This two-quarter arts foundation program investigated the histories of photography and moving images, as well as the philosophical and formal relationships between still and moving images. Students attended lectures on critical theory and artists, participated in seminars discussing texts, and developed skills in visual analysis through writing assignments. In the fall, students built cameras and learned 19th century photographic processes. In the winter, students explored 35mm photography and experimental moving image techniques like zoetropes and photograms. At the end, students collaborated on an exhibition of their work.

1. Still/Moving
Fall - Winter 2014
Description
Faculty: Amjad Faur, M.F.A., Julia Zay, M.A., M.F.A.
In this two-quarter arts foundation program we investigated some of the dense
histories of photography and the moving image as well as philosophical and
formal questions about the relationship between still and moving images. We
paid equal attention to the history, theory and practice of the photographic
image in the context of visual studies--a field that yokes a broad study of the
visual arts with cultural history and critical theory--art history and philosophy.
We mapped a broad contextual territory while also focusing, in fall, on the way
photography was used to construct ideas about the body and identity in the
19th century in studio portraiture and scientific contexts. In winter we focused
on the history of photography and cinema in the first half of the 20th century.
We explored the philosophy of photography in relation to questions of memory,
subjectivity and time, as well as the relationship between the photograph and
the moving image, the single and the multiple, and the concepts of the
simulacrum and the hyperreal. We also studied early/pre-narrative cinema,
abstraction and Constructivism in Modernist photography and film, the
domestication of the camera and the language of the snapshot, and duration
and the banal in the films of Andy Warhol. We also screened and discussed
Chris Marker’s film La Jetée.
Students attended weekly program lectures, as well as a weekly lecture series
in critical and cultural theory organized around keywords and an artist and
writers lecture series. Students participated in weekly seminars organized
around large and small group discussion of texts by Allan Sekula, Walter
Benjamin, Peter Galassi, Laura Wexler, Rebecca Solnit, Roland Barthes,
Susan Sontag, Catherine Zuromskis, David Campany, Michel Foucault, Shawn
Michelle Smith, Henri Bergson, Douglas Crimp, Liz Wells and others.
Students developed close reading and viewing skills by writing weekly essays
on assigned photographs or passages from program readings. Students also

2. wrote critical response essays on their peers’ weekly essays, and these were
the foundation of our weekly writing critique sessions. Students wrote mid-
quarter and final synthesis essays, a lyrical essay on a personal snapshot, and
longer formal essays in which they further honed their close reading, viewing
and interpretive skills. In fall students presented in pairs to the class, linking
visual analysis of a photograph to a keyword in cultural theory from the weekly
lecture. In winter students kept a "Visitation Journal" where they developed
their skills of attention, patience and visual analysis. They returned to a chosen
photograph every other day for a period of a week or two, asked to notice the
way that habitual viewing in new contexts allows us to see new things in
images.
In fall, in hands-on workshops, students made photographic images using
materials and processes closely linked to the 19th century. Students built their
own 8x10 cameras by hand, shot paper and film negatives, and learned to
print with them in a traditional darkroom as well as with the 19th century
cyanotype process. Regular critiques in workshops focused on principles of
composition and exposure and printing technique. In winter students
participated in two, four-week series of hands-on workshops, one in 35mm
black-and-white photography and darkroom skills and one in cameraless and
handmade moving images in drawn and photogram zoetrope strips as well as
photogram, drawing, paint and collage on 16mm film. Regular critiques in
35mm photography workshops focused on 3 assignments that asked students
to explore the relationship between still and moving images through in-camera
multiple exposures and multiples/series, as well as principles of composition
and exposure and printing technique. The moving image workshop focused on
the refinement of experimental approaches to materials and composition, and
emphasized an understanding of the zoetrope strip and 16mm film as both a
material object and a still image as well as moving, projected, and magnified
phenomena.
At the end of the program in winter students collaboratively planned and
hosted a final exhibition of their work for the campus community.

3. Evaluation
Written by: Amjad Faur, M.F.A. and Julia Zay, M.A., M.F.A.
Andrew distinguished himself as a a reliable, communicative and organized
student. He had perfect attendance during both quarters, was always prepared
for class, and approached his work with seriousness, enthusiasm and
diligence. Andrew made some good progress learning how to meet the
demands of challenging readings and writing assignments. During the winter
quarter, Andrew made considerable progress in his approach to more complex
texts and his analysis of readings. Andrew can still use some patience in his
approach to more nuanced reading and writing but his self-awareness should
continue to serve him well as he continues his academic career. Andrew was a
productive member of class discussions, particularly in small group work,
where he often helped to facilitate conversation and keep the group focused.
Andrew was quiet in larger group discussions, but was always attentive.
Andrew's engagement with both program texts and works of art in his essays
during the course of the program demonstrate that he is actively learning how
to build an academic practice that requires him to read texts and art works
closely and critically engage with them on their own terms. Andrew seems to
be more comfortable thinking laterally than in depth. That said, he has a
methodical and thorough approach to everything he does; this provides an
excellent foundation for him to build on as he becomes more confident in his
critical thinking capacities. Andrew's written work provided evidence that he is
developing solid skills in visual analysis. Andrew clearly grasps the nature of
written and image-based assignments and he is obviously working hard to
work through them with more developed skills. I have no doubt that Andrew
will find ways to become more personally invested in what deeper work with
challenging texts yields. Andrew was a very supportive, attentive reader of his
peers’ writing in workshop; he asked questions, offered constructive and
pointed criticism, and usually went far above and beyond in the amount of time
he invested in this work, much to the benefit of his peers. Andrew's winter
quarter, final synthesis assignment contained many examples of his capacity
to make perceptive connections among both quarters' texts and program
concepts, and to synthesize and pose larger questions of the program
material. This assignment demonstrated a great deal of self-reflection for

4. Andrew and it showed an enormous amount of learning and conceptual
connectivity for him.
Andrew engaged actively with the workshop assignments. Andrew continued
to develop his skills during the darkroom workshops and he made some very
strong work. Despite some frustrations he had with printing techniques,
Andrew made some conceptually sound work, especially in his multiples
assignment, where he by passed the immediate desire for "interesting" images
and, instead, applied himself to the conceptual core of the assignment with
great results. In the moving image workshop, Andrew approached his work
with a similar attention to what the assignment asked of him. He always
displayed an infectious diligence, enthusiasm, and curiosity. Andrew's work
demonstrated advance preparation and careful thinking about the principles at
the core of the program, and a strong investment in his own learning process.
All of the workshops also asked students to become more self-directed, to
know when to ask for help and know how to test, revise and persist; Andrew
made excellent progress in rising to the demands of this work and in
strengthening his ability to learn how to listen to and trust himself.

5. Suggested Course Equivalencies
Credits attempted: 32
Credits Subject
18 Visual Studies
8 Photography - Introduction to Black & White
4 Photography - Alternative Processes
2 16mm Film - Cameraless and Experimental Techniques
32
32 Total