ART 443 Combined Media: Photo Installation
School of Arts and Communications, Oregon State University
Professor:
Office:
Telephone:
Email:
Office Hours:
Kerry Skarbakka
Fairbanks Hall 201
541.737.1256
[email protected] (preferred method)
M/W 12:30pm-2:00pm (Fairbanks 201)
8:30am-9:00am (Cascades 201)
Classroom and Lab:
Class Days:
Class Hours:
Fairbanks 207
Monday & Wednesday
2PM to 4:50pm
Course Name: Combined Media: Photo Installation
Course Number: 443
Course Credits: This course combines 60 hours of instruction and studio work and an
additional 60 hours of additional lab work and class assignments for a combined 120
hours (4 credits).
Course Prerequisite
ART 345
Students need to have a pre-established foundation of technical camera operations and
printing skills to participate wholly with the required course projects.
Course fee: $75.
NOTE: This course is supported on Canvas. All assignments will be posted to Canvas. If
necessary, I will communicate to you via your Canvas email address outside of class
hours. You are required to check this email account regularly for notices.
COURSE DESCRIPTION
This studio course explores the use the photographic image in conjunction with other
studio medium to create multi-media works and site-specific installations. Designed to
remove and release the photographic image from its ubiquitous tradition, it looks to
reassign the association of photography as merely a two dimensional pursuit.
Emphasizing the relationship between objects, the course investigates installation art as a
contemporary practice and focuses on the roll photography or the photographic image has
played in expanding this dialogue. Issues involved with using photography for the
purposes of creating mulit-media spatial experiences are discussed and compared with
ideas related to traditional photographic presentation.
COURSE STRUCTURE AND GOALS
This class will give the student the space to practice a combined-media approach to
working with photography as an installation art form. From concept to completion, it will
emphasize the integration of the photographic medium with other studio practices such as
drawing, painting and sculptural technique to create a site-specific installation. Video and
other media accepted. This class has the unique opportunity of providing students with an
actual space to install their finished projects. As a result, each student will design,
create/build and install their individual artistic visions in designated “exhibition” spaces
in the newly remodeled Graf Building. Additionally, the students will work
collaboratively on a single project that will be designed for the workspace aesthetics of
the Robotics Group. Students will research the nuances of this department as a way to
provide a unique and creative experience that integrates the ideas and mission of this
Program. An official opening of the installed projects will be presented for public
viewing.
STUDENT LEARNING OUTCOMES
This is an Advanced Level course. Information will be given on the assumption
that the student has an intermediate knowledge in photography and
digital/analog printing skills. The students will be required to be self-directed
Students will develop their ideas through various media. The course will be
focused on crafting their individual and collaborative projects requiring
creativity, expression and imagination. Lectures and visual exploration projects
will cover contemporary and historical approaches to installation art with an
emphasis on the use of photography as integral to the meaning. Students are
expected to read books and revisit concepts and lecture content outside of class
to thoroughly grasp course concepts. Students will apply their learning through a
real life context with the culmination of their projects in an exhibition that will be
opened to the public at the end of the term. With this in mind, the learning
outcomes of this course are described in four areas:
Content
At the end of this course students will:
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Have honed skills necessary to develop and create conceptually
interesting combined media installations, including idea generation, time
planning, review, team work, commitment, overcoming failure, revision,
and patience.
Have an active understanding of the various genres of installation art and
how these styles can be applied to personal forms of expression.
Recognize and be able to interpret concepts from major art pieces from
the history of installation and photo-installation art, past to present.
Have practiced the role as the Designer, Fabricator and Photographer of
their own creative visions utilizing space and design strategies for a sitespecific installation.
Have engaged in the process of collaboration and putting an exhibition
together.
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Have an understanding of the exhibition process and how to open an art
show.
Cognitive Skills and Reflection
When you have completed this course you will be able to:
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Clearly articulate intention and intuition behind creative works.
Control the creative choices and the message of one’s projects.
Hone critical thinking skills in relation to the potential of the photographic
image in relation to multi-media presentation and installation.
Analyze and describe multi-media installation works using advanced
visual art language such as space, place and juxtaposition.
Interpret and critically respond to both familiar and unfamiliar installation
artworks.
Interpret and analyze the methods of communication employed by
installation art.
Knowledge and Context.
When you have completed this course, you will:
 Apply your knowledge of historical and contemporary artists working
with multi-media and photo installation art and describe their relevance
to your artistic process.
 Understand how to build a collaborative team to further push your
creative potential
 Know how to install a real world exhibition and host an opening of your
work to the public
Competence of Craft or Technique
Specific technical skills you will have on successful completion of this course
include:
 Ability to hone use of Editing Software like Lightroom and Photoshop to
create and manage images in a professional manner.
 Ability to incorporate the use of drawing, painting and 3-dimensional
techniques as means to realize your artistic vision.
 Further proficiency in camera operations and unique printing techniques
 A refined ability to present your work in a professional manner including
the production of a site-specific installation with strong and thoughtful
content.
 Epson Printer Management Skills for large format images.
 The possession a working vocabulary dealing with concepts in installation
art with an emphasis on the photograph as a core component.
REQUIRED TEXTS
Installation Art by Claire Bishop, Tate Publishing (August 1, 2010) ISBN-13: 9781854375186
OTHER ARTICLES AND READINGS (See Assignments Page in Canvas):
Installation Art Now by Sandu Publishing
Photography is Magic by Charolette Cotton
Basic Critical Theory for Photographers by Ashley la Grange
The Photograph as Contemporary Art by Charlotte Cotton
OTHER SUGGESTED BOOKS
Photography: A Critical Introduction by Liz Wells
Photography Today by Phaidon Press
REQUIRED MATERIALS:
Camera
Tripod
Flash Drive
Misc. Materials
EVALUATION AND PERFORMANCE
6 Assignments= 30% (5 points per assignment)
Collaborative Project 25% (25 points)
Final Project 25% (25 points)
Student Led Readings 10% (10 points)
Participation 10% (5 points for participation and 5 points for attendance)
All Projects and Assignments will be evaluated on the following strengths:
 Conceptual
 Creative
 Technical
 Presentation/Installation
GRADING STRUCTURE
Grade
Points
Description of Expectations
A
95 - 105
Exceptional
A-
90 - 94
Excellent work demonstrating exceptional level of originality of
thought and imagination and intelligent use of technical skills to
enhance interest in the image. Written papers are submitted with
an excellent command of English and the writing suggests
originality and critical thinking. Projects put together with care
and attention.
B+
87 - 89
Superior
B
83 – 86
B-
80 – 82
Good work answering all the course requirements. Shows a
strong grasp of technical requirements and an understanding of
using visual language to enhance the image. Projects suggest
individuality of thought and are submitted with care and
attention. Written assignments are submitted with a high
standard of English skills and the content suggests originality
and critical thinking.
C+
77 – 79
C
73 – 76
C-
70 – 72
D+
67 – 69
D
63 – 66
D-
60 – 62
F
Less than
60
I
Average
Inferior
Average work. Follows the assignment instructions, but the
project is merely fair in terms of technical competency and
visual literacy. Little evidence of originality in either the written
or the visual assignments.
Poor. The work is uninspired. The work shows little grasp of the
technical skills. Assignments are submitted with little attention
to detail. Written projects suggest a lack of research.
Failure
Assignment not handed in or is plagiarized – project receives a
zero. Student not present more than 6 times.
Incomplete
Incompletes will only be considered if the student has attended
more than 50% of the course and provides a written request
outlining how and when the student plans to fulfill the course
requirements. The reason for missing classes must be justifiable.
ATTENDENCE
Attendance is mandatory. Missing class, for any reason, will impede progress in the
course. University sanctioned class absences will be honored; all other absences
will be counted. If more than three class sessions are missed it will result in a full
letter grade reduction.
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Absence for illness must be verified with a note from a qualified medical
professional upon return to class. Otherwise the absence will be counted.
Tardiness is disruptive, will be noted and counted against term grade – two
late arrivals will count as one missed class.
Leaving early without prior permission will be treated as an absence.
LATE WORK and MAKE-UP
Any project or paper handed in late will automatically be downgraded one full
letter-grade. A project is considered late if you miss the beginning of class (i.e. 10
minutes late) as this impacts the group critique. Late projects will not be accepted
later than one week after the due date without prior arrangement.
CLASSROOM BEHAVIOR
The classroom is a special environment in which students and faculty come
together to promote learning and growth. It is essential to this learning
environment that respect for the rights of others seeking to learn, respect for the
professionalism of the instructor, and the general goals of academic freedom are
maintained.
The nature of investigations into photographic practices will lead to
discussions of topics where we will have a difference of opinion. This is expected.
Differences of viewpoint or concerns should be expressed in terms which are
supportive of the learning process, creating an environment in which students and
faculty may learn to reason with clarity and compassion, to share of themselves
without losing their identities, and to develop and understanding of the community
in which they live.
Student conduct which disrupts the learning process shall not be tolerated and
may lead to disciplinary action and/or removal from class. Please turn off your
cell phones and do not surf the internet during lectures.
Student Conduct
Please visit this website to read and assimilate Oregon State University’s
expectations for student conduct. Through enrolling in this course, you agree to the
terms set forth in this document:
http://oregonstate.edu/studentconduct/offenses-0
Students with Disabilities
Accommodations are collaborative efforts between students, faculty and Disability
Access Services (DAS). Students with accommodations approved through DAS are
responsible for contacting the faculty member in charge of the course prior to or
during the first week of the term to discuss accommodations. Students who believe
they are eligible for accommodations but who have not yet obtained approval
through DAS should contact DAS immediately at 541-737-4098.
Academic or Scholarly Dishonesty:
a) Academic or Scholarly Dishonesty is defined as an act of deception in which a
Student seeks to claim credit for the work or effort of another person, or uses
unauthorized materials or fabricated information in any academic work or research,
either through the Student's own efforts or the efforts of another.
b) It includes:
(i) CHEATING - use or attempted use of unauthorized materials, information
or study aids, or an act of deceit by which a Student attempts to misrepresent
mastery of academic effort or information. … All work for this class must be
created during the term. No prior work is accepted.
(ii) FABRICATION - falsification or invention of any information including but
not limited to falsifying research, inventing or exaggerating data, or listing
incorrect or fictitious references.
(iii) ASSISTING - helping another commit an act of academic dishonesty. This
includes but is not limited to paying or bribing someone to acquire a test or
assignment, changing someone's grades or academic records, taking a
test/doing an assignment for someone else by any means, including misuse
of an electronic device. …
(iv) TAMPERING - altering or interfering with evaluation instruments or
documents.
(v) PLAGIARISM - representing the words or ideas of another person or
presenting someone else's words, ideas, artistry or data as one's own, or
using one's own previously submitted work. Plagiarism includes but is not
limited to copying another person's work (including unpublished material)
without appropriate referencing, presenting someone else's opinions and
theories as one's own, or working jointly on a project and then submitting it
as one's own.
CALENDAR - SUBJECT TO CHANGE:
This syllabus and schedule are subject to change in the event of extenuating
circumstances. If you are absent from class, it is your responsibility to check on
announcements made while you were absent.
DATE
Week 1 / M
9/28
ACTIVITY
Introduction and syllabus overview
Week 1 / W
9/30
Discuss Article.
3:30pm Visit Graf. Take notes/photos
of space. Ask questions.
Divide into Proposal Groups for
PROJECT COLLABORATION.
Creative Presentation
Lecture: Installation Art.
Week 2 / M
10/5
Student Handout No. 1
Week 2 / W
Discussion of Student Handout No. 1
DUE
Next Class: Read Article: "The
Coddling of the American Mind"
from The Atlantic.
Bring cameras and note pads.
Next Class: Creative
Introduction of yourself and
artwork.
Student No. 1 to bring in Article
Meet with your Proposal
groups. Research your proposal.
Begin researching a
cause/issue/world event. Write
about it. Think about your
writing and text as content for
your project. Prepare
presentation on subject.
Read Student Handout No. 1
Next Class: Present your
10/7
Week 3 / M
10/12
Week 3 / W
10/14
Week 4 / M
10/19
Lecture: More Installation Art.
research Subject
Student Handout No. 2
Critique: Presentation of Subject to
class.
Discussion of Student Handout No. 2.
Introduction to next part: multi-media
Read Student Handout No.2
Next Class: Research and find
appropriated photos of subject.
Work on Multi-media project
(Drawing/photo). Bring all
materials to class.
Student Handout No.3
Read Student Handout No. 3.
Discussion of Student Handout No. 3.
Work in Class on multi-media piece.
Work no Proposals.
Next Class: Critique on multimedia piece.
Student Handout No. 4.
Read Student Handout No. 4.
Critique: Multi-media works.
Discussion of Student Handout No. 4
Intro next part: Interpretation of
Subject through photography. Create
Work on Concept Photographs.
Meet with groups to finalize
Proposals.
photographs (constructed or straight) as
another way of talking about your project.
Take into consideration concept and
metaphor.
Week 4 / W
10/21
Week 5 / M
10/26
Week 5 / W
10/28
Week 6 / M
11/2
Printing Demo
Student Handout No. 5.
Read Student Handout No. 5.
Discussion of Student Handout No. 5
Proposals Due: Collaborative Project
Next Class: Critique of
Photographs
Student Handout No. 6.
Critique: Photographs of Subject
Discussion of Student Handout No. 6.
Intro next part: Design a “mock”
installation for your subject. Draw it,
large format.
Student Handout No. 7.
Discussion of Student Handout No. 7.
Work on Drawings in Class.
Read Student Handout No. 6
Next Class: Work on Drawings
of Installation
Collaborative Proposal Chosen
Student Handout No. 8.
Critique: Drawings
Discussion of Student Handout No. 8.
Intro next part: Design a “mock” 3-d
model of your installation.
Read Student Handout No. 7.
Next Class: Critique of Drawings
Begin Work on Collaboration
Project
Read Student Handout No. 8.
Next Class: Bring materials and
work on 3-demensional mock of
installation. Can be a sculptural
response, a diorama or
representational of the whole.
Work on Collaboration Project.
Week 6 / W
11/4
Week 7 / M
11/9
Student Handout No. 9.
Read Student Handout No. 9.
Discussion of Student Handout No. 9.
Next Class: Critique on 3-d
Models
Work on Collaboration Project
Read Student Handout No. 10.
Work on Collaboration Project
Student Handout No. 10.
Critique: 3-d models/Installation.
Discussion of Student Handout No. 10.
Student Handout No. 11.
Read Student Handout No. 11.
Week 7/ W
11/11
No Class: Veterans Day
Work on Final Projects
Work on Collaboration Project
Week 8 / M
11/16
Work on Final Projects
Discussion of Student Handout No. 11.
Collaborative Project
Student Handout No. 12
Read Student Handout No. 12.
Week 8/ W
11/18
Work on Final Projects
Discussion of Student Handout No. 12.
Collaborative Project
Week 9 / M
11/23
Week 9/ W
11/24
Week 10 / M
11/30
Week 10 / W
12/2
Installation/Opening
Work on Final Projects
Collaborative Project
Work on Final Projects
Collaborative Project
Final:
Date TBA
Work on Final Projects Install and
Collaborative Project
opening.
Work on Final Projects Install and
Collaborative Project
opening.
Thursday 3rd or Friday 4th for final Projects Installation Exhibition
Don’t forget to document your work.