Jason Fulford: Central India

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    Jason Fulford: Central India

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    Giorgio de Chirico: Self-portrait

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    Jason Fulford: Scranton, Pennsylvania

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    From a workshop with Jason Fulford in Toronto, Canada

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    Jason Fulford: Scranton, Pennsylvania

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    From a workshop with Jason Fulford in Urbino, Italy

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    Jason Fulford: Southern France

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    From the book Clayton’s Ascent by Jason Fulford

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    Jason Fulford: Dubai

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    Jason Fulford: Northern California

2019/2020 Class 1

Jason Fulford

WHAT SHALL I LOVE IF NOT THE ENIGMA?

Most of the things (& people) I love resist simple explanations. The Italian painter, Giorgio De Chirico admired this quality too, and in an early self-portrait, he painted the phrase, "What shall I love if not the enigma?" The great enigmas are organic and layered. They are not meant to be "solved" but rather their pleasure comes from a stubborn mystery.

For our purposes, let's start with the premise that every photograph is ambiguous - that the meaning of a picture is determined by the circumstances of its reception. Once you are on board with this basic fact, the possibiities of storytelling open up. Then you can play with the photograph's inherent open-endedness, to either highten the mystery, or clarify a point of view.

Throughout the year-long masterclass, we will experiment with these topics through games and exercises. In the spirit of the maxim, "You are what you eat," we will prescribe each other custom diets of rich, enigmatic sustenance and see what they yield.

Students should come with an open mind, a sense of humor and a strong work ethic. Bring a body of work-in-progress, and expect to either make it better, or start from scratch on something new as we go along. The desired outcome is a way of thinking and living that generates meaningful and mysterious work.

Jason Fulford

Jason Fulford is a photographer, co-founder of J&L Books, and a Guggenheim fellow. His monographs include Sunbird (2000), Crushed (2003), Raising Frogs for $$$ (2006), The Mushroom Collector (2010), Hotel Oracle (2013), Contains: 3 Books (2016), Clayton's Ascent (2018) and The Medium is a Mess (2018). He is co-author with Tamara Shopsin of the photobook for children, This Equals That (2014), co-editor with Gregory Halpern of The Photographer’s Playbook (2014), and guest editor of Der Greif Issue 11. Fulford’s photographs have been described as open metaphors. As an editor and an author, a focus of his work has been on the subject of how meaning is generated through association. He is a frequent lecturer at universities, and has led workshops across the United States, in Japan, Italy, Poland, The Netherlands, Germany, Spain and Latvia (ISSP in 2018). 

Bank of Canada, from The Canry and The Hammer

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    Bank of Canada, from The Canry and The Hammer

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    Ewaste, from The Canary and The Hammer

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    History of the Price of Gold, from The Canary and The Hammer

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    Invisible Gold, from The Canary and The Hammer

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    Unknown Prospector, from The Canary and the Hammer

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    Boiling Waters, from Cryptocurrencies

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    Genesis Mining, from Cryptocurrencies.

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    Iceland Geyser, from Cryptocurrencies

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    Pylon, from Cryptocurrencies

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    Vitailk Buterin, from Cryptocurrencies

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    Women of Bitcoin, from Cryptocurrencies

2019/2020 Class 2

Lisa Barnard

RHIZOMES: POLITICAL CONSTELLATIONS

Rhizome is an evolving term developed from the media theories of Gilles Deleuze and Felix Guattari. Based on the botanical rhizome, the concept apprehends multiplicities, allowing for interconnection and multiple, non-hierarchical sources and outcomes. Unlike the tree whose branches grow from a single trunk, the rhizome has no unique source from which all its development occurs and its linear, fragmentary, invisible and open structure questions static and inflexible authority. This idea resonates with many photographic practitioners whose work deals with issues of power and the complex structures of today’s political or economic realities.

This masterclass is an opportunity to develop a new or already existing body of work that discusses a personal and political issue pertinent to you in an attempt to confront some of the hierarchies that are inherent within the political sphere.

The project can incorporate multiple forms of media and artistic endeavours, including archives, film, sculpture, painting, digital or analogue photography. You will be encouraged to challenge the forms of traditional presentation of photographic practice, thereby creating an assemblage of visuals, factual information and metaphors. Ideally, your work should hover between high and low culture, art and science, real and the imaginary with a desire to find missing links and untold stories. Throughout the year, we will discuss the ideas pertinent to your work and engage in experimenting, developing and editing in order to create a strong visual constellation.

Lisa Barnard

“Barnard describes herself as a photographic artist, but her work seems unapologetically political. She pays homage to, and undercuts, the tropes of documentary realism” - Sean O Hagan, Guardian.
Lisa Barnard’s photographic practice discusses real events, embracing complex and innovative visual strategies that utilise both traditional documentary techniques with more contemporary and conceptually rigorous forms of representation. Barnard connects her interest in aesthetics, current photographic debates around materiality and the existing political climate. Barnard is an Associate Professor and Programme leader on the MA in Documentary Photography at The University of South Wales. She has two publications both with GOST, Chateau Despair and Hyenas of the Battlefield, Machines in the Garden supported by the Albert Renger Patzsche Book Award. Her new project, The Canary and the Hammer is to be published by MACK in September 2019.

2019/2020

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