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Photography (MA) : Différence entre versions

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Professors : [[Marie-Noëlle Boutin]], [[Antoine Meyer]]
 
Professors : [[Marie-Noëlle Boutin]], [[Antoine Meyer]]
  
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A significant part of the photography Masters course is dedicated to the follow-up of the students’ personal practices through individual interviews or collective critical discussions. Analytical work, as well as a constant practice of exchange, lead to understanding the challenges of a committed work, its place in the field of photography and in the art world. The contextualisation and socialization of the work are also priorities that condition the understanding of the context of a project by regularly dwelling on issues of spatial exhibition and of publications in order to question the ways to connect or not with an environment, a territory or the digital space. In this course, we regularly focus on the understanding of major photographic works through in-depth analyses. Finally, throughout the year, a series of theoretical modules are suggested, articulated around themes across the various contemporary photographic practices that call upon sociology, economy, history, literature, etc. in order to broaden the referential fields.
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In the Master's program, the emphasis is on the development of a personal project in dialogue with theoretical reflection. The objectives are to bring the student to finalize a singular artistic proposal, to conceive coherent forms of restitution (setting in space, editorial form, mediation) and to situate the work in the field of art and the issues of the contemporary world.  
  
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The M2 course focuses on the personal project. The aim is to conduct in-depth research in photography on the basis of the student's own reflection. All forms of photography can be approached for themselves or in relation to other practices. The course is a space for exploration and support of students' proposals. Discussions are held on the working process and on the development of the artistic project. Students are also invited to exercise their critical eye through active participation in the course and to work in a group dynamic to stimulate exchange, reflection and creativity.
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Regular follow-up through individual interviews to help students define their artistic approach and specify their project (exchanges around the work, reading of images, proposals for exploration, etc.)
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-group time around themes that cross the history of photography and the challenges of contemporary photography
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-Encourage analysis and critical thinking by pooling students' research and proposals
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-Workshops or special events to put the student's practice in dialogue with other artistic and theoretical fields
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-the use of tools such as inquiry or investigation used in the human sciences, to articulate theoretical thought and artistic creation
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-proposing transversal modules (artistic or technical) in order to respond to specific problems linked to the production
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-explore forms of restitution: spatial arrangements and editorial forms
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-propose mediation methods
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-To define an artistic and theoretical research project, to develop a personal and unique approach, to bring the project to a finalized production, to assert an artistic position, to develop a reflexive look and a critical sense, to articulate a theoretical thought in connection with the artistic practice, to situate the work with regard to the issues of the contemporary world.
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Translated with www.DeepL.com/Translator (free version)
  
 
[[Catégorie:English]]
 
[[Catégorie:English]]

Version du 30 août 2021 à 13:41

Professors : Marie-Noëlle Boutin, Antoine Meyer

In the Master's program, the emphasis is on the development of a personal project in dialogue with theoretical reflection. The objectives are to bring the student to finalize a singular artistic proposal, to conceive coherent forms of restitution (setting in space, editorial form, mediation) and to situate the work in the field of art and the issues of the contemporary world.

The M2 course focuses on the personal project. The aim is to conduct in-depth research in photography on the basis of the student's own reflection. All forms of photography can be approached for themselves or in relation to other practices. The course is a space for exploration and support of students' proposals. Discussions are held on the working process and on the development of the artistic project. Students are also invited to exercise their critical eye through active participation in the course and to work in a group dynamic to stimulate exchange, reflection and creativity.

Regular follow-up through individual interviews to help students define their artistic approach and specify their project (exchanges around the work, reading of images, proposals for exploration, etc.)

-group time around themes that cross the history of photography and the challenges of contemporary photography

-Encourage analysis and critical thinking by pooling students' research and proposals

-Workshops or special events to put the student's practice in dialogue with other artistic and theoretical fields

-the use of tools such as inquiry or investigation used in the human sciences, to articulate theoretical thought and artistic creation

-proposing transversal modules (artistic or technical) in order to respond to specific problems linked to the production

-explore forms of restitution: spatial arrangements and editorial forms

-propose mediation methods

-To define an artistic and theoretical research project, to develop a personal and unique approach, to bring the project to a finalized production, to assert an artistic position, to develop a reflexive look and a critical sense, to articulate a theoretical thought in connection with the artistic practice, to situate the work with regard to the issues of the contemporary world.

Translated with www.DeepL.com/Translator (free version)

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