Artists, however, took an interest in the incorporation of photography into other artistic fields, such as sculpture, architecture and design much earlier. In the Bauhaus photography played an important part in creating studies from nature and in capturing any artistically stimulating element of the natural surrounding. Pictures were vital components of the documentation of solids, textures, the distribution of light and shade and, for instance, proved to be a helpful tool in clarifying ideas germane to graphic projection (Czartoryska 2002, p. 70). Obviously, the connections between sculpture and photography were further strengthened by the inclusion of photographic reproductions of particular objects in popular collections of the greatest European artworks. Young Polish artists willing to follow developments in foreign sculpture had to resort to photographic prints too. Frequently they created their own reproductions of the sculptures that did not pass socialist censorship. These included works by H. Moore, M. Bill, N. Gabo, A. Pevsner, C. Brancusi and other distinguished sculptors. The practice of distributing such reproductions in the form of postcards among students from their studio created an incentive for A. J. Wróblewski and O. Rutkowski to create a darkroom for the Faculty of Sculpture in the Academy of Fine Arts in Warsaw (CieĞlar & CieĞlar, Kowalski, Wróblewski 2004, p. 12).
The Bachelor of Fine Art Degree (BFA) is offered through the Visual Arts Program. While completing the Core Curriculum, students select a BFA concentration in Illustration, Painting, Photography, Printmaking, Sculpture, or Visual Communications (graphic design). The BFA offers depth in a discipline, more intense studio experience, the knowledge and technical skill set fundamental to chosen disciplines, and preparation for a career in the visual arts. In the two-semester capstone (Senior Project) courses, faculty work closely with individual students toward the acquisition of advanced problem-solving skills and a personal execution of theory and techniques. The BFA culminates in a Senior Project Thesis Exhibition in the art gallery.
In opposition, Hammond’s photographs do not function as a way of describing the sculptural forms. The materiality of her sculptural objects changes the way the viewer looks at the depicted place in the image. A clear example is the usage of specific materials within the artist’s installations. As explained in chapter 2.2., in World Capital Hammond uses material like concrete and steel to enhance the experience of the depicted place in the image. The photographs are mounted upon a concrete pedestal and pierced with steel wire to enhance the reference to an industrial building environment. The relation between these materials and the represented places thereby provide the viewer with a haptic experience of a place: the sense of touch starts to play a role through the materials in the work. Thus, the placement of the digital images of Hammond changes our perception and experience of place in a much more radical way than the artists of Photography into Sculpture managed to do. It allows the viewer to make its own associations between the combined objects, images and materials and leaves space for multiple interpretations and connotations. While earlier photo-sculptures often described sculptural objects by incorporating photography, in Hammond’s the material aspects of her photo-sculptures influence the way a place within the photograph is perceived.
Sculpture and text by Persimmon Blackbridge Photos by Susan Stewad I got the interview at Sunnybrook because I put on my application that I had worked at a child guidance clinic in Ontario Actually, l[.]
Camera Lucida is a personal, some say the sentimental, view of photographs and part eulogy. The book is comprised of forty-eight sections in two halves. Barthes starts with a considered and wide-ranging contemplation of a selection of vernacular photographs from the literature and is concerned with finding a way of reading photographs. What is curious about the book is Barthes’ choice of photographs. He describes them as a random selection of classical photographs but one gets the impression that they have been carefully selected. They span the history of the medium from late eighteen hundreds to the nineteen seventies. His choice of subject would also seem to be far from random, the images having something of a snapshot aesthetic or the documentary about them. They are of people, mainly portraits, but no sign of a landscape or anything faintly avant-garde, although there is one architectural study. Barthes choice of photograph avoids the usual preoccupation with photography as art making his writing particularly relevant to a discourse about snapshot photographs. He claims to be concerned with the cultural significance of the photographs, and described the undertaking as an ontological desire to describe the essence of photography; he does this by describing how the images move him. They appear as has been suggested to have been selected for rhetorical convenience (Batchen, 2009, p.11).
Photography students are expected to provide: non mercury thermometer, large “Rocket” brand air blowers, black on black burning card, black on black print dodger, anti-static cloth, shears, tape, can opener, pencils, pens, markers, utility knives, loupes, plastic bottles for chemical storage, negative file pages, notebook, 3 ring binder for negatives and contact sheets and photo-wipes, personal gray card, rubber gloves, apron or lab coat, cotton cloth towels and a lock for their locker.