Stephen Frailey. faculty members. 482 students 107. chair

Transcription

1 427 chair Stephen Frailey 482 students 107 faculty members 104 classes

2 The BFA photography program at the School of Visual Arts grounds students in the creative and technological skills of the medium as well as in the job opportunities available in the field. Which means that by the end of your four years here, you ll know how to process and print both black and white and color material; how to light a studio; how to use medium-and large-format cameras; and how to work with digital materials. You ll have had the opportunity to pursue fashion photography, landscape photography, still-life photography, portraiture, photojournalism, and other genres of the medium. But equally as important, you ll have an understanding of the professional world outside of SVA practical and strategic knowledge to land a position where you can put your formidable skills to work. The department s faculty has expanded to over 80 members, including active photographers, art dealers, critics, publishers, and photo editors. The more than 40 elective classes available to students which we strive to keep inventive, challenging, and current include Photo Editing and Curating, Photography Business and Practice, Self-Portrait, Writing About Photography, Fashion: Concept and Narrative, Still Life: Objects of Desire and Disgust, and Photography and Cinema. The department s technical facilities have recently been completely renovated, and all of our cutting-edge facilities, whether darkroom or digital, are open until 2:00 am (4:00 am during the final weeks of the semester). Medium-and large-format cameras, as well as digital backs for both, are available for student use, and we offer digital work stations and a video editing suite. Fourth-year students have the opportunity to be paired with mentors to critique their work. Since we happen to call New York City home, the local talent pool we draw upon is as distinguished as you d expect. Our mentor program includes renowned artists like Tina Barney, Gregory Crewdson, Glenn Luchford, Platon, Taryn Simon and Lorna Simpson. It also includes powerful industry players: photo editors at Details, Interview, The New York Times, Newsweek, and Vanity Fair; creative directors at Fader and W; The New Yorker s photography critic; the editor-in-chief of Artforum; and many more. The internship opportunities available to students are equally impressive. They include Yossi Milo Gallery, Gagosian Gallery, Julie Saul Gallery, Yancey Richardson Gallery, Rolling Stone, Vogue, Condé Nast Traveler, The New Yorker, David LaChapelle Studio, Annie Leibovitz Studio, Steven Meisel Studio, Art+Commerce, powerhouse Books, and Aperture. Some of our graduates are currently represented by Julie Saul, Yossi Milo, Yancey Richardson, Daniel Cooney Fine Art, and ClampArt. Those are the facts. Harder to convey in words is our dedication to your unique photographic sensibility. Beyond your technical expertise, we will encourage you to pursue a way of working that embraces the unknown and the as-yet-unseen. Our goal is that you will leave SVA with an intellectual curiosity and a playful, creative way of thinking, regardless of what path you choose in this amazing field. 429

3 foundation-year requirements First-year Photography majors must complete the courses listed below. One semester of: AHD-1060 History of Photography I AHD-1065 History of Photography II PHD-1030 Photography Workshop I PHD-1035 Photography Workshop II PHD-1040 Introduction to the Principles of Photography PHD-1080 Introduction to Digital Imaging PHD-1220 Foundation Symposium: Commerce PHD-1230 Foundation Symposium: Language PHD-1240 Foundation Symposium: Career PHD-1250 Foundation Symposium: Take Photos, Add Techniques, Stir PHD-1260 Foundation Symposium: Video PHD-1270 Foundation Symposium: Social Media HC-1020 Writing and Literature I HC-1025 Writing and Literature II second-year requirements In addition to course work in art history and the humanities and sciences, second-year students must complete the courses listed below. One semester of: PHD-2040 Studio Photography I PHD-2045 Studio Photography II PHD-2050 Photography on Assignment PHD-2060 Photo Critique I PHD-2065 Photo Critique II PHD-2070 The Critical Eye: Writing, Reading, Seeing, Discussing PHD-2080 Intermediate Digital Photography PHD-2090 History of Contemporary Photography PHD-2120 The Professional Community PHD-3020 Lecture Series I* PHD-3025 Lecture Series II* *Lecture series can be taken in the second or third year. third-year requirements In addition to course work in art history and the humanities and sciences, third-year students must complete the courses listed below. One semester of: PHD-3020 Lecture Series I* PHD-3025 Lecture Series II* PHD-3040 Photography Seminar I PHD-3045 Photography Seminar II PHD-3060 Visual Literacy Survey PHD Digital Photography *Lecture series can be taken in the second or third year. In addition, third-year students must take two semesters of studio electives that can be chosen from the following departments: computer art, computer animation and visual effects; film, video and animation; fine arts; photography. fourth-year requirements Along with any remaining requirements in art history and the humanities and sciences, fourth-year students must complete the courses listed below: One semester of: PHD-4080 Photography Thesis I PHD-4085 Photography Thesis II And 12 credits of photography electives, chosen from the elective courses for Photography majors only. special programs Photo Global This intensive one-year residency offers international students the opportunity to work in technologically advanced facilities with renowned photographers in order to bring critical rigor to their work. The function of the program is to advance the content of individual work through critique, lectures, museum and gallery visits and dialogue with other program participants. Upon successful completion of the program, students will earn a 30-credit certificate of completion. For more information on Photo Global, contact the Office of Admissions or [email protected]. department highlights phd-1040 introduction to the principles of photography This series of lectures and demonstrations supplements the practical applications addressed in PHD-1030, Photography Workshop I. Sessions will investigate the principles of photographic materials and techniques and how to apply them effectively to achieve improved picture quality. Topics include exposure and exposure meters, developing, light and filters, printing materials and techniques, contrast control, cameras and lenses and practical testing. phd-2040 studio photography I The techniques of shooting in the studio are covered in this course. Working in both a daylight studio and in a studio with incandescent lights and strobe lighting will be explored. Exercises in still life, portraiture and other aspects of studio photography will be given; 4x5", medium format and 35mm cameras will be used. PHD-2120 The Professional Community Through a series of fieldtrips and lectures, students will become familiar with the varied aspects of the professional photographic community. Students will also develop an in-depth understanding of self-promotion and résumé building, and skills required for professional communication. Trips to galleries, design agencies, publishing houses, stock agencies, museums, photography studios, auction houses and advertising agencies will give students firsthand knowledge of professional opportunities. Through guest lecturers, a variety of topics will be addressed: from copyright law to how to work with design, advertising and stock photography agencies, as well as magazines and book publishers. Other practical topics will include grant writing; portfolio design; introducing work to galleries, museum and nonprofit spaces, and alternative means of presentation. phd-3060 Visual Literacy survey This course has two purposes. The first is to provide an overview of contemporary photography and its trends since 1960 not only fine art, but also advertising, photojournalism and any other commercial applications presented not as an isolated academic study, but something relevant to working today. The second purpose is to encourage students to develop their own criteria for looking at photographs. Students will be required to report on current developments, and their perception of and reaction to contemporary photography. They will be required to write about and to make presentations on their observations in an attempt to formulate and to articulate their own critical aesthetic. PHD-3121 Shoot/Shout/Change: Photography and Political Activism Conceived to develop an understanding of how photography and politics are directly interconnected, this studio course is structured around individual and group critiques of work, visiting artists presentations and lectures about the work of artists and collectives that have used photography as a way to radically question and alter social and political realities by producing creative forms of political engagement. We will address documentary photography and film, with an emphasis on interdisciplinary uses of the photographic medium in demonstrations, performances, street actions and social sculpture. This course will prepare students to have a critical voice, to develop tools to create politically and to strengthen their analytical skills and ethical stands in regard to their own work. 431

4 phd-3233 advanced fashion studio i This course is designed for students who are seriously interested in fashion. We will cover all aspects of the field: editorial, advertising, beauty and portrait. Both studio, with artificial lighting (tungsten and strobe); and location, with available light augmented by strobe; will be taught. Various camera formats, from 35mm to 4x5", will be used. Emphasis will be on the anatomy of a fashion shoot: working with models, hair and makeup people, editors, art directors, etc. Personal style will be stressed. PHD-3268 The Dark Stuff The social taboo as theme has preoccupied photographers from E.J. Bellocq to Robert Mapplethorpe to Larry Clark and Terry Richardson. This course will focus on why the obsession with sin makes for powerful images. We will screen historically important photographs and oftencontroversial works that are synonymous with the subject matter. Students will receive feedback on current and future projects through discussion that arises from the lecture and critique portion of the course. They will be encouraged to push the envelope of their work, drawing inspiration from the visual and psychological aspects of the existing tradition. phd-3448 visual storytelling: photography in an editorial context This course will provide photographers with a foundation to work in the editorial realm. We will focus on different genres regularly found in magazines, including portraiture, conceptualism, still life, fashion and documentary photography. The use of historical information and visual references, both current and vintage, will be used to introduce each type of photography. Students will be required to explore the photographic genres through assignments, completing them just as you would for a magazine. Assignments include photographing for published and unpublished editorials. You will develop a pitch for a magazine and then complete an assignment based on your own story idea. Group discussion will take place upon the completion of each unit regarding the editing and sequencing process. Students will produce a minimum of three 8x10" prints for each assignment and contact sheets for critique. Assignments will begin with a single portrait and work up to a photo essay. phd-3020 lecture series This lecture series will provide an introduction to several aspects of, and approaches to, photographic practices. A diverse group of photographers will show their work and share their experiences, providing information and insight into the requirements of working professional photographers. phd-4080 photography thesis I The function of this course is two-fold: as critical seminar of depth and insight, which helps each student to build a coherent body of unique work; and also as an information forum that prepares students for careers in photography. PHD-1270 Foundation Symposium: Social Media The prevalence of social media and how it informs contemporary culture is the focus of this course. The rapid dissemination of images and its impact on social change, the informality of social media and its influence on pictorial style, and the rise of citizen journalism will be covered. The ways in which the boundaries between amateur and professional have profoundly changed will be addressed. AHD-2090 History of Contemporary Photography This course will emphasize the last 40 years of photography, and by a thorough analysis and discussion of the work, it will articulate the dominant cultural and aesthetic ideas of the time. All genres of the medium will be considered, as well as the gradual rise of photography as a major visual art. Of particular importance will be the influence on current photographic ideas and students work. "Our goal is that you will leave SVA with a creative way of thinking." Stephen Frailey chair 433

5 arieli Nir fourth year 435 amy utter fourth year

6 437 morgan sauma fourth year

7 439 alfred kan fourth year

8 441 adriana sanchez fourth year

9 443 blake mc elrath fourth year

10 445 patricia tscharskyj fourth year

11 447 jungmin kim fourth year

12 noffar gat fourth year 449 mackenzie mollo fourth year

13 451 soomin kim fourth year

14 may lin le goff fourth year 453 ilyssa cohen fourth year

15 455 jacob flood fourth year

16 457 cristina cianci fourth year