Learning outcomes
- Understanding key theories that have formed conceptually and morphologically photography today
- Study and understanding of the critical discourse in photography through theoretical key texts.
- Guidelines on critical reading and historical knowledge crucial in understanding photographic production practices.
- Developing skills for independent and personal learning
- Ability to think and create structured concepts
- Ability to organize and process a comprehensive research
- Ability to produce a series of photographs that are conceptually and formally related.
- Ability to critically analyze work patterns and final results.
- Osmosis in a rich, varied, challenging, experimental and spiritual study of the photographic production
General Competences
- Research, analyze and synthesize data and information, using the necessary technologies
- Adapt to new situations
- Decision making
- Autonomous work
- Teamwork
- Working in an international environment
- Exercise of criticism and self-criticism
- Project design and management Respect for diversity and multiculturalism
- Showing social, professional and ethical responsibility and sensitivity to gender issues
- Promote free, creative and inductive thinking
Course Outline
THEORY
- The Photographic Representation of a Country: The example of Straight Photography in the United States
- Photography: Art and Document. The example of the photographic review Aperture (1952-1976) and the documentary photography in the exhibition Family of Man,1955
- Observation and Classification: New Objectivity and its revival in contemporary photographic production
- The photographic practice of the historical avant-garde movements in Europe (Dada, Surrealism, Futurism, Constructivism, Productivism)
- The Artist as Producer in the context of historical avant-garde
- The concepts of Aura and Visual Unconscious in the writings of Walter Benjamin.
- Representing Society: The Example of Humanist Photography (1945-1960).
- Subjective Photography and the theory of Visualism
- The Countervision theory
- The Apparatus Program and the creative praxis in photography
- Photography and Conceptual Art
- Study of the practice of the photographer-director, who creates an ex nihilo image and the practice of the photographer-collector who chooses images from the reality that surrounds him
PRACTICE PART OF THS COURSE
- The practice part of the course aims at developing strategies of directing, including the use of improvised cameras, disposable plastic cameras, pinhole, old technology etc. as well as interventions in the picture making mechanism, experiments with different lighting conditions such as spot lighting, the use of different types of negative, light sensitive paper or other image printing materials.
- The aim is to develop a photographic body of work where the camera is examined as a device that visualizes reality with an emphasis on the creative praxis. The practice part encourages the creation of images that are distinguished by experiments with various optics, materials or machines
RECOMMENDED BIBLIOGRAPHY
- Antoniadis Costis, Latent Image, Hellenic Center of Photography, 3η Revised Edition, 2014.
- Markidou Natassa, Photography Critical Readings, Private Publishing, 2015.
- Berger John, Ways of Seeing, Metaihmio, 2011.
- Benjamin, W., For the Work of Art, Plethron, 2013.
- Benjamin, W., The Author as Producer, Plethron, 2017.
- Bright Susan, Art Photography Now, Thames and Hudson, 2011.
- Campany, D., Art and Photography, London: Phaidon Press, 2003.
- Cotton Charlotte, The Photograph as Contemporary Art, London: Thames and Hudson, 2004.
- Frizot, M. (επιμ.), A New History of Photography, Koln: Koneman, 1994.
- Jaeger, Anne-Celine, Image Makers Image Takers, Thames and Hudson, 2007
- Lemagny, J.C. and Rouille, A. (επιμ.) A History of Photography. London: Cambridge University Press, 1987.
- Mora, G. Photo Speak: A Guide to the Ideas, Movements, and Techniques of Photography, 1839 to the Present, New York: Abbeville Press, 1998.
- Sontag Susan, On Photography,Penguin 1977.