two images and (b) as a diptych as one composite. This means you will be responsible for processing and saving 3 files in photoshop: Photo A, Photo B, and Diptych. You may may choose to present your images digitally (projected: 72 dpi, saved as a .JPG), or physically (as prints:300 dpi, saved as a .TIFF).
You will be expected to confidently talk about what decisions are you making and why. You must also able to articulate how and why you chose to employ or reject the rules of composition: Rule of Thirds, Balancing Elements, Perspective, Shape and Line, Framing, Symmetry, Texture and Pattern, Background, Depth of Field, Cropping, etc.
Presenting your work as individual photographs will allow us to read each image alone. Presenting them as a diptych will force a relationship between the images, creating space for us to find meaning between the images. Just as collage creates and breaks meaning through cutting and placing disparate things together, so too can your juxtaposition of two “complete” images. This language also applies to the moving image (example: sequencing, montage), which we will address more in a few weeks.
THINGS TO CONSIDER: Do these images reinforce or contradict one another? Does one offer detail and the other context? Are they harmonious or do they clash? What kind of information do we receive by reading them together?
YOU WILL BE EVALUATED BASED ON YOUR:
- competency with a DSLR
- conscious use/rejection of the rules of composition
- satisfactory use of photoshop
- verbal articulation of your intended narrative/feeling/content/etc. (concept)
- work that effectively reflects and communicates your intentions/concept
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