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Bard College Catalogue 2021-22
Stephen Shore (director), Jasmine Clarke, Laurie Dahlberg, Tim Davis, Daphne Fitzpatrick, An-My Lê, Tanya Marcuse, Gilles Peress, Farah Al Qasimi, Bryson Rand, Luc Sante
RequirementsPhotography students are expected to take and pass one studio course in photography each semester; Photography 113, History of Photography; at least one upper-level history of photography course; and one additional art history and visual culture course. Moderation occurs at the end of the fourth semester: by that time photography majors should have earned at least 60 credits and taken Photography 113 and at least two semesters of photography studio classes. The student meets with a Moderation board, presenting two short papers and a portfolio of 30 prints, 8” x 10” or larger. The portfolio demonstrates to the Moderation board whether the student can see and think photographically, can communicate his or her perceptions and feelings in pictures, and possesses the technical skills required for expression.
Recent Senior Projects in Photography
- “The Order I No Longer Remember”
- “Post Time and Other Spectacles”
- “Sealed for Your Protection”
- “Some Notes on Congruency”
CoursesFollowing is a course of study for studio classes. First semester: Photography 101, Introduction to Photography. In the second through fourth semesters: Photography 105, Photographic Seeing; Photography 201, The View Camera; and Photography 203, Color Photography. In the fifth and sixth semesters: Photography 301-302, Advanced Photography, and Photography 305, Digital Imaging. Students work on their Senior Project in the seventh and eighth semesters.
The descriptions below represent a sampling of courses from the past four years.
Introduction to Photography
An introduction to the techniques and aesthetics of black-and-white photography as a means of self-expression. Systematic instruction in darkroom techniques and weekly criticism of individual work provide a solid understanding of the use of the camera as an expressive tool. Required materials include a camera (35mm or 21/4”) with fully adjustable f-stops and shutter speeds and a handheld reflected light-exposure meter.
Beyond the material technique of photography lies a visual technique. This involves learning to see the way a camera sees and learning how a photograph, by its nature, transforms the world in front of the camera. The first half of the course is devoted to exploring this visual grammar and how it clarifies a photograph’s meaning and the photographer’s intent. In the second half, students pursue independent projects.
Light is the coauthor of image. Light can be brazen or bland. It can dramatize or simply describe. The assignments alternate between real or natural light and artificial or created light and attempt to clarify their differences and similarities. Learning to control light broadens a photographer’s perception of ambient options.
Photography and Instagram
With more than 700 million monthly users, Instagram has become one of the most ubiquitous means of visual communication. A growing number of artists are exploring Instagram as a platform for artistic expression. This course examines the history of “notational photography” and Instagram’s relation to the Polaroid and other instantaneous photographic media. It then explores strategies—the visual notation, scrapbook, visual diary, curated feed, and use of serial imagery—for using Instagram as a medium of communication.
History of Photography
Photography 113 / Art History 113
See Art History 113 for a full course description.
Noticing: Photography for Nonmajors
The course is designed to increase awareness of the outside world. So much of contemporary life is focused inwardly, on our personal lives, friends, and phones. Photography is a medium dedicated to looking outward at what surrounds us. The class travels to locations and moves through them, searching for significance and armed with a study of the basic grammar of photography (including Photoshop and digital printing) and how it can articulate what we see.
Photographic Portrait / Self-Portrait
An introduction to analogue black-and-white photography with a special focus on the expressive, conceptual, and political possibilities of portraiture and self-portraiture. Discussions of historic and contemporary photographs by diverse practitioners are the springboard for assignments and discussion. Students write an analysis of a photograph on a weekly basis in tandem with visual work. The course provides instruction in darkroom techniques, and weekly criticism of individual work gives the student a basic understanding of the camera as an expressive tool.
The View Camera
View cameras, the first cameras, were the primary photographic tools for the first half of photography’s history. They offer unsurpassed clarity, tonality, and image control. Operation of the view camera and advanced darkroom techniques are demonstrated as the class explores the expressive potential of the conscious use of the camera’s precise control of the image. Students are supplied with 4" x 5" camera outfits. Prerequisite: Photography 105. Admission by portfolio.
An introduction to the problem of rethinking photographic picture making through the medium of color photography. Technical areas explored include transparencies, color negatives, and type-C prints. Admission by portfolio.
Photography and Sculpture
Photography is no longer just a two-dimensional medium. Artists are using a full range of sculptural tools to deepen and complicate their practices. This course, for photography and studio arts majors, examines the ways photography collides with physical materials, engages the built and the observed, and complicates the idea of display. Assignments investigate techniques to make lens-based sculpture and produce work that surrenders the wall to employ the physical world.
Photography and Ethics
CROSS-LISTED: HUMAN RIGHTS
This introduction to contemporary discourse on ethics and photography explores imaging technologies and circulation, from analog color photography to deep fakes, and the flood of images on social media to white-cube galleries. The goal is to develop a nuanced understanding of the power dynamics inherent in representation, including the role of the photograph in truth and human rights claims; the imbalance between photographer, subject, and viewer; and how power imbalances fluctuate through intersections of race, class, gender, and ability. Artists and theorists considered: Azoulay, Sekula, Sontag, Farocki, others.
This course emphasizes the exploration of visual problems by way of asking good questions of oneself and one’s work, seeing how other photographers and artists have dealt with such questions, and “answering” the questions through individual projects. Prerequisites: Photography 201 and 203.
An introduction to the use of Adobe Photoshop for image processing. The class first studies techniques for color management, scanning, image processing, and outputting. Students then pursue individual projects, which are critiqued in class.
The Employment of Photography
This course addresses the many purposes for photography outside the realm of art: studio and postmortem portraits, journalistic and scientific photography, forensic photography, “spirit” and Kirlian photography, erotic photography, advertising photography, and the many manifestations of the snapshot. Methods of production and reproduction—the carte de visite, postcard, Polaroid—are studied in their social and historical context.
Art and the Uses of Photography
In this study of photography as a material or tool in art making, emphasis is placed on developing ideas and using simple, direct photographic means to express them. Students create a body of work with snapshots, slides, laser Xeroxes, Polaroids, photocollage, and other basic forms. The class visits New York galleries and museums to consider the use of photographic-based work in contemporary art practice.
The senior seminar is required of all seniors majoring in photography. It meets weekly and carries no credit.