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AS Photography Scheme of Work

2012-13

The AS Art & Design: Photography course contains two Units of Study: Unit 1 - Coursework Portfolio - 50% of AS Unit 2 - Externally Set Task - 50% of AS (approximately 10 weeks preparation plus 5 hours in controlled conditions)

There are four Assessment Objectives: AO1 Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding. AO2 Experiment with and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as the work develops. AO3 Record in visual and/or other forms ideas, observations and insights relevant to intentions, demonstrating an ability to reflect on work and progress AO4 Present a personal, informed and meaningful response demonstrating critical understanding, realising intentions and, where appropriate, making connections between visual, written, oral or other elements.

The AS coursework is completed by the end of February. The central theme for Unit 1 is Time. Candidates will be introduced to a variety of approaches to this theme. By the October half term they will be expected to engage in a personal investigation for which they will create a detailed proposal. They will produce a range of work including several resolved final pieces which will form their Unit 1 Portfolio alongside prep work, a process and critical studies book and a blog/website. Candidates will learn a range of photographic skills, techniques and processes throughout the course. They will explore the history of photography and be exposed to the work of a wide variety of artists, genres and styles. Here are a few of the ideas and assignments we will pursue The Decisive (& indecisive) Moment • The Punctum - explore Roland Barthes’ notion of the ‘punctum’ and how this can help to unravel the meaning of a still image. • Waiting time - create a series of images on the theme of waiting, where time appears to stand still • Measuring time - how can we use photography to mark time, measure its passing and record our responses? Telling Stories • Photo Diary - document a week in your life (Martin Parr, Robert Frank) • Fictions - create an imagined narrative sequence and explore a variety of presentational strategies e.g. book, slideshow, grid etc. (Duane Michals) • Journeys & Places - document a journey and your relationship to the place through which you travel exploring the text and image (Richard Long, Hamish Fulton, JacquesHenri Lartigue, Stephen Gill, Dolores Marat, Martin Parr, Robert Frank)


• Performance - Document an action or performance in a particular place (Andy Goldsworthy, John Baldessari, Robin Rhodes) • Repetition - Make a photographic document and/or video of yourself repeatedly doing an everyday activity like getting dressed or brushing your teeth. You may need assistance in creating these images. You could make this process absurd e.g. getting dressed in all the

clothes in your wardrobe or deliberately getting the activity wrong. Alternatively, you could approach the task with scientific rigour, almost like an ethnographer documenting the rituals of indigenous tribes. (Francis Alys, Erwin Wurm) • Trace - Document in a series of photographs all the things you touch/eat/smell/taste/hear in a single day. • Back to the Future - Re-create a famous portrait from photographic or art history. Either attempt to get the details exactly right (costume, hairstyle, make-up, prosthetics, background, setting etc.) and/or create a deliberately comic or satirical contemporary re-working of the original image. Alternatively, reenact a famous historical moment using your friends and family. (Yinka Shonibare, Cindy Sherman) Stalker Arrange with a friend to follow them for a day, • documenting their movements, their behaviour and how they choose to spend their time. You might decide to show them the resulting images and ask them for their reactions. This could even be in the form of a recorded interview which accompanies the display of the final sequence of photographs/ slides. (Sophie Calle)


The Found Image • The critical image - explore a variety of strategies for creating collaged images that question and provoke inspired by Dadaism (Hannah Hoch, Raoul Haussman) • The discovered image - how have artists found images and re-purposed them in new ways? (Joachim Schmid, John Stezaker, Christian Boltanski) • The appropriated image - explore a variety of ways to ‘borrow’ images and alter their meanings (John Baldessari) The Long Exposure • Moving Images - capture the passage of time in a single image or sequence of images. Experiment with long and double exposures inspired by the Futurists’ photodynamism. Explore the relationship between photography and film (Edweard Muybridge, Ernst Haas, Ralph Eugene Meatyard, Alexey Titarenko)

• Camera Obscura - explore the origins of photography in the camera obscura and pinhole camera (Abelardo Morell, Steven Pippin) • Shadow-catchers - explore the process of creating camera-less images and the notion of ‘drawing with light’. • Night-time - experiment with photographing in low light, especially dusk and night-time (Brassai, Dolores Marat, Richard Billingham, Gegory Crewdson) • Stop-motion - Explore a variety of strategies for creating stop motion animations and time lapse films to describe the passing of time. (Sam TaylorWood) • Film & Video - seek inspiration from artists who have used film and video to express a range of ideas about the passage of time (Bill Viola, Bruce Nauman) Preservation & Decay • Generations - Create a series of images (diptychs, triptychs, polyptychs) representing several generations of your (or someone else's) family. (Nicholas Nixon, Taryn Simon) • Projection - Create one or more photographic images in which one image is projected and superimposed on another to create a composite portrait. You might like to use an old found photograph projected onto a living person or a 35mm slide projected onto a wall and re-photographed. Think carefully about the combination of the images and what they mean together. You might even want to experiment with more than two images combined in a multiple


composite constructed from a series of projections and superimpositions. (Davina Wilby) • City Surfaces - The city is like a giant canvas, a patchwork of abstract forms, patterns, textures and surfaces. (Aaron Siskind, Lewis Baltz, Laszlo Moholy-Nagy, Sean Scully, Jindrich Styrsky, Ralph Gibson)


AS Photography Scheme of Work 2012-13