Art 4941 Special Topics: Photography & Preservation

This course examines the history of preservation through photography and landscape architecture, looking at its relationships to social works projects. In the tradition of the FSA photographers, Timothy O’Sullivan, and Eugene Atget’s Old Paris preservation works, this class researches and photographs specific neighborhoods in Baton Rouge considering their historical importance. The course considers historical and contemporary issues, memorialization, collective memory, as well as the ethics of photographing communities as outsiders. Together, photography and landscape architecture students conduct this research and photographic evidence to create an archive and make recommendations for future plans.

ART 4996 Digital Color Photography II

The Digital Color Photography II course provides in-depth learning of the software used for digital photography post-production, specifically to process, color correct, and create composite photographic images. Students gain an in-depth knowledge of Photoshop and how to determine the best tool for a specific project.

ART 4941 Special Topics in Photography: Social Media

The Special Topics in Photography: Social Media course examines how social media has impacted photographic practice. In a world where we are saturated by images and the Internet is king, we now have many different platforms to both share our work as well as find intellectual stimulus for new ideas. Facebook, Instagram, Tumblr, Google Images, Blogs, SnapChat . . . the list goes on. We look at all of these different platforms and consider/discuss/dissect how they influence our work, for better and for worse.

ART 4941 Special Topics in Photography: New Archive

Special Topics in Photography: New Archive is an examination and exploration of photography that uses others images as its source material. Students study other photographers working in this manner and work on their own projects that re-contextualize others images within their own photographic practice. Ethical and copyright issues are examined within this context. Specific photographic projects considered are the use of vintage photographs (both within one’s own family history or that of a strangers), the use of Internet images, archives of images (the library of congress), as well as repurposing scientific images (mapping, research).

ART 3994 Advanced Photography

In the advanced photography course, students are introduced to advanced practices in black-and-white darkroom photography. While this course examines technical tools and processes with an emphasis on exceptional print, it also focuses heavily on the conceptual content of photographs. Students learn varied approaches to making black-and-white prints through using different papers and developers. Technical, aesthetic, and conceptual aspects of black-and-white photography in a contemporary manner will be discussed. Through a series of assignments and extensive larger projects, students learn to choose the best processes to use for their conceptually based projects.

ART 4941 Special Topics in Photography: Artist as Researcher

Special Topics in Photography presents the opportunity for advanced studio work in a predetermined area of specialization.

Artist as Researcher asks students to uncover what motivates an art practice and to pay careful attention to moving that motivation from initial inspiration to meaningful and professional public display. Students are asked to think of themselves as researchers in order to engage in informed, extended projects over the course of the semester. Research may involve a specific social, historical, or cultural issue; it could involve mastering or emphasizing a particular material process;  it could be a documentary investigation. The topic or area of research is open and tailored to the students’ individual interests. Students are also exposed to research in the arena of professional development. Emphasis is placed on applying for post-BFA or post-MFA opportunities such as jobs, internships, graduate programs, fellowships, exhibitions, and publications as well as developing a personal website.

ART 4941 Special Topics in Photography: Malleable Narratives

Special Topics in Photography presents the opportunity for advanced studio work in a predetermined area of specialization.

Malleable Narratives asks students to consider how narratives function in and as works of art. Through individual visual projects, slideshows, screenings, guided conversations, and readings, students explore a range of historical and contemporary approaches to narrative-based work. Emphasis is primarily on time-based media such as photography, cinema, animation, and audio pieces. The course also examines written narratives—in the form of historical or interpretive essays about artists, experimental prose by contemporary writers, and individual writing assignments.

ART 4230 Virtual Space & Motion

Virtual Space & Motion builds on the 3D modeling skills developed in ART 2230 Virtual Space, bringing virtual elements into a context outside of Maya. The course focuses on group projects and honing skills in the 3D pipeline. Particular attention is placed on time-base narratives and creating digitally animated shorts using 3D graphics. Students learn about 3D painting, 3D sculpting, motion capture, particle systems, and compositing. It is highly recommended that students have a foundation in 3D modeling before taking this course. Students will examine past animators and their methods in order to inform their creative decisions and will also look at contemporary forms of animation from media, entertainment, advertising, and the fine arts. While learning about technique and craft, students will also explore the role of the virtual in society.

ART 4889 Advanced Figure Drawing

Professor Kelli Scott Kelley’s advanced figure drawing studio borrowed animal specimens from the LSU Museum of Natural History (110 Foster Hall) for their final drawing project. Steven Cardiff and Dr. Frederick Sheldon generously offered a fox, an otter, an owl, a deer head, and a seagull for the students to use to create sets for their figure drawings. The students worked with Professor Kelley to create a dramatic tableau with two live—nude—female models, drapery, dramatic lighting, and the animals. Students made their drawings by working directly from the scene. The juxtaposition of figures and animals offered the students many possibilities for creating interesting artworks. Formal relationships between the figures and animals were considered. Many students created pieces that explored narrative or symbolic meaning implied by the images. The students were thrilled to have the opportunity to work from the complex setup to make creative, original artworks.