Arts & Environment Syllabus 2017

Digital Arts & the Environment Syllabus 2017

“A worthy subject is the most important discovery for artists—it’s the magnetic passion that burns at the core of their work, attracting or repelling us, and determining whether they will attempt to evoke what is deepest and highest in us.”
—Artist Alex Grey, in Zig Zag Zen

Flexibility is of utmost importance in the class. Please note that this syllabus is PROVISIONAL.

The image below is a part of Alex Ingram’s WXNDER project: he’s a former CSUSM student: “Ultimately what began as a series about escapism became a direct reflection toward the opposite. Rather than absconding oneself, the shift to finding oneself became ever present allowing the journey to take on new meaning through deep reflection – contemplating man’s connectivity to the cosmos, the meaning of life, manhood, and returning to the natural land.”—Alex Ingram

alex ingram sendtoalex

WEEK 1 January 25
SIGN WAIVERS
DISCUSS:
Introduce course requirements
READ: Environmental Art, and an overview essay by Sam Bower
ART: Mono Lake Project: most recently in the Extensions of Photography exhibit at UCSD, 2016; Huey Johnson: Art, Environment, and the Message in the Brick
BLOG:
Jerry Slough: Process Projects
Kim Abeles: Smog Plates

Final Project ideas
BOOK example: Brandon Cooley: Decaying California
MAGAZINE examples: Ethnobotany Project, Deborah Small & Rose Ramirez; Cooking the Native Way, Chia Cafe Collective: Blurb to Heyday

WEBSITE: later: creating a photographic portfolio examples:

POSTERS: see Women’s March North County San Diego
Penny De Los Santos professional food photographer full screen website
Jeri Perez Website Portfolio|
Gary Scott Blog
Gary Scott Website Portfolio

INDEPENDENT STUDY Possibilities:
1. Funes Digital Arts Competition:
Recruit Independent Study student to direct & manage for 3 units, or for the experience: APRIL 2017: Required for art majors: 3 winners receive $100:

2. SofA Photo Documentary Archive Projectfocuses on diversity in the arts as well as diversity reflected in the demographics of our student body. Help organize student photos from three different classes in a CSUSM BOX account and add to the  beautiful SofA website with photos organized by discipline: Dance, Theater, Music, Visual Arts, etc. This is a very important addition to our School of Arts, as it helps to promote collaboration across classrooms and images of diversity throughout the campus.

3. Art Exhibition assistant, Making Communities: Art and the Border:
 at UCSD, gathering plants and preparation during late January and February; installation February 23-24.A large multimedia exhibition highlighting the depth of border-related art practices

HOMEWORK:
WATCH & POST: Edward Burtynsky on Ted Talks: Manufactured Landscapes and Green Education: write about particular images. What is compelling for you about Burtynsky’s photographic practice.

STUDYJulieanne Kost photography
Begin introduction/review of Library Module: Library Module of Lightroom CC:
For advanced students: Julieanne Kost

BRING: an external hard drive with images to work on in Lightroom/Photoshop



WEEK 2 February 1
CLASS:
DISCUSS:
Burtynsky’s Ted Talk and your blog responses
How would you create a more sustainably functioning world?

What would you do if you had the power to make CSUSM a more sustainable campus.
Individual and Group ideas

SCREEN: Scene 7 Manufactured Landscapes
SET UP:
 Lightroom catalogues with your own external harddrives

SCREEN: Technical Stuff
Art Wolfe: 10 Deadly Sins of Composition
Art Wolfe: Favorite Composition
Marc Muench: Technical Trinity
In -classs next week: Foundations of Photography: Exposure, with Ben Long: Chapters 4-6: shutter speed, aperture, & ISO

SCREEN:
KCET:
Southern California Native People & Plants, from the California Continued exhibition at the Autry Museum of the American West in Griffith Park, LA.

Weaving Community: Tima Lotah Link: How Native Peoples are Rediscovering Their Basketry Traditions, with Nicholas Hummingbird

Mac Stone: Endangered Everglades

So my job, then, is to use photography as a communication tool, to help bridge the gap between the science and the aesthetics, to get people talking, to get them thinking, and to hopefully, ultimately, get them caring.—Mac Stone

DISCUSS: collaboration

HOMEWORK:
1. Create a series of landscape photographs
 inspired by the work of Art Wolfe or Edward Burtynsky. Edit and enhance in Lightroom/and or Photoshop and post on your blog by next week’s class. In your post, please let us know what aspect of the artist you have chosen has inspired you. 



WEEK 3 February 8
CLASS:
Present photos you shot inspired by Wolfe and Burtynsky
SCREEN:
environmental artists: What is a native epistemology?
Gathering Medicine: Kat High, Richard Bugbee & Sage LaPena

Decolonizing the Diet:
Lois Connor, Barbara Drake, Lorene Sisquoc, & Craig Torres

Environmental photographer of 2016 award
Environmental photography awards, 2014 and 2015

REVIEW: BLOG  set-up
REVIEW
: workflow:
1 from camera to folder on your hardrive
2 open Lightroom from your catalog on your harddrive
3 import folder to Lightroom
4 edit and enhance in Lightroom
5 export selected images to a folder
6 uploaded to blog

Lightroom and Cameras:
Lightroom Catalog Set-up
How to learn your camera: youtube, Canon quickstart guides and manuals
Canon T5i: quickstart guide
full-length canon manual
Canon T3i quickstart quide

lynda.com: Up and Running with the Canon Rebel T4i and T5i

HOMEWORK
1. Go to the MOPA exhibition to see the Prix Pictet exhibition; BRING your Receipt for the exhibition or take a SELFIE in the Lobby and post on your blog. You will be writing a one page post on your chosen artist from the exhibition.

MOPA EXHIBITIONS
Artists include:
Valérie Belin
Ilit Azoulay
Matthew Brandt
Maxim Dondyuk
Alixandra Fazzina
Ori Gersht
John Gossage
Pieter Hugo
Gideon Mendel
Sophie Ristelhueber
Brent Stirton
Yang Yongliang

HOMEWORK:
WRITE: One-page post about your chosen photographer at MOPA to present next week
SHOOT: Series of photos inspired by your chosen artist
BRING: Bring or borrow from Arts Checkout DSLR Cameras for Outdoor CSUSM photoshoot: we start at 5 pm sharp



WEEK 4 February 15
CLASS: Outdoor Photo Shoot: Chasing the Light: architecture, library indoors @5:20, USU sun side as sun goes down
UPLOAD: 
CLASS: Present photos you shot inspired by your Prix Pictet photographer

SCREEN:
environmental artists
Relationship to Place in San Diego County: firescapes, wildlands, wetlands, wastelands, urban development, urban decay, urban-wild interfaces.
Alex Boyd: the Scottish landscape: website
Alex Boyd: short video
Alex Boyd: inspiration: painter Caspar David Friedrich

DISCUSS:
1. Chasing Ice
2. Annenberg Space for Photography: choose a photographer 

HOMEWORK:
POST:
One page post on your chosen Annenberg photographer
SHOOT: Series of photos inspired by your chosen Annenberg photographer
POST: @8-10 photos from your Annenberg-inspired shoot on your blog



WEEK 5 February 22
CLASS:
1.
View you Prix Pictet-inspired photograph series
2. View your series of photographs inspired by the work of your photographer chosen from the Annenberg Space for Photography. You will speak about the relationship between what you learned from your photographer and your series of photos.

VIEW: Ansel Adams: excerpts

TECHNICAL STUFF Lightroom
Converting Photos to B & W
Virtual Copies
Adding Color Toning
Adding Cross Processing
Selective Coloring
Radial and Graduated Filters
SILVER EFEX PRO

HOMEWORK:
SHOOT & POST
: Think about what you’d like to do for your environmental project. Do a preliminary photo shoot of the kinds of things you will want to want to address. You are welcome to include information as well as diagrams, charts, whatever is useful to your thinking. You can also include your inspirations, etc. Think of this is an exploratory shoot or an experimental shoot rather than a finished product . . .



WEEK 6 March 1
DISCUSS:
Final Environmental Project: we’ll look more deeply at several different formats in preparation for your written Proposal.

VIEW: Preliminary photo shoot

WORK ON
: Technical Chops in the Lightroom Develop Module: demo and Julieanne Kost tutorials: use an image from any shoot

SCREEN:

1. Jan Staller: recycling, urban decay
Jan Staller: Hanging around

2. Briana Bryan: CSUSM alumna

3 . Richard Misrach: hugely important and compelling socio-political-cultural landscapes: Border Cantos, with Guillermo Galindo, musician/composer.
Landscape and social justice: “shifting environmental and political landscapes of the American West: start at 1:58 to 50:00

POST: a significant blog post about Misrach and Border Cantos: I’m mostly interested in hearing your reactions to the work, and not a summary of what you saw.

What is the difference between a landscape and a cultural landscape? What is different about the goals of the photographer. Landscape as hero, or landscape as actor in a relationship? Or acted upon?

HOMEWORK:
1. Create Magazine/Website/Poster Project Proposal (minimum one page: 250 words) and post on your blog with accompanying photos by shooting a series of images that will help you to present your proposal.

a. Describe the proposed project: What is the story that you want to tell through your photographs, the general theme/focus of your project. What is the potential format (size) and anticipated length:
check out blurb.com for choices
b. Relevance of your project to your own life. Why have you chosen to your particular subject for your book project. How will you tell your story to make it compelling, memorable
c. How do you plan to find other artists and/or environmentalists who might help inspire your project, conceptually, aesthetically, technically.
d. How might research enhance your project
e. How will your project enhance your learning and growth.
f. What do you anticipate you will learn from creating this project.
g. VERY IMPORTANT: How will you disseminate your project: how will you promote your project once it is completed
h. What do you want your viewer/audience to remember a year after looking at/interactiving with your project.
i. Alternative final formats:
Exhibition or a series of prints
 and/or photos & text panels
Multimedia project with voice-over, sound, music
Large-scale projection in/outdoors

HOMEWORK:
WRITE: Proposal for Final Project

SHOOT: another series of photographs to accompany your Proposal



WEEK 7 March 8
CLASS: P
1. Present proposals: this is a graded exercise
2. Technical Chops in the Lightroom Develop Module Part 2: demo and Julieanne Kost tutorials

HOMEWORK
1. TUTORIALS: watch to enhance technical chops
2. CHOOSE: second online mentor. This person can be from the Annenberg Space for Photography or from another site . . . Shoot a series of photos for your Final Project, or supplementary photos, inspired by your Annenberg mentor
3. BRING DSLR cameras and lenses to school next Wednesday for outdoor photo shoot



WEEK 8 March 15
CSUSM
Outdoor Photo Shoot: shallow and deep depth of field: Or you can practice a technique you will need for your final project: remember to always be aware of the light: The Ethnobotany Garden might be a great place to photograph

PRESENT:
a. Posted reflections on second Annenberg artist from the March 7 homework: why is the photographer compelling to you. How might they inspire your Final Environmental Project
b.Posted Photo shoot inspired by your Annenberg artists for your Final Project

LEARN: compositing in Photoshop with multiple images

SCREEN:
Inside Tracks: Media Storm
Inside Tracks: with Rick Smolan, photographer, and Robyn Davidson, writer and adventurer
POST: your response to Tracks: what did you learn that will be useful to your own photographic practice; to your own life?

HOMEWORK:
1. EDIT, ENHANCE, and POST: photos from outdoor photo shoot
2. Work on Final Environmental Project Photo Shoot: Shoot a comprehensive series, which you will show to the class when we return on March 29. Also, work on figuring out the actual format for your piece.



WEEK 9 March 22: SPRING BREAK
Work on Final Environmental Project Photo Shoot: Shoot a comprehensive series, which you will show to the class when we return on March 29. Also, work on figuring out the actual format for your piece.



WEEK 10 March 29:
CLASS:
Present work-in-progress Photo Shoot for your Final Environmental Project. This is an important graded presentation

WATCH: excerpts: Sebastiao Salgado: Salt of the Earth

FINAL PROJECT: continue working  on Environmental Project



WEEK 11 April 5
HOMEWORK:
FINAL PROJECT: continue working  on Environmental Project



WEEK 12 April 12
SCREEN
:
Blog Post re: Robert Adams: landscape photographer
“His refined black-and-white photographs document scenes of the American West of the past four decades, revealing the impact of human activity on the last vestiges of wilderness and open space. Although often devoid of human subjects, or sparsely populated, Adams’s photographs capture the physical traces of human life: a garbage-strewn roadside, a clear-cut forest, a half-built house.

An underlying tension in Adams’s body of work is the contradiction between landscapes visibly transformed or scarred by human presence and the inherent beauty of light and land rendered by the camera. Adams’s complex photographs expose the hollowness of the 19th Century American doctrine of Manifest Destiny, expressing somber indignation at the idea (still alive in the 21st Century) that the West represents an unlimited natural resource for human consumption. But his work also conveys hope that change can be effected, and it speaks with joy of what remains glorious in the West.”

Blog Post re: An-My Lê landscape photographer

“An-My Le was born in Saigon, Vietnam in 1960. Lê fled Vietnam with her family as a teenager in 1975, the final year of the war, eventually settling in the United States as a political refugee. Her photographs and films examine the impact, consequences, and representation of war.

Whether in color or black-and-white, her pictures frame a tension between the natural landscape and its violent transformation into battlefields. Suspended between the formal traditions of documentary and staged photography, Lê’s work explores the disjunction between wars as historical events and the ubiquitous representation of war in contemporary entertainment, politics, and collective consciousness”

FUNES submissions collection in Lightroom: load your 9 best images today into a collection, and post on your blog: we will help you choose . . . your best 3.

VIEW:
1. New photos for your Final Project posted on your blogs; discussion about your progress.
2. Possible Funes photo submissions: Posted on your blogs

HOMEWORK
WORK on Final Project.
BRING: Cameras, Gear for Pechanga Reservation fieldtrip



WEEK 13 April 19
FIELDTRIP: Pechanga Great Oak
Pechanga & Oak trees
Wikipedia: Oldest Trees in the World
Europe’s Oldest Oak Forest
The Heart of the Oak

The Great Oak
The Great Oak is the largest natural-growing, indigenous coast live oak (Quercus agrifolia ) wi’aashal tree in the United States and is estimated to be anywhere from 850 to 1,500 years old, making it one of the oldest oak trees in the world. The tree has been used by countless generations as a gathering place. The Great Oak area, Wi’aasha, is home to numerous culturally sensitive, historical and archaeological sites, including tribal interment sites from time immemorial.

The ancient Great Oak is a living, growing entity. An environmental wonder that continues to branch out, its roots continue to expand to keep it standing. When approaching the tree from a distance, what appear to be smaller trees around a larger tree are really the whole tree’s heavy spreading beams laying on the ground and rising up again in a circle of growth. The dark foliage has provided countless generations with welcome shade from the hot summer sun. In the center is the massive trunk, which is 20 feet around. Each branch, larger than most live oak trunks, rises up 96 feet, comes down to rest on the ground, and then rises up again to form the outer canopy. For all those fortunate enough to see it, the Great Oak truly is an impressive sight.

HOMEWORK:
EDIT & POST best photos from fieldtrip to present next week



WEEK 14 April 26
SCREENAaron Huey: People, Shelter, and the Land
UPLOAD: 3 images to the Submission Portal for the
Funes Digital Arts Competition: funes.csusm.edu
Also, remember to post on your 9 (or so) most compelling images on your blogs from the past year, from which you chose the 3 to submit to the competition. Several of you did this during our class time on April 11.

Upload at:  funes.csusm.edu
Size of longest side must not exceed 24 inches. You will enter the size of your image in the submission portal’s description box when you upload; for example. 16 x 24;   12 x 18;    24 x 24
Submission format: 300 dpi high resolution jpeg.

Information PDF FUNES Competition 2016 NEW

Remember to post your 3 selections for the Funes Digital Arts Competition photos on your blog: so you’ll have one post with the 9 most compelling photos, and one with the 3 selected for the competition.

HOMEWORK: 
Work to complete Enviornmental Project

WEEK 15 May 3
CLASS:

1.
Remember on your blogs to post your 3 FUNES COMPETITION Submissions. Also, remember that you should already have posted your 9-10 most compelling images.
2.
Continue to work on FINAL PROJECT
3.
By next week’s final, make sure to post your website on our class blog, which you can do in class tonight, and of course still continue to work on your website.



WEEK 16 May 10
All Final Projects Due

PRESENT:
your completed BLOGS! No late blog posts!
VIEW on BLURB: your Book Project: SHOW ALL PAGES



NOTES
Films:
Chasing Ice: James Balog: amazon rental
Sebastiao SalgadoL Salt of the Earth
Chased by the Light: Jim Brandenburg
Ansel Adams: A Documentary Film, PBS
Edward Burtynsky: Watermark and Manufactured Landscapes:  amazon rental
Sally Mann: What Remains: The Life and Work of Sally Mann: amazon rental and prime
Annie Leibovitz: Life Through a Lens: amazon rental
Dorothea Lange: Grab a Hunk of Lightning: amazon rental
Pedro E. Guerrero: amazon rental

Videos
Post re: Robert Adams: landscape photographer
“His refined black-and-white photographs document scenes of the American West of the past four decades, revealing the impact of human activity on the last vestiges of wilderness and open space. Although often devoid of human subjects, or sparsely populated, Adams’s photographs capture the physical traces of human life: a garbage-strewn roadside, a clear-cut forest, a half-built house.

An underlying tension in Adams’s body of work is the contradiction between landscapes visibly transformed or scarred by human presence and the inherent beauty of light and land rendered by the camera. Adams’s complex photographs expose the hollowness of the 19th Century American doctrine of Manifest Destiny, expressing somber indignation at the idea (still alive in the 21st Century) that the West represents an unlimited natural resource for human consumption. But his work also conveys hope that change can be effected, and it speaks with joy of what remains glorious in the West.”

Post re: An-My Lê landscape photographer

“An-My Le was born in Saigon, Vietnam in 1960. Lê fled Vietnam with her family as a teenager in 1975, the final year of the war, eventually settling in the United States as a political refugee. Her photographs and films examine the impact, consequences, and representation of war.

Whether in color or black-and-white, her pictures frame a tension between the natural landscape and its violent transformation into battlefields. Suspended between the formal traditions of documentary and staged photography, Lê’s work explores the disjunction between wars as historical events and the ubiquitous representation of war in contemporary entertainment, politics, and collective consciousness”

Ash Thorp: CSUSM graduate: Ender’s game, etc: guest may come to CSUSM
Study contemporary photographers who explore the global  “industrial sublime,” as well as photographers who explore are regional ecosystems in California and Baja
Wild, the movie

BJornson: experimental nature
David Maisel: aerial/industrial sublime

This field trip is REQUIRED for everyone. LEAVE EXTRA TIME for driving, as there is construction on Pechanga Parkway.

We will meet at the Pechanga Service Station, which is just beyond the Pechanga Casino.
45000 Pechanga Pkwy, Temecula, CA 92592
(please google for directions)

Everyone needs to be there by 3:40 PM at the latest. We will be getting on a Pechanga bus then. There is a good Mexican take-out restaurant at the gas station if you get there early. Inexpensive too. You can park in the parking lot behind the gas station, or any of the Casino parking lots, but park close to the gas station.

They will then have a small bus for us to visit the Great Oak and the Cove, where there’s a pond and traditional village structures: a giant acorn granary, cedar bark house, ramada, sweat. It’s really beautiful, set against the mountains.

Bring your charged DSLR cameras, tripods, etc. This will be a great photo shoot day.

Please remember we are guests of the Pechanga Band of Luiseño Indians. They are a sovereign nation. There is no public access unless you are invited onto the reservation. This is a great honor and privilege for us, as well as a great photo opportunity!

Please bring warm clothes. We’ll probably be outside until around 6:30 pm.

Final Book/Magazine Project ideas
The Book of Hours were medieval illuminated manuscripts. The Book of Magic Hours are illuminated photography books: when light is palpable, and backlighting renders everything luminous, magical.
Blurb:
Refueled magazine Issue 14
Refueled magazine Issue 13
What Liberty Ate magazine
Gabriela Iancu
Online Magazine Site for layout ideas

Andrew Pandes: final project 2016

Photographer David duChemin: The next step on your photographic journey: to make photographs that are much more powerful.

The most powerful photograph is the one that connects with both the heart and mind of the reader. It’s the image that our imaginations keep returning to, and keep asking questions about; the image that stirs something in our emotions. That captivation is what prolongs our experience of the photograph, it’s what grabs our souls and won’t let go. It’s more human.

And more than ever we need photographs that are deeply human, empathetic, insightful . . . We can push past the size of our photographs and create depth. Not bit depth. Emotional depth. Depth of connection. Those will be the images to which we cling, the images that resonate with us and stick.

Once you’ve got your exposure figured out, and can competently focus an image, two things the camera is getting very good at doing, the only thing left is to create something that connects. That’s the human task, the part that requires creativity, soul, and something to say.

We do that with composition, with color, with our choice of moments, and we do it with storytelling.

Human beings are storytelling creatures. We find meaning there, we find hope. It’s how we change minds and stir hearts to action. And knowing how to use your camera won’t help you with this. This part of the photographic journey is done with the heart and the imagination, because it’s the heart and the imagination to which we speak . . .

We have always, and will always, hunger for stories. That hunger is hard-wired into us. You couldn’t stop it if you tried.

For the photographer wanting to find deeper relevance and connection to her audience, there are ways to do that powerfully, and one of those is storytelling. The more human, the more honest and vulnerable the better.

What story does your work tell? With what bigger story do you feed your audience – on gallery walls, your portfolio, or your Instagram feed? How could you tighten that story, edit it, reduce it to its most powerful elements? How can we make it a little more universal and a little less about ourselves? These are important questions.