Acerca de este curso: Although taking, sharing, and viewing photographs has become second nature for many of us, our regular engagement with images does not necessarily make us visually literate. This course aims to address the gap between seeing and truly understanding photographs by introducing a diversity of ideas, approaches, and technologies that inform their making. In this course you will look closely at photographs from the collection of The Museum of Modern Art and hear a variety of perspectives on what a photograph is and the ways that photography has been used throughout its nearly 180 year history: as a means of artistic expression, as a tool for science and exploration; as an instrument of documentation; to tell stories and record histories; and as a mode of communication and critique in our ever increasingly visual culture. Learning Objectives • Develop skills to better examine and understand the differences between photographs and photographic images. • Discover how context influences the production, circulation, and reception of photographic images. • Learn about different modes of artistic and technological experimentation and innovation in photography. • Investigate photography’s role in our increasingly visual culture.
Para quién es esta clase: This course, aimed at a general audience interested in photography, is designed to help build skills in looking critically at photographs. No prior knowledge of studio photography or history of photography is required. Please note, this course does not address technical skills for making or editing photographs.
Enseñado por: Sarah Meister, Curator
Department of Photography
| Compromiso | 6 weeks of study, 1-2 hours/week |
| Idioma | English, Subtítulos: Serbian, Chinese (Simplified), Italian, Russian, Spanish |
| Cómo aprobar | Aprueba todas las tareas calificadas para completar el curso. |
| Calificaciones del usuario |
- Reading: 1.1 Introduction
- Vídeo: 1.3 Interview with Marvin Heiferman
- Reading: 1.4 Required Readings & Additional Resources
- Reading: 2.1 Introduction
- Vídeo: 2.3 Vernacular & Fine Art Photographs of the Moon
- Vídeo: 2.4 Early Photographs of the Moon: Surface, Scale & Technology
- Vídeo: 2.5 New Perspectives: Man on the Moon
- Slideshow: 2.6 Slideshow
- Reading: 2.6 Slideshow [mobile-friendly version]
- Vídeo: 2.7 Ansel Adams. Moonrise, Hernandez, New Mexico. 1941
- Vídeo: 2.8 Eugène Atget. Pendant l'Eclipse. 1912
- Vídeo: 2.9 U.S.G.S. & NASA, Surveyor III. Surface of the Moon, Day 319, W-F. 1967
- Reading: 2.10 Required Readings & Additional Resources
- Discussion Prompt: 2.11 Discussion Questions
- Reading: 3.1 Introduction
- Slideshow: 3.3 Slideshow
- Reading: 3.3 Slideshow [mobile-friendly version]
- Vídeo: 3.4 Dorothea Lange. Migrant Mother. 1936
- Vídeo: 3.5 Larry Sultan and Mike Mandel. Evidence. 1977
- Vídeo: 3.6 Susan Meiselas. Carnival Strippers. 1973-75
- Reading: 3.7 Required Readings & Additional Resources
- Discussion Prompt: 3.8 Discussion Questions
- Reading: 4.1 Introduction
- Vídeo: 4.3 Interview with Katy Grannan
- Slideshow: Slideshow 4.4
- Reading: 4.4 Slideshow [mobile-friendly version]
- Vídeo: 4.5 Akram Zaatari. After They Got the Right to Arms. Fourteen young men posing with guns. Early 1970s/2006
- Vídeo: 4.6 Frances Benjamin Johnston. The Hampton Album. 1899-1900
- Vídeo: 4.7 Tina Barney. Sunday New York Times. 1982
- Vídeo: 4.8 Nicholas Nixon. The Brown Sisters. 1975-Present
- Reading: 4.9 Required Readings & Additional Resources
- Discussion Prompt: 4.10 Discussion Questions
- Reading: 5.1 Introduction
- Vídeo: 5.3 Interview with Iñaki Bonillas
- Slideshow: 5.3 Slideshow
- Reading: 5.4 Slideshow [mobile-friendly version]
- Vídeo: 5.5 Cindy Sherman. Untitled Film Stills. 1977–80
- Vídeo: 5.6 Carrie Mae Weems. From Here I Saw What Happened and I Cried. 1995
- Vídeo: 5.7 Walid Raad. My neck is thinner than a hair: Engines. 1996-2001
- Vídeo: 5.8 Thomas Demand. Room (Zimmer). 1996
- Vídeo: 5.9 Harrell Fletcher. The American War. 2005
- Reading: 5.10 Required Readings & Additional Resources
- Discussion Prompt: 5.11 Discussion Questions
- Reading: 6.1 Introduction
- Vídeo: 6.3 Interview with David Horvitz
- Vídeo: 6.4 Interview with Anouk Kruithof
- Vídeo: 6.5 Interview with Ilit Azoulay
- Slideshow: 6.6 Slideshow
- Reading: 6.6 Slideshow [mobile-friendly version]
- Vídeo: 6.7 Robert Heinecken. Are You Rea. 1964-68
- Vídeo: 6.8 Thomas Ruff. jpeg msh01. 2004
- Vídeo: 6.9 Martha Rosler. House Beautiful (Bringing the War Home). 1967-72
- Reading: 6.10 Required Readings & Additional Resources
- Discussion Prompt: 6.11 Discussion Questions
- Reading: Funding & Credits
Cada curso es como un libro de texto interactivo, con videos pregrabados, cuestionarios y proyectos.
Conéctate con miles de estudiantes y debate ideas y materiales del curso, y obtén ayuda para dominar los conceptos.
Obtén reconocimiento oficial por tu trabajo y comparte tu éxito con amigos, compañeros y empleadores.
Although I did not chose to purchase the course, and therefore did not do the peer review projects, I found this to be a very rewarding course. It is very informative and I find that it has changed my perspectives when viewing photography. I plan to take other courses from MoMa- either auditing or purchasing I think these courses are valuable.
It´s a full course about all aspects of photography which has changed my perspective and placed me in other level. I´m grateful for beeing able to take it. My sincere compliment to all involved.
It is a course about history of American photography. I really like the course structure and its content. Videos have subtitles in different languages. However, the biggest part of the course consists of multiple hard-to-read art criticism essays written in English, so international attendees could spend more time on this course than expected.
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