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'''Bachelor 1'''
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Teachers: [[Antoine Meyer]], [[Camille Picquot]], [[Agnès Villette]]
  
== Photography (B1) ==
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Both in art and narration clusters, this workshop will try to reconcile the learning of photographic tools with the need to rethink, push the limits, the canons that punctuate this medium. It will be a question of exploring the field of photography as an artistic form and inviting students to cultivate an approach that is at once curious, transgressive and forward-looking.
  
Professor: [[Antoine Meyer]]
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The contemporary practice of photography induces crossings between chemical and digital processes, appropriations and circulations of images. Each student will experience their complexity both as pragmatic recordings of the world, and as products of subjectivity and theatricality.
  
This course aims to stimulate the exploration of the field of photography and to cultivate a reflective approach in the student. The contemporary practice of this medium induces the crossing of aesthetic tensions between chemical and digital processes. In a theoretical and technical questioning of these mechanical recordings of the world, the proposed exercises will be presented as visual hypotheses to support the artistic practice of each student.
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From the modernity of a “shot”, to the advent of a “data” and its code, embedded by surveillance, the intelligence of a machine or generative antagonistic networks; we will be attentive to these dialectics of the image as artefacts and potential works.
  
== Photography (B2) ==
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The photography workshop is a place where students understand and participate in a pedagogy where the community has meaning.
  
Professor : [[Marie-Noëlle Boutin]]
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The teaching method is deployed in several approaches, temporalities and geometries in relation to the progress of the work within the group:
  
A space for work, research and experimentation, the course is presented as a laboratory where students share their experiences and thoughts on the photographic medium.
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- critical exchanges around presentations of images, statements and then renderings of exercises
Around themes related to photography and the field of contemporary art, students develop their critical sense, their creativity and elaborate a personal photographic language.
 
  
== Photography (B3) ==
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- shooting and post-production sessions (dev/scan, modeling, processing, printing)
  
Professors: [[Anne Marquet]], [[Antoine Meyer]]
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- individual meetings, follow-up of projects and personal work, alternated with group discussions
  
In the third year, students join a work environment coupled with the Master's program, led by the teachers of the photography program in collaboration. During a graduation year, the common challenge is the development of personal projects and the perspective of their completion. The aim is to accompany each student in the realization of projects that connect an extensive practice of photography to collective experiences, confrontations, plastic mutations and an aesthetic reflection constituted of critical tools in the making.
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- visits to exhibitions and meetings with guest artists
  
In the first semester, exercises based on an open and transversal theme will be used to launch the production. Gradually, these avenues of work will be assimilated and reinjected into a personal project. Specifically at the Baccalaureate level, students will be encouraged to reconsider their photographic practice as an expression of plastic, performative, editorial and potentially dialectical forms in order to defuse the autonomous and sometimes orthonormal temptations of the medium.
 
  
The pedagogical approach of the individual meeting will be developed according to the collective investment of each person. Either during dialogues around images during critical readings, or through an involvement in the collective management of common tools. These last ones suppose as much the technical tools of production (studio, laboratory, digitization, printing), as the development of historical and theoretical resources, whose collection and formatting are essential to the feeding of a working group as a pool, open and ready to share.
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==== Bachelor 1 ====
  
Learning outcomes :
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The first year consists of experimenting with relationships to reality in several contexts and using different image production tools. It is thus a question of engaging a photographic practice, but also of desacralizing it. Beyond the necessary technical learning, it is above all curiosity and critical thinking that are cultivated there.
  
- development of a singular, assumed and conscious photographic approach
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==== Bachelor 2 & 3 ====
  
- reach a relative technical mastery in the experimentation and the making of images
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The pedagogical approach of the individual meeting develops with each student as they invest in the collective. A space for dialogue around images is particularly cultivated in bac 2: either around images during critical readings, or through involvement in the management of common tools within the workshop. In Bac3, students are encouraged to focus on the post-production of their images, and pool their knowledge of common production tools. The commons presuppose image techniques (studio, laboratory, digitization, printing), as well as the development of historical and theoretical resources, the collection and formatting of which are essential to feeding a group of work as a breeding ground, an open place for sharing.
  
- ability to confront one's images with other plastic forms, to articulate them with narrative frameworks
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A contemporary practice of the photographic medium supposes crossings between chemical and digital processes, appropriations and circulation of images, in order to encourage the emergence of new dialectical dimensions. The versatility of the photo tool is approached as a means of processing the real as well as the imaginary. When reviewing photo practices in artistic scenes, students will be encouraged to reconsider their production of images as the expression of plastic forms, even performatives.
  
- search for ambitious solutions for hanging and placement in space, confronted with other forms
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The proposal to bring together the years Bac 2 and 3, in a working group where different speakers will accompany the singularity of the trajectories of each student.
  
- develop the ability to contextualize and socialize their work
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The course is fed by presentations (images, audiovisual documents, digitized books to consult, critical texts and image analyses). Non-linear tools such as mind maps are used to better understand the history of the photo medium and its roots in artistic scenes. Most of the content is made available, shared online to allow each student to return to the subject at their own pace. A footer, in the form of an aggregated list of web links and educational content, is updated regularly and added to each e-mail exchanged.
 
 
A continuous evaluation of the student's work is based on his or her commitment, attendance, and the regular presentation of exercises and completed projects. The workshop grading at the end of the term will be based on the following criteria
 
 
 
- plastic qualities of the production, choice and inventiveness in the realization,
 
 
 
- arrangement of images, hanging, relationship(s) with space,
 
 
 
- critical eye, accuracy of references, anchoring of the work,
 
 
 
- curiosity, (im)relevance, ability to transgress the medium;
 
artistic course of the photography orientation 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
[[Catégorie:English]]
 

Version actuelle datée du 1 juillet 2024 à 13:05

Teachers: Antoine Meyer, Camille Picquot, Agnès Villette

Both in art and narration clusters, this workshop will try to reconcile the learning of photographic tools with the need to rethink, push the limits, the canons that punctuate this medium. It will be a question of exploring the field of photography as an artistic form and inviting students to cultivate an approach that is at once curious, transgressive and forward-looking.

The contemporary practice of photography induces crossings between chemical and digital processes, appropriations and circulations of images. Each student will experience their complexity both as pragmatic recordings of the world, and as products of subjectivity and theatricality.

From the modernity of a “shot”, to the advent of a “data” and its code, embedded by surveillance, the intelligence of a machine or generative antagonistic networks; we will be attentive to these dialectics of the image as artefacts and potential works.

The photography workshop is a place where students understand and participate in a pedagogy where the community has meaning.

The teaching method is deployed in several approaches, temporalities and geometries in relation to the progress of the work within the group:

- critical exchanges around presentations of images, statements and then renderings of exercises

- shooting and post-production sessions (dev/scan, modeling, processing, printing)

- individual meetings, follow-up of projects and personal work, alternated with group discussions

- visits to exhibitions and meetings with guest artists


Bachelor 1

The first year consists of experimenting with relationships to reality in several contexts and using different image production tools. It is thus a question of engaging a photographic practice, but also of desacralizing it. Beyond the necessary technical learning, it is above all curiosity and critical thinking that are cultivated there.

Bachelor 2 & 3

The pedagogical approach of the individual meeting develops with each student as they invest in the collective. A space for dialogue around images is particularly cultivated in bac 2: either around images during critical readings, or through involvement in the management of common tools within the workshop. In Bac3, students are encouraged to focus on the post-production of their images, and pool their knowledge of common production tools. The commons presuppose image techniques (studio, laboratory, digitization, printing), as well as the development of historical and theoretical resources, the collection and formatting of which are essential to feeding a group of work as a breeding ground, an open place for sharing.

A contemporary practice of the photographic medium supposes crossings between chemical and digital processes, appropriations and circulation of images, in order to encourage the emergence of new dialectical dimensions. The versatility of the photo tool is approached as a means of processing the real as well as the imaginary. When reviewing photo practices in artistic scenes, students will be encouraged to reconsider their production of images as the expression of plastic forms, even performatives.

The proposal to bring together the years Bac 2 and 3, in a working group where different speakers will accompany the singularity of the trajectories of each student.

The course is fed by presentations (images, audiovisual documents, digitized books to consult, critical texts and image analyses). Non-linear tools such as mind maps are used to better understand the history of the photo medium and its roots in artistic scenes. Most of the content is made available, shared online to allow each student to return to the subject at their own pace. A footer, in the form of an aggregated list of web links and educational content, is updated regularly and added to each e-mail exchanged.