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DIFFERENCES
IN PHOTOGRAPHIC HISTORIES (AKA HISTORY OF PHOTOGRAPHY 1945 - PRESENT) APH 541 FALL 1992, 1993, 1994 Syracuse University, Dept. of Art Media Studies HEIDI KUMAO |
| Syracuse
University Art Media Studies Department Meets: Wednesdays 6-9 p.m., Shaffer 121 Office: Shaffer 215B, X1859 Office Hours: Wed. 4-5:30, Thurs 11-12 Messages can be left in 102 Shaffer or x1033 (AMS office) |
COURSE
DESCRIPTION |
| REQUIRED
TEXTS - Vicki Goldberg,Photography in Print, Writings from 1816 to the Present, Simon and Schuster, New York. 1981. - Barbara Ehrenreich,The Hearts of Men: American Dreams and the Flight from Commitment, Doubleday, New York. 1984. - APH 541 READER - #581, available at Campus Copies, Marshall Square OTHER REFERENCES - Carol Squiers Editor, The Critical Image, Essays on Contemporary Photography, Bay Press, Seattle, 1991. - Naomi Rosenblum, A World History of Photography, Abbeville Press, New York, 1984 - Jonathan Green, American Photography, A Critical History 1945 to the Present, Harry Abrams, New York. 1984. - Beaumont Newhall,The History of Photography: from 1839 to the Present, MoMA, New York, 1982. - Beaumont Newhall,Editor,Photography: Essays and Images, Illustrated Readings in the History of Photography, MoMA, New York. 1980. - Barbaralee Diamonstein,Visions and Images, American Photographers on Photography, Rizzoli, New York. 1981. |
| REQUIREMENTS
/ GRADING Students will be expected to attend and participate in class discussions. Students will be expected to research a photographic idea/artist/trend/ which was developed in the years 1945-93, and write a 5-7 page paper on it.Grading will be divided as follows: Class participation / homework 20% Midterm 25% (Week 6) Final Project 30% Final 25% DEC. 17 |
ATTENDANCE Attendance will be regularly checked. Excessive absences and tardiness will result in the lowering of your grade by one full letter grade or more depending on the number of incidences. It is the STUDENT’S responsibility to make up material missed during class due to absence or tardiness. ASSIGNMENTS AND DEADLINES All assignments are due at the beginning of class on their scheduled due date. Work submitted any time after the beginning of the class period on the due date is late and will be graded down one letter grade. |
| SCHEDULE
& READING LIST |
|
| 1
- AUG. 30 Introduction to course, syllabus, texts, readings. Lecture / slides: Social Uses of Photography Film: The Life and Times of Rosie the Riveter, 1980, 16 mm Post World War II America , Magazine and Street Photography: FSA, New York Photo League, Life Magazine |
|
| Howard Zinn | "The Use and Abuse of History," from Declarations of Independence: Cross-Examining American Ideology, 1990 |
| Weegee | "Weegee by Weegee," 1963, pp. 402-3, Goldberg text (TEXTBOOK) |
| 2
- SEPT. 6 Photography’s Fight to be a Fine Art, Aperture magazine Video: Atomic Cafe, 1982 |
|
| Ansel Adams | "A Personal Credo", 1943, reprinted in Photography, Essays and Images, ed. by Beaumont Newhall, 1980 |
| Berenice Abbott | excerpts written 1936-51, from Berenice Abbott: Photographer: A Modern Vision |
| Henry Holmes Smith | "New Figures in a Classic Tradition," 1965, pp. 422-430, Goldberg text (TEXTBOOK) |
| Harry Callahan | "Statement," 1964, pp. 420-421, Goldberg Text, (TEXTBOOK) |
| Minor White | "The Light Sensitive Mirage," 1958, pp. 394-397, Goldberg Text (TEXTBOOK) |
| Adolph Gottlieb,
Mark Rothko, Jackson Pollock |
Statements, from Theories of Modern Art, by Herschel Chipp, 1968 |
3 - SEPT. 13 1950's "Mainstream" Visual Culture: Suburbia, Magazine Imagery, Television Imagery |
|
| Betty Friedan | "The Problem with No Name", fromThe Feminine Mystique , 1963 |
| Lynn Spigel | "The Suburban Home Companion: Television and the Neighborhood Ideal in Postwar America," 1992 from Sexuality and Space, ed. by Beatriz Colomina, 1992 |
| Vicki Goldberg | "News Photographs as Catalysts: The Television Era," from The Power of Photography, 1991 |
| Paul Hill & Thomas Cooper | Interview with W. Eugene Smith, pp.432-441 (TEXTBOOK) |
| 4
- SEPT. 20 1950’s American Cold War Culture and Photography, The Beats |
|
| Howard Zinn | "Communism
and Anti-Communism," from Declarations of Independence by Howard Zinn, 1990 |
| Robert Frank | excerpts from New York to Nova Scotia, 1986 |
| Shelly Turner DeCarava | "Celebration," 1981, from Roy DeCarava: Photographs, 1981 |
| Allen Ginsberg | "Howl," 1955 |
| 5
- SEPT. 27 Personal Documents and the Counterculture / REVIEW FOR MIDTERM Video: "Going to Where I've Never Been," (on Diane Arbus) |
|
| Barbara Ehrenreich | The Hearts of Men, Chapter 8 (TEXTBOOK) |
| Susan Sontag | "America Seen Through Photographs, Darkly", pp. 506-520, (GOLDBERG TEXT) |
| Leo Rubinfien | "The Man in the Crowd", 1977, pp. 492-498, (GOLDBERG TEXT) |
| Diane Arbus | Diane Arbus, 1971, MoMA |
| 6 - OCT. 4 MIDTERM | |
| 7
- OCT. 11 1960’s Trends/ Photography and Art Video: Andy Warhol, 1989 |
|
| A.D. Coleman | "The Directorial Mode", pp.480-491, (GOLDBERG TEXT) |
| Jerry Uelsman | “Some Humanistic Concerns of Photography,”, 1971, (GOLDBERG TEXT) |
| 8
- OCT. 18 1970’s: Pushing the Materials & The Conceptual Photograph Video: William Wegman |
|
| Nancy Foote | "The Anti-Photographers," Artforum, 1976 |
| Jeanne Siegel | "John Baldessari: Recalling Ideas," Interview, Arts, April 1988 |
| 9
- OCT. 25 1970’s Continued: Photograph As Document Performance and other temporal work |
|
| Henry Sayre | The Object of Performance, Introduction, 1992 |
| Allan Kaprow | from Allan
Kaprow, 1967 "Pinpointing Happenings," 1967 "Happenings are Dead: Long Live the Happenings!," 1966, both from The Blurring of Art and Life, 1993 |
| Lucy Lippard | "European and American Women's Body Art," From The Center, 1976 |
| Moira Roth, editor | excerpts from The Amazing Decade: Women and Performance Art in America, 1970-1980, 1983 |
| Faith Wilding | "Waiting," reprinted inThrough the Flower by Judy Chicago, 1977 |
| 10
- NOV.1 Final Project Proposals due at beginning of class!!!!!!! Early Photographic Criticism Film: Blow Up, 1966, Antonioni |
|
| Susan Sontag | "In Plato's Cave," On Photography, 1973 |
| Bill Jay | "The Photographer as Aggressor" |
| 11
- NOV. 8 Modernism into Post-Modernism |
|
| Brian Wallis | "What's Wrong With This Picture? An Introduction," from Art After Modernism, 1984 |
| Abigail Solomon-Godeau | "Photography After Art Photography," 1984, Photography At the Dock |
| Douglas Crimp | "The Photographic Activity of Postmodernism,' 1980, October |
| Jeanne Siegel | "Barbara Kruger: Pictures and Words," Arts, June 1987 |
| 12
- NOV. 15 Family Values and Photography Film: The Family Album, Alan Berliner, 1986 |
|
| Deborah Bright | "Family Practices," Views, Summer 1992 |
| David Trend | "Look Who's Talking: Narratives of Family Representations," Afterimage, February 1992 |
| Daniel Younger | "The Politics of Family Representation," Views, Summer 1992 |
| 13
- NOV. 22 Institutional Critique: Using Photography |
|
| Jo Spence | "Identity and Cultural Production," Views, Summer 1990 |
| Ken Johnson | "Being and Politics," Art In America, Sept. 1990 (Adrian Piper) |
| bell hooks | Introduction: "Revolutionary Attitude," from Black Looks: Race and Representation, 1992 |
| 14
- NOV. 29 Representation and Censorship During the Reagan / Bush Era Review for Final Video: "No Rights Implied," 1990, Nell Lundy |
|
| Richard Bolton, editor | Culture Wars, Documents from the Recent Controversies in the Arts, 1992, excerpts |
| 15
- DEC. 6 LAST DAY OF CLASS - FINAL PROJECTS DUE!!! REVIEW FOR FINAL |
|
| DEC. 14--- FINAL EXAM | |