Archive for the ‘Courses’ category

Time to Drop a Class

February 5th, 2011

I have felt during the first week of class that the instructor is not really engaging the students, certainly not me.  It’s during the first week of class that the immediate bond and relationship between a student and instructor are developed.  I’m not feeing good about this.

Last night after getting in from my working photo gigs I logged into class and saw a couple more posts from the instructor in my PH 699 course (Special Topics: MS: Concept & Critical Processes).  You can read some of it in the previous post.

I had my bad class at AAU and I will not accept another one.  Maybe the instructor is having a bad week, maybe the PH 699 course really starts to shine in a few days.  If I knew another student that had taken the same course/instructor pair then I would have more data points from which to make a decision, but I have to go with my gut and my previous class experiences.

All my other courses (with that one exception) have had very engaging and motivating teachers.  Each instructor has reached out to each student to make a connection.  All of these classes  have been A or A+ or A++ courses, and I have taken additional courses from some of these instructors because I placed higher importance on working with the person teaching the material  and less importance on the subject.

I have a friend that is a great conversationalist and chef. When ever I go visit her I know I will learn something and have a great meal.  I don’t define the meal I enjoy the experience.

Classes at a master’s level in art need to be an enjoyable experience.  For me they also have to push me and my limits, expand my thoughts and overall enhance me and my work.

I’m not feeling it in that class.

Tamara Hubbard deserves all the kudos I can send her. She is the Associate Director of the Online Graduate Photography Program at AAU.  She lead the Thesis Project Seminar class I took in the Fall of 2010.

Last night I wrote her, this morning she responded.  That’s remarkable and speaks to her dedication to the program and as a great student advocate.

She recommended two classes:

  • PH 611 Architecture as Landscape with Brian Parkin
  • PH 655 Digital Montage with Shannon Ayres

and she reminded me that today is the last day to make a change without a penalty or fee.

I’ve heard a couple good things about PH611 and I do want to take the course but I don’t want to walk into an unknown.  My friend Terri (who I teach workshops with in Midas, NV) has taken Shannon Ayres and has nothing but great things to say.

I called my advisor (WHAT! on a Saturday?!) and left a message, then I called back to the front desk and voilà! there are advisors working on a Saturday at AAU.  That’s great!

There are not enough words to say how wonderful the director and the advisors have been in guiding me and getting me into a new class.Online courses could seem daunting as I work in my own space and feel removed from the traditional classroom and university interactions.  Getting this type of support is very nice.

The take away here is I AM RESPONSIBLE for the classes I take.  If I’m not satisfied then it is MY RESPONSIBILITY to effect the change.

Onward to PH 655 Digital Montage with Shannon Ayres.






I Think I’ll Teach a Class

February 5th, 2011

[UPDATE: I did drop this class]

I’m a little P.O.ed about a class I’m taking. BUT, I think there is a lot to take away from this course if I ever want to teach.

I can simply cut-and-paste what the instructor has to say!  Wow.  I’m paying $2500 so I can copy the work of an instructor and use it in a future class I teach?

Nope.  I can’t do that.

So here are the posts from the instructor from a discussion forum during the first week of class.

———————————————
I briefly talked about the most important factor in our creative lives – our VISION; that is the center of all our work. To market our creative “fine-art” work, we will need to adapt certain market or commercial rules. That’s part of the work! We need to publish and reach people. In the recent past we have seen impressive campaigns, which had an impact because the style and content resulted from a very individual approach. Something we would call fine-art. But it got published as an advertisement or commercial campaign. It was something innovative and drew a lot of attention.

As professional photographers we will have to make a living from our photography. It is certainly up to us and our (moral) ethnics to draw the line between commercial and fine art context. My personal opinion, however, is that I accept the commercial work as part of our culture. We create images because we want to tell stories, for instance. We can incorporate our style, our creative identity into each assigned work! Commercial applications like advertisement reach many people. In my opinion advertisement is part of our (contemporary) culture and it would be a decisive decision to ignore or reject this platform. Art and Pop Art grew together? This however is my personal opinion and I am curious on your point of view.

Again, thank you all for your participation and I want to see enthusiasm and passion throughout the semester!
——————————————–

We have such an incredible variety of different photographers with different backgrounds, styles and locations. This is always my favorite part in the online program because we learn so much from each other.

Coming from different parts of the world, from a different background and having an  entirely different “story” of why and how we pursue our passion, we have one thing in common.

We chose the same medium to express what we want to express, to communicate what we want to communicate and to share with others what we see.

Lets share what drives us, what motivates and inspired us to pursue our passion.

You will learn a lot about your fellow photographers, as you will about yourself.

It’s a journey.
———————————————-

One of my most favorite descriptions of what I appreciate the most about photography is, that “we have the ability to see the world through the eyes of the other, while we allow the other, to see the world through our eyes.”

Enjoy the semester!

_______________________

I look forward to working with you this semester. We will explore the “Why”, the “”How” and the “What” in the creative process.

_______________________

In the following modules, we will learn about different artists, concepts or movements. It is very important to learn about different perceptions but it is really just theory without finding a connection to your personal work.

You might be drawn more to some of the chapters, less to others, all depending if you are inspired by the thoughts. This class is an excellent  platform to learn about other artist’s perception, to “see the world through their eyes”. This happens though the theoretical background and readings in the following modules.

The most beneficial part however, is when you make the link to your own work, when you find the link to your own work. I would describe the objective and approach of this class, to define and verbalize our vision.

In other words, to understand more what we are doing and why.

[which is then immediately followed by another post (are the gods at AAU watching for instructor posts numbers?]

We will explore other artist’s ideas. We will not only look at their work, the finished piece we can see in galleries and museums, but we will discuss their process, the context and what made them think in a very unique way.

Our goal however is to understand our own process, our creative center, the vision which ties together our creative work.

——————————————-

[I'm also taken by the gross generalizations here]

I am impressed with what I have seen from you so far and I am excited to hear more and to see your work progressing throughout the semester.

I’ve learned that some of you are working on or just passed their midpoint reviews, please feel free to share your work or the conceptual stage you are in. This might help since we will incorporate this background knowledge in the critiques and gain important context for reviewing your work generally.

Please also feel free to ask or mention everything what is important to you. As artists, many of us are constantly reflecting and questioning ourselves. This class is a perfect setting of discussing and addressing those questions in a group. Later on in the professional world outside the academic context, you will find it very hard to find a community to share these thoughts, so let’s use this opportunity. It is important to exchange the experiences; as an artist, it can be a lot of questions himself. Communicating is everything here and in dealing with important issues, we will avoid a “writer’s block”.

So be courageous, speak out what you are dealing with? (Your problems/obstacles) and this is the only way we can work on it. Don’t be afraid, you can’t make a mistake here and you can’t fail, but gain!

[which is immediately followed by this post with more generalizations]

Very interesting statements so far!

I think as photographers we all feel that we have to compromise between projects we love – and work we need to shoot in order to make a living.

I want that you all believe in your concepts and yourselves and that you create a constant curiosity about your work and an endless will to explore.

In my experience, the most important thing is to get to know your own work as well as yourself rather than following a trend or a certain lifestyle. You are creating your own way.

I wouldn’t see commercial assignments or jobs outside your fine-art projects as a drag; make them part of it and incorporate your vision into that work. We will talk more about our vision later on and this will be one of the key criteria when we look at photographs within the semester.

It’s interesting to hear about the projects you are working on. Many of you are getting ready for the midpoint review or just passed it. This is an important moment in your academic career and I am very glad I can work with you at this stage.

[Then followed by this one (do I need to point out the generalizations here?) ]

I briefly talked about the most important factor in our creative lives – our VISION; that is the center of all our work. To market our creative “fine-art” work, we will need to adapt certain market or commercial rules. That’s part of the work! We need to publish and reach people. In the recent past we have seen impressive campaigns, which had an impact because the style and content resulted from a very individual approach. Something we would call fine-art. But it got published as an advertisement or commercial campaign. It was something innovative and drew a lot of attention.

As professional photographers we will have to make a living from our photography. It is certainly up to us and our (moral) ethnics to draw the line between commercial and fine art context. My personal opinion, however, is that I accept the commercial work as part of our culture. We create images because we want to tell stories, for instance. We can incorporate our style, our creative identity into each assigned work! Commercial applications like advertisement reach many people. In my opinion advertisement is part of our (contemporary) culture and it would be a decisive decision to ignore or reject this platform. Art and Pop Art grew together? This however is my personal opinion and I am curious on your point of view.

Again, thank you all for your participation and I want to see enthusiasm and passion throughout the semester!

———————————————-

I want to thank this unnamed instructor for such wildly useful comments that I could simply copy and paste them to the THIRD PAGE of an ONLINE discussion with other students in an attempt to make myself seem readily available and actually seriously interested in whatever the heck the student said.

Huh?  What did you say?




GS 606: Crossing Borders: Art & Culture in a Global Society

February 2nd, 2011

Intersession classes are a blur.



This is both a discussion of the course and a review.

I took this course during the Winter 2011 Intersession.

Intersessions are a traditional 15 weeks of course taught over a period of 15 business days.  You get a couple weekends so you actually have 19 days to do the work.

capitalism :  An economic system based on the private ownership of the means of production and distribution of goods, characterized by a free, competitive market and motivation by profit.  colonialism :  A consequence of imperialism; the implanting of settlements on distant territories.  culture :  The behaviors, relationships, arts, beliefs, institutions, and all other products of human thought and work that are a result and expression of a particular group, community, or population.  feudalism :  The legal and social system that existed in medieval Europe, in which vassals held land from lords in exchange for military service and protection.  hegemony :  Control or dominating influence by one person or group, especially by one political group over society or one nation over others.  imperialism :  Primarily describes empire-building, although this term has often been used to refer specifically to the practice of territorial acquisition; that is to say, the theory and the attitudes of a dominating metropolitan center ruling a distant territory.  Industrial Revolution :  From the eighteenth to the nineteenth centuries in Western Europe and North America, a period marked by the increased use of machinery in various industries, which caused fundamental social changes.  Japonisme :  The influence on Western art of Japanese artistic and decorative themes.  lingua franca :  A language that allows people with different native languages to communicate.  nation-state :  A politically independent country or empire, especially one in which the citizens share the same language, culture, and nationality.  Modernism :  The revolutionary ideas and styles in art, architecture, and literature that developed in the late nineteenth century as a reaction to traditional forms.  modernity :  The social and cultural conditions following the Middle Ages, which are characterized by the rise of industrialism, capitalism, secularization, and the nation-state.  Realism – An artistic movement starting in the late nineteenth century that was driven by a practical understanding and acceptance of the actual nature of the world rather than an idealized or romantic view of it.  Renaissance :  Starting in the early fifteenth century in Florence, Italy, a period of profound social and cultural change characterized by the rebirth of ideas, philosophies, and art of ancient Greece and Rome including humanism and Neoplatonism.  vernacular language :  The native, everyday language of a particular locale.  archaeology :  A research method formulated by Michel Foucault which unearths the history of ideas.  canon :  A general rule, fundamental principle, or standard. Canonical history is the version of history that is most widely understood to be true.  deconstruction :  Jacques Derrida’s method of analyzing texts that exposes inherent contradictions and fallacies embedded within the language.  différence :  A term coined by Jacques Derrida that refers to the indeterminacy of language.  discourse :  Particular type of language or ideas used in a given context.  Enlightenment :  A European intellectual movement of the seventeenth and eighteenth centuries in which ideas concerning God, reason, nature, and man were synthesized into a worldview that gained wide assent and instigated revolutionary developments in art, philosophy, and politics. Central to Enlightenment thought were the use and the celebration of reason — the power by which man understands the universe and improves his own condition. The goals of rational man were considered to be knowledge, freedom, and happiness.  epistemology :  The study of the nature, origin, and limits of human knowledge. The term is derived from the Greek episteme (“knowledge”) and logos (“reason”); accordingly, the field is sometimes referred to as the theory of knowledge. Epistemology has a long history, beginning with the ancient Greeks and continuing to the present. Along with metaphysics, logic, and ethics, it is one of the four main branches of philosophy, and nearly every great philosopher has contributed to it.  humanism :  A belief system based on the values, characteristics, and behavior that represent the best in human beings, rather than on any supernatural authority.  metaphysics of presence :  A term developed by Jacques Derrida. It characterizes Western philosophy’s traditional reliance on that which is known (or “present”) rather than considering unknown factors as well.  post-structuralism :  A general term referring to the various theories from the 1950s through the 1970s that rejected the principles of structuralism. These include deconstruction, feminism, and postmodernism, which all challenged the assumptions of structuralist thought.  semiotics :  The study of signs. The most influential contributor to this field was the Swiss scholar Ferdinand de Saussure (1857–1913), whose ideas about language and signs formed the basis of structuralism.  sign :  A symbol representing a thing or idea. It is comprised of a signifier (the mark on the paper) and a signified (the thing or idea represented).  structuralism :  In linguistics, any one of several twentieth-century schools committed to the principle that a language is a self-contained, relational structure, the elements of which derive their existence and their value from their distribution and oppositions in texts or discourse. This principle was first stated clearly by Ferdinand de Saussure. Saussurean structuralism was further developed in somewhat different directions by various other movements.  appropriation :  The taking of something that belongs to or is associated with somebody else, especially without permission.  commodification :  The transformation of a good or service into a commodity: something that can be bought or sold.  hyperreality :  According to Jean Baudrillard, a postmodern condition in which reality and simulations are experienced without difference.  installation art :  Art created for a specific site, often incorporating materials or physical features of the site.  Modernism :  The revolutionary ideas and styles in art, architecture, and literature that developed in the late nineteenth century as a reaction to traditional forms.  pastiche :  Art that openly imitates previous works of art, often with satirical intent.  Pop Art :  An art movement that began in the 1960s in response to Abstract Expressionism. It is characterized by the conflation of high and low forms of visual culture and the uses of icons.  postmodernity :  The condition in which we currently live, marked by the fusion of high and low art and consciousness of the media and consumerism.  Realism :  The artistic movement, which began in France in the 1850s, supporting truth and accuracy in art.  referent :  A person or thing to which an expression refers.  sign :  An act or gesture used to convey an idea, a desire, information, or a command.  simulation :  A representation of an original.  trope :  An expression used in a figurative sense.   alterity :  Philosophical term for the concept of “otherness.”  cannibalism :  Literally, the consumption of human flesh by humans. Also, a specific form of resistance to the dominating culture in which the participants “devour” the dominating culture and transform it through that process into something original and of their own making.  colonialism :  Specific form of expansion that occurred over the last 400 years.  hybridity :  The creation of new, transcultural forms in locations affected by colonialism.  identity politics :  A wide range of political activity and theorizing based on the shared experiences of injustice of members of certain social groups. Those engaged in identity politics typically seek the political freedom of a specific constituency marginalized within its larger context. Members of that constituency assert or reclaim ways of understanding their distinctiveness that challenge dominant oppressive characterizations, with the goal of greater self-determination.  imperialism :  Primarily describes empire-building, although this term has often been used to refer specifically to the practice of territorial acquisition; that is to say, the theory and the attitudes of a dominating metropolitan center ruling a distant territory.  Manifest Destiny :  A term used by American leaders in the mid-nineteenth century to describe the expansion of the United States across the North American continent.  multiculturalism :  Belief that society should be comprised of a diversity of cultures and ethnic groups that each maintain an identity.  Orientalism :  First introduced in Edward W. Said’s text of the same name, it refers to the imaginary construction of the Middle and Far East by Westerners.  postcolonial studies :  Study of the interactions between European nations and the societies they colonized in the Modern period.  subaltern :  Literally, “inferior.” In relation to the Subaltern Studies Group, the term refers to non-elite natives of colonized territories.  brain drain :  The loss of a country’s highly trained and skilled human resources through migration.  Fair Trade :  A social movement designed to help producers in developing countries promote self-sufficiency. The movement advocates paying producers higher prices in exchange for adherence to certain social and environmental standards. It focuses on certain exports from developing to developed countries, most notably handicrafts, coffee, sugar, tea, bananas, honey, cotton, wine, fresh fruit, chocolate, and flowers.  finanscapes :  Global flows of capital.  gross domestic product :  The value of a country’s overall output of goods and services, during one fiscal year, at market prices. This excludes income from abroad.  gross national product :  A country’s gross domestic product, along with remittances from nationals working abroad and income from foreign subsidiaries of local firms.  human capital :  The knowledge and skills that people possess, which can be used to perform work and earn money and thus have economic value.  major market index :  A stock market index comprised of several major stocks, which is used to measure market activity.  outsourcing :  Contracting, subcontracting, or otherwise externalizing non-essential activities to free up cash, personnel, time, and facilities where the firm holds competitive advantage. A garment manufacturer may contract out data processing or accounting, for example, in order to focus on the task of making garments and reduce the average cost of its products.  remittance :  Money sent to a person in another place.  supply chain :  The network of retailers, distributors, transporters, storage facilities, and suppliers that participate in the production, sale, and delivery of a particular product.  street art :  Art in public spaces that is not officially authorized and which is often subversive and/or has an activist component.  sweatshop :  A business establishment that makes its employees work under harsh and often hazardous conditions and pays only minimal or survival wages.  tariff :  Duties or taxes charged for goods as they enter a country.  volatility :  The relative rate at which the price of a security moves up and down.  American dream :  The idea that individuals can achieve prosperity from any social position through adherence to democratic ideals. It has also been used to refer specifically to home ownership.  Cold War :  Refers to the relationship between the U.S. and the Soviet Union from approximately 1945 to the collapse of the Soviet Union in 1991. As opposed to a “hot” war, which featured physical fighting, this “cold” war was a battle of ideologies, between communism and capitalism. Physical battles did occur among client states including Vietnam and Afghanistan.  democracy :  A system of government in which the supreme power lies with the people and is exercised directly by them or on their behalf by their elected representatives.  diaspora :  Used traditionally to refer to the dispersion of a particular human culture around the globe. Appadurai uses it to refer to the dispersion of ideas born within a particular culture.  divine right of kings :  The notion that kings were designated by God and received instructions directly from Him. It was a policy that gave kings absolute authority over all matters both sacred and secular.  Enlightenment :  A European intellectual movement of the seventeenth and eighteenth centuries in which ideas concerning God, reason, nature, and man were synthesized into a worldview that gained wide assent and that instigated revolutionary developments in art, philosophy, and politics. Central to Enlightenment thought were the use and the celebration of reason, the power by which man understands the universe and improves his own condition. The goals of rational man were considered to be knowledge, freedom, and happiness.  hegemony :  The dominating influence of one nation, group, or individual over others.  humanism :  A belief system based on the values, characteristics and behavior that represent the best in human beings rather than on any supernatural authority.  ideoscape :  Global movement of ideas, especially political ideas.  natural rights :  A concept, popularized by John Locke, that all human beings are entitled to certain liberties and the pursuit of happiness.  synopticon :  An overview.

That reads like Intersession feels.

It was a very solid class.  I had Teddy Goldsworthy-Hanner as an instructor.  She is a successful practicing artist  and has been teaching at AAU for over 12 years.  If you’ve been reading some of this blog you know I lean hard on teachers as the source of good classes.  If you don’t interact with them then you don’t get the benefit of their experience.  Teddy has a ton of experience, is very engaging and I was so impressed with her work and her ability to communicate concepts that I would consider her for directed study – even though she is in a different discipline.

Every day we do a module and assignments.  It goes by quickly.  I copied all the material as reference for future use.  I can see myself going back and rereading these modules and some of the supplemental readings.  This was my first non-photographic GS class and it is a bit different.  There are students from other areas of art, most students were on-native English speakers and most were either in fashion design or one of the digital media arts.  I was the only photographer.

After taking an Intersession course I find my regular semester GS course this Spring term to be pretty slow.  IT has ghien me a new appreciation for what I can accomplish in a short period of time if I really apply myself.

If you take an Intersession course I think you will feel the same way.

PH 645: Experimental Contemporary Photography Reviewed

January 19th, 2011

These are photos from a class assignment.  They are double exposures shot on film.

I had David Arnold for this class.  I also had him for my History of Photography class which was a major reason I decided to take this class.  The professors really do make the classes and one of the best at AAU is David Arnold.

This class has so much different work to do that I found myself intentionally not doing art in exchange for learning about a new process.  Once I had a reasonable grasp on a particular experimental concept I would then find a way to incorporate that into my artwork.

There is a lot to learn in this class and it covers a lot of ground.  I started with cyanotype photograms and ended with extensive digital manipulations for my final project.  There is the use of film, alternative printing techniques and even some traditional darkroom work.  The other experimental class does substantially more darkroom work and while there is some overlap between the courses each course differs enough that you might want to consider taking both of them if you were really inspired by experimental work.

Without boasting, I’m a very experienced photographer and I’ve been involved in most aspects of field, so I am generally not as challenged with some assignments.  This is not true of this class.  I found myself playing a lot and making lots and lots of mistakes.  I also had a couple failures, but you have to in order to get better at the process and work.

This course is offered regularly, but it is often canceled due to lack of enrollment.   I can highly recommend this class and the instructor.  It is not easy, but why should it be?

I did get an A in it, but it wasn’t easy at all.  There is a lot of hard work in this class.

Wow! Lots to buy for Experimental Photography (updated)

January 19th, 2011


Cyanotype

A cyanotype photogram made in my experimental class


Wow!  There is a lot to buy for this course.  I got most of my stuff from Freestyle and from Jerry’s Artarama albeit some of the items were difficult to find on the Jerry’s website.

UPDATE: You do not have to buy all this stuff in advance.  I have developer that is unused as well as a toning kit that is new in the box. If you live far away and shipping is going to take more than 2 weeks then you might need to over-purchase items.  My professor in this class offered a timeline for materials needed in the first or second week of the class.  I would have saved about 50 bucks had I know this before hand.


I’ll call the InkAid folks tomorrow and order the starter kit that is listed below.

Per the course site:

Required Items

Utrecht
Item # Item Qty
36857 Strathmore Watercolor Pad 130lb 11×15 1
32939 Turpenoid – 4oz Bottle 1
83144 Utrecht Gaffers Tape 2in x 30yds – Black 1
41898 Foam Brush 4in 1
41895 Foam Brush 2in 1
35148 X-Acto Heavy Duty Retractable Utility Knife 1
52126 Van Gogh Oil Pastels Set of 12 1
27304 Winsor & Newton Winton Oil Painting Set 1
81085 Dahle Comfort Grip 8″ Scissors 1


Digital Print Supplies

Photo & Video Store
Item # Item Qty
InkAid sampler 1


Office Supply Store
Item # Item Qty
Printing Paper 1


Additional Camera Supplies

Photo & Video Store
Item # Item Qty
T-mount and/or extra body caps for DSLR and/or 35mm SLR 1


Hardware Store
Item # Item Qty