MFA Photo Quick Hit 2017-2018.Docx

Master of Fine Arts in Photography & Integrated Media

“QuickHit” MFA Program Overview 2017 2018

Lesley University College of Art and Design

MFA Orientation in Christopher’s Studio, Dublin, NH 2017

Throughout its evolution, photography has been a slowly moving glacier of adaptation and obsolescence followed closely by familial transformations influenced by the heat of science, technology, critical analysis, and cultural practice. I think of these influences and processes as I do the boulders in the woods near my studio in New Hampshire… evidential scat from a glacier’s melting. Each overlapping layer of transformation has ushered in an evergreater democratization of photographic image making, adoption, and adaptation and each of these cycles have been identified by the family name, photography, regardless of how odd the new offspring appeared. What each new incarnation had in common was a single salient identification… that of making marks with light. Our program, and the amazing candidates who become masters within it, share a driven curiosity to see where a photographic concept or lightdependent process, and perhaps its integration with other media, will guide them. In our current roles, as practitioners of the discipline we love, we are enjoying the right timeright place gift of unlimited possibilities, making this the most exciting time in the photographic arts

MFA Photography and Integrated Media

Quick Hit Overview – January 2018 in over a century. It represents, for me, the new photography, a marriage of contemporary analog, digital, and interdisciplinary studio practice and technologies.

Christopher J ames Director, M FA i n P hotography and Integrated Media

From its inception in 2011, our MFA in Photography and Integrated Media program has been nurtured as a collaborative work in progress, emphasizing craft and concept driven photographic and visually related studio practice. We are a community made up of core and guest faculty, Visiting Artist / Scholars and MFA candidates. We are a full residency, 2-year, seminar-centric graduate program focusing upon concentrated studio practice, critical studies, and professional studies, and on the fluid integration of contemporary technologies and media within traditional and alternative photographic and artistic practice. The mission of the program is to view the art of photographic image making not as a single area of study but as the merging of photography with traditional studio mediums, contemporary digital and light-based media, performance, installation, and related cultural influences. There is a concentrated emphasis placed upon graduate-level skills in the written and spoken word, as evident in the weight of importance on the written and visual components presented in seminars and in final thesis projects. Our continuing program development is motivated by the premise that photography is in the midst of change, and that the contemporary artists who are attracted to our program are actively redefining its identity.

Relation to the College of Art and Design’s Mission: The College of Art and Design is a college of art within Lesley University and is dedicated to professional preparation through intensive studio practice combined with traditional studio practice, critical studies, art history, and professional studies. As such, this relatively new MFA fits smoothly within the College of Art and Design’s overall mission, especially in its emphasis on preparing artists for professional careers in the field of their choice. The College of Art and Design has recently moved into its new home, the $48 million dollar Lunder Arts Center and complex (that incorporates the church in the image below), at 1801 Massachusetts Avenue, in Porter Square, a single subway stop from Harvard Square.

The new home for the College of Art and Design – the Lunder Arts Center complex

Program Design: The 2018 – 2019 academic year will be our 8th year of successful operation and this May (2018) we will celebrate the graduation of our 6th class. The program design involves an 2

MFA Photography and Integrated Media

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intense focus on studio practice and seminar critique, combined with self-directed study in each student’s area of professional interest. Students will have access to state of the art digital technologies as well as alternative process, historical, and integrated-media related resources. Building on our current faculty expertise in these areas, we offer a flexible curriculum that will be attractive to artists who are pursuing their own individual vision using photographic means, and where traditional media will have new life in the hands of 21st century visual communicators and artists. Our program is designed to serve students who have completed their undergraduate degree or who, in unique circumstances, have equivalent life-experience; photographers practicing in the field; artists working in photographic media and in cross-disciplinary directions, alternative photographic processes, video, installation, performance, and artist books. The program is built upon the international reputation of its faculty, all resident and Visiting Artist / Scholars, and the Director of the MFA program, Christopher James.

It was a difficult decision to go back to school to get my graduate degree, but I’m very glad that I did. Christopher’s program helped solidify and achieve my goals. The professors and visiting artists were incredibly helpful in assisting the realization of many ideas that I’d be grappling with for years. The challenging nature of this program confirmed my own tenacity, internal drive, and worthiness to be in a competitive arts field. During the program, I began unpacking the images I was making. I realized the act of discovery associated with 19th century photography––the inherent excitement that stems from being at the forefront of a brandnew field… that was at the root of it all. I’m interested in things that photography discovers through the aid of technology, whether historical or bleeding edge; things that challenge the core of contemporary image making and how we perceive the world. Danielle Ezzo, MFA Photography and Integrated Media Graduate, 2015

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Danielle Ezzo_#03_intimacy, 2015

The MFA candidates at LUCAD are sharp, engaged, and working hard in an impressively wide range of artistic modes and media. This remarkable program encourages students to think incisively and independently, to understand the artistic and cultural context in which their work falls, and—perhaps most important—to communicate effectively about their creative endeavors. The MFA students have the opportunity to share their works in process with visiting reviewers throughout the year, and each semester ends with a productive discussion between MFA candidates and a jury of outside critics, scholars, and artists. In my own experience as a juror, I have been very impressed by the intelligence of the work presented and the level of conversation, as well as by the students’ evident hunger to learn from this experience. Lesley’s fulltime MFA faculty is clearly devoted to the program and its candidates, working with energy, insight, and sensitivity, always with a view to moving the students’ art toward deeper levels of meaning and revelation.

Diana Stoll, Editor and Visiting Artist / Scholar - Aperture Foundation, 2016

Facilities: The College of Art and Design’s program is unique in its emphasis on professional practice, the hand-made image, and the integration of contemporary and traditional photographic image making in all media. Students are provided with a professionally

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equipped and traditional 17 station black and white darkroom, processing, finishing, and toning rooms, a cyclorama video projection studio, multiple digital photo labs with state of the art equipment, dedicated fine art digital printing studio facilities, private and public studios, and a superb dedicated alternative photographic process facility (see below). As well, MFA candidates will enjoy access to the working studios of a professional college of art, such as printmaking, ceramics, painting, sculpture, etc., when taking courses in those disciplines. Our lab lock-ups feature a huge selection of cameras in all formats (including wet plate), DSLRs, video equipment, studio and location lighting and an abundance of professional equipment.

Our alternative photographic processes lab at Lunder Arts Center

Personal “clean” and “dirty” working studios are available.

Program Format

Fulltime residency requirement: 4semesters / 2years from September May

Standard number of credit hours per term for a fulltime student: 1 5 credits

Total number of credit hours required for graduation: 6 0

Total credits in Graduate Seminar I – IV: 2 4

Total in Critical Studies and Art History: 9 ( Includes Issues in Visual Culture in first semester)

Total in Studio Electives: 9

Total in Photography as Cultural Practice: 3

Total in Professional Studies: 9 ( Includes internships, teaching assistantships, independent studies, adjunct faculty Teaching Fellowships)

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Total in Graduate Thesis Seminar: 6

Of the 60 credits, 33 credits (or 55%) are graduate-level courses, 15% are Professional Studies opportunities for internships, mentoring, and teaching assistantships and adjunct faculty Teaching Fellowships. The remaining 30% are electives chosen from existing College of Art and Design studio, critical studies, and art history offerings. Content will be delivered in a variety of formats: in class, electronic, and online when appropriate.

A key attribute of the MFA Photography program is the Visiting Artist / Scholar component into every graduate seminar and jury experience. MFA candidates will work with outstanding Visiting Artists throughout the semester in each of their 4 semesters and the program fully integrates outstanding Visiting Artists / Scholars as a key component of the learning experience. Past, current and program committed Visiting Artist / Scholars include Dan Estabrook, Vicki Goldberg, Keith Carter, Luis Gonzalez Palma, Lyle Rexer, Susan Bright, Roy Flukinger, Holly Roberts, Matt Saunders, David Hilliard, John Stilgoe, Holly Roberts, Deborah Luster, Andy Grundberg, Merry Foresta, Alison Nördstrom, Elinor Carucci, Sebastião Salgado, Lucy Soutter, Deb Todd Wheeler, Joe Wolin, Binh Danh, Diana Stoll and Susan Meiselas.

Maryam Zahirimehr – 2016

What impresses me most about the MFA program in photography at Lesley is its resemblance to the realworld culture of art making and consumption. By including museum curators and gallerists on the faculty and by classes that encourage participation in a critical community, Lesley offers its students the opportunity to grow technically and intellectually as well as in practical knowledge.

MFA Photography and Integrated Media

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—Alison Nordström, PhD, Former Senior Curator of Photography Eastman House

Degree Requirements

1. Successful completion of four semesters in residence in the program, earning a total of 60 graduate credits. This will include full participation and satisfactory evaluations from all components of the program. These will include writing, physical work, presentation at juries, and engagement in all seminars.

2. Ability to demonstrate a professional level of accomplishment in their self-selected arena of artistic work. This will be realized through aesthetic and technical achievement, conceptual ideas working with integrated photographic / light marking practice in compatible media that reflects the development of personal imagery. Graduate Thesis seminar is dedicated to personal and analytical writing and exposition of ideas.

3. Ability to demonstrate an understanding of the various criteria used for making critical judgments about the visual arts, especially photography, including the relationship of visual culture to a societal context. Evaluation will be done through a jury process that will include 2 mid-year in-process juries December and 2 end-of-year final juries in May. Evaluation will be Pass, Fail, or Still In Progress.

4. Active participation, involvement and dialogue in the seminar critiques of other candidate’s work during the course of study. Generosity of expression is highly valued.

5. Participation in a final group thesis exhibition and catalogue of their work and writing. Both must be satisfactorily reviewed by the MFA program faculty, Visiting Artists and jurors.

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Alicia Turbitt (top left), January Internship for Project Nica in Nicaragua, 2016 - 2018

MFA Photography and Integrated Media: Goals and Expectations

1. Artistic Growth - The foremost goal of the program is to acknowledge, nurture, and refine the existing talent and passion of each candidate and to develop an individualized and flexible artistic vision that will continue throughout a life in the arts. Students will be asked to demonstrate a mastery of artistic accomplishment, both aesthetic and technical, in the context of a personal imagery and style. This will be paired with dedicated written reflection in each seminar.

2. Reflection and Analysis – Through rigorous study of art history, critical studies, and analysis of imagery in a cultural context, MFA candidates will refine their understandings of the traditions of the photographic arts, how photography is integrated in all media in contemporary arts, making and how their own work relates to such traditions… essentially, where they fit in the tradition both new and old. Students will be asked to demonstrate the ability to reflect, analyze, and articulate their own artistic and cultural beliefs as well as actively define what is becoming the new photography.

3. Professional Practice – Professional Studies degree requirements address the reality of supporting one’s life with their talent. This will be accomplished through internships, independent study, teaching assistantships and teaching fellowships which will be augmented by the first-hand experiences and influence of Visiting Artist / Scholars and faculty. The program will endeavor to enhance each candidate’s knowledge of, and preparedness for, the professional practice of

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photography, including relations with educational environments, the art of teaching, the role of galleries and museums, grant writing, public and private commissions, and more.

4. Critique – In a pluralistic context, students will be asked to develop a clear understanding of the vast criteria for making critical judgments about the art of photography, and marks made with light. This is realized through weekly seminar critiques, regularly scheduled one-on-one meetings with Visiting Artist / Scholars and core faculty, and dedicated critical analysis, of their own, and fellow candidate’s, artistic production.

MFA in Photography and Integrated Media: Learning Outcomes

1. Produce and defend a MFA level thesis project, composed of artistic work and a supporting written thesis, within a individually designed photographic or photographically integrated self-specialization, demonstrating mastery and synthesis of the skills nurtured in the program.

2. Learn to select, propose and conceptualize long-term projects throughout the program that will be suitable for refinement, and possible thesis development, in the final semester of the second year. Emphasis will focus upon critical thinking, research, and professional strategies and concerns of a professional artist.

3. Defend and define, in seminars, jury defenses, and written exposition, how the language and studio components of the thesis are related and how research, readings, references, critical analysis and quality of presentation can support project and thesis outcomes.

4. Learn to clearly articulate in writing, and to speak with clarity and honesty, about one’s personal work and concepts, and the work and ideas of others, and at a graduate level.

5. Learn to conduct one’s artistic and professional life as a “master” and to develop confidence in solving abstract problems, both independently and collaboratively, throughout one’s lifetime. Understand where you and your work fit in the context of art history, one’s culture, and a life in the arts.

6. Support and nurture professional aspirations through competitive Teaching Fellowships, internships, assistantships, independent studies, and personal faculty and Visiting Artist / Scholar mentoring.

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Kristen Matuszak, Kitchen Table, 2017

Admissions Requirements:

Application Deadline: M arch 1

Next Start Date: September 2017 - with MFA Orientation at the end of August 2017

Regulatory Accreditation: NASAD, NEASC, State of Massachusetts

Applicants will be required to hold a BFA, BA, BS, or other comparable and accredited degree from a recognized college or university, preferable in the field of the visual arts. Waivers will be considered for candidates with exceptional portfolios demonstrating their promise for success in the program.

Applicants must submit:

1. A completed graduate application form and application fee.

2. A portfolio of work completed within the past three years consisting of 20 images electronically submitted on Slideroom. Please check with Graduate Admissions regarding the optional submission of the written and visual components in your application via Slideroom, Flickr, Vimeo, or personal web site.

3. A resume reflecting the student’s education, art and work experience, exhibitions, awards, publications, etc.

4. Official transcripts from all undergraduate and graduate work.

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5. Two letters of recommendation

6. A written statement reflecting the applicant’s artistic ambitions and studio practice.

The primary component of a candidate’s application will be a representative portfolio of 15 – 20 works, submitted to Slideroom.com for MFA Committee evaluation. This submission must demonstrate a clear and coherent vision conceptually, as a series, or as evidence of connected projects. It is expected that a candidate for the MFA in Photography will have strong technical skills, coherent syntax, and the ability to discuss their work on a conceptual and historical level. Applicants should also be able to discuss where they see themselves and their work within the context of the medium.

Applicants will be asked to submit a personal, and concise, essay discussing their art and relevant autobiographical / artistic influences that have contributed to its creation. This essay, incorporating a statement of purpose describing the candidate’s intentions during the degree program, and transcripts, are also instrumental in defining the candidate to the Admissions Committee. Letters of reference will be requested. It is strongly suggested that seriously interested applicants come and visit the University and the Director of the program. Participation in Seminars and juries can be arranged.

Michelle Rogers, Proof of the Strength of the Experience

Program Structure Twoyear program (4 semesters) — 60 credits Semester 1 Graduate Studio Seminar I — 6 Issues in Art History & Visual Culture — 3 Photography as a Cultural Practice — 3 Studio Elective — 3 Semester 2 Graduate Studio Seminar II — 6 Art History or Critical Studies Elective — 3 Art in Context or Professional Studies Elective — 3 Studio Elective — 3 Semester 3

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Graduate Studio Seminar II — 6 Art History or Critical Studies Elective — 3 Professional Studies Elective II — 3 Studio Elective — 3 Semester 4 Graduate Studio Seminar IV — 6 Thesis Studio (studio exclusively for thesis work) — 6 Professional Studies Elective II — 3

Dan Baird Miller, Image 8

IGRPH MFA Photography courses 2017 – 2018 IAHIS 5100 Issues in Art History and Visual Culture ( 3 credits – fall term) Issues in Art History and Visual Culture is a required fall, first term, course. This course focuses on the interrelationship between art and society. Accordingly, students will examine the role of visual culture and artistic practice within the context of everyday life. To achieve this task, we will address the following questions: How do works of art accrue meaning and communicate ideas? How do images mediate our sense of individual and group experience? How do artists represent and confront social, political, and cultural issues in their work? How do institutions shape our attitudes about aesthetic value, artistic production, and self-expression? How do works of art embody and/or transgress systems of power? How do new forms of visual media regulate our notions of identity and subjectivity? How do representations of 12

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people reinforce our assumptions about sexuality, gender, and race? In order to tackle these issues, we will read essays by artists, critics, and theoreticians who have been instrumental in defining our understanding of visual culture over the past three decades. LC/LUCAD undergrads may take this course by permission of instructor.

I GRPH 5100 Photography as a Cultural Practice ( 3) Considering the capacity of Photography to reflect and define cultural mores, this seminar will explore the historical and contemporary nuances of the medium as a social and political object. The complex shifts within photography in a digital context will be discussed, as well as the technological, conceptual, and artistic relationships between photography and other mediums. Creative engagement with these concerns will be a major component of the seminar, and class projects will provide a means for students to apply their own photographic interests and refine their practice. A variety of contemporary methodologies to engage with culture will be presented, such as the use of composite, erasure, integration of text, and appropriation of media images. Classes will also be comprised of field trips to area exhibits, resources, and talks, as well as class visits by working artists.

I GRPH 5200 Advanced Topics in Photography ( 3 credits – spring term) Advanced Topics in Photography is not a degree requirement but highly recommended as a spring Critical Studies elective. This seminar approaches photography less as a medium and more as a discourse, and enumerates certain topics as crucial markers of that discourse. The course will treat topics like Veracity, Activism, Representation, Surveillance, Archive, Trauma, Alterity, etc., with critical emphasis on their interrelationships. We shall discuss, for instance, how the question of the veracity of traumatic images contributes to activism; or how compilation of archives of images of alterity by a nation state serves the purpose of surveillance. Our discussions will be grounded in a wide range of historical and theoretical texts on photography. Toward the end of the semester, you shall collaboratively propose, research, and lead discussions on the relationships between the existing topics and/or new ones, illustrating your findings with case studies of contextualized images. These sessions led by you will further underscore the continuity of not only the relevance of the topics, but of their mutating nature. LC/LUCAD undergrads may take this course by permission of instructor.

IGRPH 6100 Graduate Studio Seminar and Critical Studies I ( 6) This course is the first of four required, semester long, Graduate Studio seminars. Seminar I consists of a full day of activity on a weekly basis, and is a team-taught course with a core faculty and one of two Visiting Artist / Scholars. The primary focus of the seminar is critique and discussion and includes scheduled one-on-one meetings with the Visiting Artist / Scholars several times a semester. Based upon a foundation of personal work in progress, students will be consistently producing and refining their portfolios in Seminar, while simultaneously relating their work, and process, to critical, historical and contemporary concerns. Each week will focus on group critique and discussion of conceptual issues and response to course readings. New work will be expected for each critique session, and subject to class response. A field trip to New York will be part of each fall semester. Through all four semesters of Graduate Studio Seminar, students will be expected to produce a graduate level body of work that will solidly support their Thesis Studio project, writing, and graduate exhibition. Candidates will be expected to present a professional defense of their ideas in progress to a full jury at the conclusion of the semester.

IGRPH 6200 Graduate Studio Seminar and Critical Studies II ( 6) This course is the second of four required Graduate Studio seminars and is a continuation of work and ideas commenced in Graduate Studio Seminar I. Seminar II consists of a full day of activity on a weekly basis, and is a team-taught course with a core faculty and one of two Visiting Artist / Scholars. The primary focus of the seminar is critique and discussion and includes scheduled one-on-one meetings with the Visiting Artist / Scholars several times a semester. Based upon a foundation of personal work in progress, students will be consistently producing and refining their portfolios in Seminar, while simultaneously relating their work, and process, to critical, historical and contemporary concerns. Each week will focus on group critique and discussion of conceptual issues and response to course readings. 13

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New work will be expected for each critique session, and subject to class response. Through all four semesters of Graduate Studio Seminar, students will be expected to produce a graduate level body of work that will solidly support their Thesis Studio project, writing, and graduate exhibition. Candidates will be expected to present a professional defense of their year-long project to a full jury at the conclusion of the semester and detail working plans for the summer as well as ideas for the final thesis moving forward. This course is graded Pass / Fail / or Still In Progress. A Pass grade is required to advance to the second year of study. Still In Progress grades must be addressed and evaluated to a Pass by faculty before the beginning of the new semester. IGRPH 7089 Studio Assistantship ( 3) All interested MFA Photography candidates may request a studio teaching assistantship and are encouraged to seek out faculty and courses that are compatible and beneficial to their development. In a studio teaching fellowship, candidates assist a faculty member with the weekly preparation and instruction of a class. Duties may include research, slide-show or digital preparation, demonstrations, instructing and assisting in critiques. Teaching assistants will often be given the opportunity to prepare for and to teach a class. This position is mandatory for any candidate who wishes to be considered for a Teaching Fellowship in their second year. The role provides valuable experience and insight into the teaching profession, and strengthens the student's abilities to articulate and communicate visual concepts. Additionally, this position provides the opportunity for developing mentor relationships. Participation in this course is limited and subject to the course running and the needs of the professor.

IGRPH 7300 Graduate Studio and Critical Studies Seminar III (6) This course is the third of four required Graduate Studio seminars and is a continuation of the work and ideas begun in Graduate Seminars I and II. Seminar III consists of a full day of activity on a weekly basis, and is a team-taught course with a core faculty and one of two Visiting Artist / Scholars. The primary focus of the seminar is critique and discussion and includes scheduled one-on-one meetings with the Visiting Artist / Scholars several times a semester. Based upon a foundation of personal work in progress, students will be consistently producing and refining their portfolios in Seminar, while simultaneously relating their work, and process, to critical, historical and contemporary concerns. Each week will focus on group critique and discussion of conceptual issues and response to course readings. New work will be expected for each critique session, and subject to class response. Through all four semesters of Graduate Studio Seminar, students will be expected to produce a graduate level body of work that will solidly support their Thesis Studio project, writing, and graduate exhibition. Candidates will be expected to present a professional defense of their ideas in progress to a full jury at the conclusion of the semester. Candidates will be asked to present their proposals for the written thesis and work to be completed in their final semester. This course is graded Pass / Fail / or Still In Progress. A Pass grade is required to advance to the final semester. Still In Progress grades must be addressed and evaluated to a Pass by faculty before the beginning of the new semester.

IGRPH 7400 Graduate Studio and Critical Studies Seminar IV ( 6) This course is the fourth and final required Graduate Studio seminars and is a continuation of the work and ideas begun in Graduate Seminars I, II, and III. Seminar IV consists of a full day of activity on a weekly basis, and is a team-taught course with a core faculty and one of two Visiting Artist / Scholars. The primary focus of the seminar is critique and discussion and includes scheduled one-on-one meetings with the Visiting Artist / Scholars several times a semester. Based upon a foundation of personal work in progress, students will be consistently producing and refining their portfolios in Seminar, while simultaneously relating their work, and process, to critical, historical and contemporary concerns. Each week will focus on group critique and discussion of conceptual issues and response to course readings. New work will be expected for each critique session, and subject to class response. Through all four semesters of Graduate Studio Seminar, students will be expected to produce a graduate level body of work that will solidly support their Thesis Studio project, writing, and graduate thesis exhibition. Candidates will be expected to present a final and professional defense of their thesis to a full jury at the conclusion of the semester. Physical work produced in Graduate Studio Seminar IV will be evaluated in tandem with the

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written thesis. The written and visual components of the thesis are dependent upon one another and successful completion of both is requisites for graduation.

Jess Somers_self-portrait_#1

I GRPH 7880 Internship ( 3-9 credits and variable according to length of internship) An Internship provides graduate Photography candidates with experience in a professional environment, helping to prepare them for entry into the professional world. Interns put their technical and creative knowledge to work and have the chance to make professional connections within the photography community. Students must formally apply; positions generally last 15 weeks. All Internships must be approved by the Director of the MFA in Photography program before registration, with a detailed proposal stating internship site and mentor, project goal, method of execution, and timeline for the project. Internships count as Professional Studies credits and may take place at any time during the candidate’s two years in the program, including summers and January term.

IGRPH 7992 Teaching Fellowship – 3 Prof. Studies Credits Second year MFA candidates, if they are interested, may be considered for the 2 to 4 single or team-taught Teaching Fellowships that are offered each year in the undergraduate BFA program. Selected candidates will be employed by the University as regular adjunct faculty. These coveted positions pay a regular adjunct salary and are concurrently worth 3-Professional Studies credits for the semester which are paid for in the same manner as all degree credits. Preference for these positions in the BFA program will be given to those who have successfully completed Teaching Assistantships in their first year in the program and who have been evaluated by the faculty, BFA Chair, and MFA Director as being prepared, in knowledge of subject, communicative ability, and temperament to have a class of their own. Prior teaching experience may serve as a substitute for a first year Teaching Assistantship but it is strongly recommended that interested first year candidates serve as a Teaching Assistant (3-Professional Studies credits) in the fall or spring semester of year-1. Teaching Fellowship assignments will be matched to specific undergraduate classes, most often Intro to Photography for Non-Majors: Digital in the fall semester or Intro to Photography for Non-Majors: Traditional Lab in the spring, where appropriate expertise can be expected. Teaching Fellowships may be shared with another MFA candidate as a co-teaching experience. In this scenario, one that the majority of candidates select, credits will be the

MFA Photography and Integrated Media

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Candidates, in consultation with the Director, are responsible for the development of syllabi, assignments, lectures and grading. At the conclusion of the semester, Teaching Fellows will meet with the Director of the MFA Photography program to assess their experience.

IGRPH 7999 Independent Study ( 3 credits / variable) Independent Studies are an opportunity for graduate candidates to pursue a specific area of interest through a supervised project for credit. Candidates work independently but with tutorial supervision by either LUCAD faculty member(s) or artists/professionals/faculty not directly affiliated with LUCAD. Visiting Artist / Scholars, past and present, may be selected as mentors. All Independent Studies must be approved by the Director of the MFA in Photography program before registration, with a detailed proposal stating the project goal, method of execution, relevancy to education, timeline for the project and review with their mentor. ITHPH 7500 – MFA Photography Thesis Studio Seminar ( 6) The MFA in Photography Thesis Studio Seminar is the capstone of the graduate school experience and asks you to critically reflect upon your creative practice, your work and methodologies, and to construct a scaffolding where your concepts are clearly contextualized, defined, visualized and supported through written exposition… it is a venue for expressing your voice on multiple levels. MFA candidates will propose a thesis topic during the mid-year critique at the end of the third semester that will be examined by the jury including the Director, faculty, and invited visiting artist / scholars. Candidates, working with their thesis advisors, will create a written comprehensive and contextual examination of the ideas and directions of their visual work from Graduate Seminar IV and previous semesters of investigation. The written thesis will integrate the critical, historical, and cultural concepts that informs and locates the candidate’s artistic production within the cultural and historical continuum of the genre they are working in, and their unique life experiences. The thesis paper is submitted for review to be assessed by a jury of core faculty and visiting artist scholars 2 weeks before final juries, and is considered an integral element of the degree. The written and visual components of the thesis are dependent upon one another and successful completion of both is requisites for graduation.

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Xiao Zhao_2016_A0 蓝印_页面_12

MFA Seminar and Thesis Grading Guidelines

Graduate Thesis Seminar is a PASS / FAIL / SIP (Still In Progress) course. The expectations of someone about to receive a Master’s degree to accompany them through life are extremely high and the demand for excellence in your written and visual components will be strict. It is imperative that everyone who comes through this program, past, present, and future, is assured that the quality of their MFA degree is not diminished by the granting of it to someone who has not earned it.

During final MFA Juries in the spring, your last semester of Graduate Studio Seminar (IGRPH 7400) will be evaluated simultaneously with Graduate Thesis Seminar (IGRPH7500). A PASS in both will be required for graduation.

The written, visual, and presentation components of your graduate thesis will be considered together and a PASS / FAIL / or STILL IN PROGRESS (SIP) evaluation will be determined by a majority vote of the jury, consisting of the Director, Graduate and Thesis Seminar faculty, Visiting Artists, and guest jurors.

If a STILL IN PROGRESS grade is given, it means that the jury has decided the thesis has not been completed to a degree that merits the awarding of an MFA degree at this time.

If the problem is determined to be the written portion of the thesis, the candidate may re-submit the thesis to the jury for re-evaluation at any time up until the end of the following semester.

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Any candidate receiving a STILL IN PROGRESS evaluation for the visual portion of the thesis will be given a second opportunity to present privately to a jury of Seminar Faculty and Visiting Artists near the end of the fall semester. Failure to take advantage of this opportunity will result in a final FAIL grade.

Although the candidate will not be enrolled in the MFA program during this period, help and consultation will always be available when requested.

Monika Ozog, Of Many Tongues, (Photo Ceramic) 2013

MFA in Photography & Integrated Media

(See current Degree Sheet for updated listings and new course offerings)

Requirements: 60.0 credits

Graduate Studio Seminar a 6credit course taken in all 4 semesters *: 24 credits

Studio Elective C hoose 3 courses from the existing The College of Art and Design studio electives plus Photography as A Cultural Practice: 12 credits

3 credits IGRPH 5100 Photography as a Cultural Practice ( fall – required Semester 1)

3 credits ______

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3 credits ______

Art History of Critical Studies Elective C hoose three courses from the list below: 9 credits

3 credits IAHIS 5100 Issues in Art History & Visual Culture - (R equired in Semester #1)

3 credits IAHIS 5200 History of Photography

3 credits IAHIS 2210 Testament: A History of Documentary Photography

3 credits IAHIS 5220 The Power of German Film and Photography

3 credits IAHIS 5460 The History of Animation

3 credits IAHIS 5025 Cinema Eye, Cinema Art

3 credits IAHIS 5043 Curators, Critics & Collectors

3 credits IAHIS 5290 Art and Photography in Contemporary China

3 credits IAHIS 5211 Testament: A History of Documentary

3 credits IAHIS 5311 Gender in Focus: History of Women in Photography

3 credits IAHIS 5313 Photography and the Multicultural

3 credits IAHIS 5380 New Media: History and Process

3 credits IAHIS 5600 Art Since 1945

3 credits IAHIS 5610 Design Discourse

3 credits IAHIS 5900 Alternating Currents: Experimental Film and Video

3 credits IAHIS 5200 Representing Representation

3 credits IAHIS 5500 Art and Popular Culture

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3 credits IAHIS 5600 Postmodernism

3 credits IAHIS 5620 Hyperculture: Art and Technology

3 credits IAHIS 5910 Critical Theory

3 credits IGRPH 5200 Advanced Topics in Photography ( * s pring– strong recommendation)

3 credits INTDS-5600 Writing & Creative Process ( * s pring– strong recommendation)

3 credits IPHOT 5321 Documenting Village Life: Mexico

3 credits IPHOT 5330 Contemporary Trends

3 credits IPHOT 5340 Beauty and Fact: 19th Century Photography in the Digital Age

3 credits IPHOT 5460 Cinema and Visual Response

3 credits IPHOT 5390 Photography and Power

3 credits IPHOT 5480 The Critical Eye

3 credits IPHOT 5740 Art in Context

Professional Studies Elective C hoose three 3 credit options: 9 credits

Options can include: internships, adjunct faculty teaching fellowships, teaching assistantships, mentored independent studies, practicum or traditional course work in an area such as business management or art education. IPHOT 5740 Art In Context and IPHOT 5122 Professional Directions and INTDS-5600 Writing & Creative Process, will satisfy this requirement.

3 credits ______

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Anna Yeroshenko _ Self and Alex #6 2014 (72)

Teaching Fellowship Guidelines – IGRPH 7992

In the second year of the MFA Program, MFA candidates may be considered for two to four available Teaching Fellowships per semester, and will be employed by the University as regular university adjunct faculty. These Teaching Fellowship positions pay a full adjunct salary, based on experience, and are simultaneously worth 3-Professional Studies credits for the semester-long faculty position. A total of 9-Professional Studies credits, which may be earned with Teaching Assistantships, Independent Studies, or Internships, are required over the course of the degree. All candidates are able to make arrangements with BFA faculty and sign on as Teaching Assistants.

Although a Teaching Fellow will be paid a regular adjunct salary for the semester, and be qualified to list the experience on their CV’s as University teaching experience, the 3 credits are considered MFA coursework and are paid for by the candidate in the same manner as all other MFA degree requirements.

Preference for these few positions in the BFA Photography curriculum will be given to those who have successfully completed one or more 3-credit Teaching Assistantships in their first year and who have been evaluated by the faculty they assisted, the BFA Photography Chair, and MFA Director as being qualified to have a class of their own. Prior teaching experience may serve as a substitute for a first-year Teaching Assistantship. Teaching Fellowships will be matched to specific undergraduate classes where appropriate expertise can be expected and demonstrated. The most common assignments are Introduction to Photography for Non-Majors: Digital (in the fall) and Intro to Photography for Non-Majors: Traditional (in the spring). Teaching Fellows will be supplied with examples of syllabi from previous classes and be asked to create their own syllabus in consultation with the BFA Chair and MFA Director.

All candidates who have completed one or more Teaching Assistantships will be able to apply to the MFA Director for an Introduction to Photography for Non-Majors: Digital or Introduction to Photography for Non-Majors: Traditional Wet Lab. The Chair of the undergraduate program that hosts and schedules these courses (Christine Collins) and the Director will select the people they feel will perform at the highest level for those particular classes. In a majority of recent examples, two candidates have requested and were able to team-teach the course, sharing the experience and learning from one another. In a team-taught course, both candidates would still receive 3-credits for the Teaching Fellowship but only half of the stipend of the full adjunct rate as each course is given a specific budget line that cannot be exceeded. If enrollment from other departments demands it, we can run more than a single course per semester, 21

MFA Photography and Integrated Media

Quick Hit Overview – January 2018 thus offering more opportunities to the MFA candidates.

When the BFA Chair and the MFA Director specify which MFA candidates they want to teach the class, an invitation is extended and then paperwork for adjuncts be taken care of by Carolyn Latourelle on the Academic Affairs office at Lunder. That completed paperwork then goes to Atoosa Malekani to get them into the system as faculty. Registration for the 3 credits is done through Academic Advising / LOIS in the same manner as any other course so the candidate can get the credits. At the conclusion, all Teaching Fellows are asked to write a short document describing their experience. The Fellowship candidate’s name is listed on the MFA Director’s LOIS grading sheet and the candidates are awarded a PASS, or a FAIL, for their performance in the course. Recent Internships Harvard University Ceramics Program Photographic Resource Center, Boston Paul Taylor Printmaking Project Nica, Nicaragua Maine Media Workshops Santa Fe Photography Workshops Institute of Contemporary Art, Boston Boston Magazine Boston Public Schools Cambridge Public Schools Boston Red Sox – Fenway Park (Yay!)

MFA in Photography Additional Requirements in Studio Electives

Any course cross-listed as a MFA in Photography Studio Elective must have additional assignments/expectations to reflect the appropriate level or the amount of student learning expected of the MFA candidate. This can be in the form of extra writing, studio projects, critical thinking research, communications and / or participation. This will need to be reflected in the syllabus and defined for the MFA student. Every MFA student is required to accomplish the added requirements and demonstrate a higher level of achievement and / or proficiency in the studio electives as determined and required by the professor.

MFA Photography & Integrated Media Faculty

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

MFA Director, Christopher James, in a public forum conversation at The Boston Public Library with Visiting Artist, Sebastiao Salgado

Christopher James University Professor / Director MFA in Photography

Christopher James is an internationally known artist and photographer whose photographs, paintings, and alternative process printmaking have been exhibited in galleries and museums in this country and abroad. His work has been published and shown extensively, including exhibitions in the Museum of Modern Art, Metropolitan Museum of Art, George Eastman House, Philadelphia Museum of Art and the Institute of Contemporary Art-Boston. Represented by the Lee Witkin Gallery in New York City for over two decades he has also shown at Pace-McGill (NYC), Contrasts Gallery (London), Michelle Chomette (Paris), Hartje Gallery (Berlin), and Photokina (Germany). He has published extensively including Aperture, Camera (Switzerland), American Photographer, and Interview magazine and in books such as The A ntiquarian Avant Garde and H andcrafted: The Art and Practice of the Handmade Print (China).

All three editions of his book, The Book of Alternative Photographic Processes have received international critical acclaim and are universally recognized by artists, curators, historians, and educators as the definitive texts in the genre of alternative process photography and photographically integrated media and culture. A significantly expanded 900 page / 700 image, 3rd edition was published in 2015. Christopher, after 13 years at Harvard University, is presently University Professor and Director of the MFA in Photography program at Lesley University College of Art and Design. He received his undergraduate degree from Massachusetts College of Art and his masters from the Rhode Island School of Design and is also a painter, graphic designer, and a professional scuba diver. Christopher’s web site is www.christopherjames-studio.com

Christine Collins – Chair, BFA Photography, Professor Graduate Seminar

Christine Collins - Christine Collins received a BA from Skidmore College, and a MFA in photography from Massachusetts College of Art and Design. Recent exhibits include University of Texas at Austin, Austin, TX, Flash Forward Festival, Boston, MA, Rayko Gallery, CA, Maine Center for Contemporary Art, ME, The Photographic Resource Center, MA, The Danforth Museum, MA, Jen Bekman Gallery, NY, and 23

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

The Foster Gallery, MA. Her work has been featured in The Boston Globe, Town and Country Magazine, Esquire Magazine, and Adbusters Magazine. Sh e was recently a Critical Mass Finalist, nominated for the Prix Pictet, and selected as one of the Review Santa Fe 100. Her work is represented by Jen Bekman Gallery, NY, and she is an Assistant Professor of Photography and Chair of the Photography department at Lesley University College of Art & Design in Cambridge, MA. Christine’s web site is www.christinecollins.com

Dan Estabrook Visiting Artist 2011 & 2017 / CoProfessor Grad Thesis Seminar

For over twenty years Dan Estabrook has been making contemporary art using a variety of 19th-century photographic techniques. Recently he has focused on the earliest paper photographs – calotype negatives and salted paper prints – as sources for hand manipulation with paint and pencil. He balances his interests in photography with forays into sculpture, painting, drawing and other works on paper. Dan has exhibited widely and has received several awards, including an Artist’s Fellowship from the National Endowment of the Arts in 1994. He is also the subject of a recent documentary by Anthropy Arts. He is represented by the Catherine Edelman Gallery in Chicago, Daniel Cooney Fine Art in New York and Jackson Fine Art in Atlanta. Dan received his undergraduate degree from Harvard University and his MFA from U. of Illinois, Champagne-Urbana. He lives and works in Brooklyn, New York. Dan’s web site is www.danestabrook.com

Joe Wolin – Photography as a Cultural Practice / Visiting Artist / Scholar – spring 2018

Joseph R. Wolin, a critic and curator of contemporary art based in New York, teaches in the photography MFA program at Parsons School of Design, The New School. He taught in the MFA program at the School of the Museum of Fine Arts, Boston, from 2003 to 2015, and has also taught at the Rhode Island School of Design, MassArt, Drew University, and Fordham University. He has served on end-of-semester juries in the photography MFA program at Lesley University since 2012. He is the author of more than 170 art exhibition reviews for Time Out New York since 2006, and has also written for The New Yorker, Canadian Art, and Modern Painters, among other publications. He has curated more than 25 exhibitions since 1994, including The Royal Art Lodge: Ask the Dust, which traveled to six venues in four countries during 2003 – 05, and Open This End: Contemporary Art from the Collection of Blake Byrne, which is currently traveling to four American university art galleries. He was the Art Critic in Residence at the Bronx Museum in 2012 – 13, and since 2002 has served as a founding board member of Participant, Inc., in New York. O pen This End Exhibition - The Skylark Foundation

Ziad H. Hamzeh – Professor, Graduate Seminar Professor

Ziad Hamzeh – Ziad's work has earned over forty awards and accolades for directing, producing, and writing. Ziad's latest film Irrefutable Proof premiered at the Beverly Hills Film Festival 2016. The film won the Golden Palm award given to the best film in all categories, the Cinematography award for Rob Draper, and Best Actress Award to Sheena Colette. Ziad is the only one to take home the Golden Palm Award twice. Recently, Always Brando , producer, had its world premier at the Toronto International Film Festival 2011. Always Brando , written and directed by renowned filmmaker Ridha Behi's, was intended to be Marlon Brando's last film prior to his death. Always Brando weaves a story of innocence lost, of love abandoned and of dreams shattered. Ziad and Ridha won the Black Pearl award for Best producers at the Abu Dhabi Film Festival 2011. Always Brando also received The Jury prize at the Algerian Film Festival 2011 and the Best Picture at Alexandria Film Festival. Ziad’s web site is: w ww.hamzehmystiquefilms.com/

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

David H illiard – Visiting Artist / Scholar, Faculty Graduate Seminar 2017

David Hilliard creates large-scale multi-paneled color photographs, often based on his life or the lives of people around him. His panoramas direct the viewer’s gaze across the image surface allowing narrative, time and space to unfold. David received his BFA from the Massachusetts College of Art and MFA from the Yale University School of Art. He worked for many years as an assistant professor at Yale University where he also directed the undergraduate photo department. He has also taught at Harvard and the School of the Museum of Fine Arts in Boston. He currently teaches in Boston at the Massachusetts College of Art & Design and was a visiting faculty at Harvard University during the 2014-15 academic year. David teaches many summer workshops throughout the country and partakes in various artist residencies. This past summer he was Artist in Residence at T wenty Summers in Provincetown, MA. David exhibits his photographs both nationally and internationally and has won numerous awards such as the Fulbright and Guggenheim. His photographs can be found in many important collections including the Whitney Museum of American art in New York, the Museum of Fine Arts Boston, the Museum of Contemporary Art in Los Angeles and the Philadelphia Museum of Art. His work is represented by the Yancey Richardson Gallery in New York, Carroll and Sons Gallery in Boston, Jackson Fine Art in Atlanta, The Schoolhouse Gallery in Provincetown, MA and in Paris at La Galerie Particuliere. In 2005 a collection of his photographs was published in a monograph by Aperture Press and more recently Minor Matters Books published his new monograph “What Could Be". His web site - w ww.davidhilliard.com

Deb Todd Wheeler – V isiting Artist / Scholar, Faculty Graduate Seminar

Deb Todd Wheeler is a media artist who produces installations, photographs, and sculptural objects that explore the aesthetic impact of human productivity in the natural world. There is a clash between the desire to be productive, to be industrious, to push technology forward, and the fraught consequences this desire reaps: through the impact of waste, residue and other less visible costs of productivity. Her work lives in this clash, both sonically and visually, drawing a bit from the 19th century, a time when artists and scientists were more closely linked for their compatible skills in both examining and documenting the natural world, and a bit from the industrious DIY culture of the 60’s and today. Recent exhibitions include the DeCordova Museum (MA), Miller Yezerski Gallery (MA), ICA at MeCA (ME), Ellen Miller Gallery (MA), The New Britain Museum of American Art (CT), the Islip Art Museum (NY), St Gaudens Museum (NH), as well as the Megapolis Audio Art and Documentary Festival (MA). Lenny performances at Iceland Airwaves (Reykjavik, Iceland), Rockwood Music Hall (NYC). Awards include a LEF Contemporary Work Fund Artist grant in Inter-media, Massachusetts Cultural Council Grants in Sculpture and Installation, as well as Photography (Finalist), and New Genres (Finalist), the New England Journal of Aesthetic Research, Artist Resource Trust, and a collaborative project grant from Artists in Context. She is on the MFA Photography and Low Residency and faculty of the Lesley University College of Art and Design, and also teaches in the 3D Department at Massachusetts College of Art and Design. Deb’s site: http://babel.massart.edu/~debtoddwheeler/index.htm

Sunanda Sanyal – Professor LUCAD / Art History and Critical Studies Sunanda K Sanyal is Professor of Art History and Critical Studies at LUCAD. Originally from India, Sunanda has an MFA in Visual Arts (painting and installation) from UCSD (1990); an MFA in Art History from Ohio University (1993); and a Ph.D. in Art History from Emory University (2000). He is interested in politics of representation and identity; representation and otherness; contemporary artists from former colonies in global discourses. In 2008 and 2011, Sanyal produced and directed a two-part documentary film entitled “A Homecoming Spectacle”, which explores the visual culture of Durga Pujo , an annual religious/cultural festival held in West Bengal, India. He is currently working on a book on South Asian artists living in the US. Amanda King – Adjunct Professor LUCAD / Art History and Critical Studies 25

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Amanda King received her BA from Brown University (’97), an MSc from the University of California, Berkeley (‘01), and an MFA from Lesley University College of Art and Design (’12). She currently works at the Harvard T. H. Chan School of Public Health, and teaches foundation and writing classes at LUCAD. She has exhibited in Boston, MA, Santa Fe, NM and recently took part in a group show in the Far Eastern Art Museum in Khabarovsk, Russia.

Visiting Artist / Scholar Overview: The Visiting Artist program is a key component of the MFA in Photography program and is intended to promote curricular flexibility and a timely reflection and response to the constantly changing identity of photography in the 21st century.

Graduate Studio Seminars I – IV are designed as the core graduate study experience and is critical to the immediate reputation, success, and evolution of the MFA program. Each semester, a Visiting Artist / Scholar will be teamed with a core faculty member, and 12 MFA candidates in a Graduate Studio Seminar for an intensive studio and critical studies experience.

In order to engage the highest caliber Visiting Artist / Scholars, we do not require that Visiting Artists reside in Boston for the semester. Instead, we ask each Visiting Artist to come to the program 3 times during their semester and to be in residence for two complete days (6 - 7 in total) of work directly with MFA candidates. The first visit coincides with the beginning of the semester in order to begin the working relationship between the MFA candidates and Visiting Artist. It will consist of a 6-hour Graduate Studio Seminar with a core faculty and a 12 MFA candidate cohort on the first day of the visit. The second day will feature one-on-one meetings between the Visiting Artist and each student in their group.

The second visit will be scheduled during mid-semester reviews and will repeat the structure of the first visit and will include a Visiting Artist’s Talk with the University and The College of Art and Design community on a subject of the Visiting Artist’s choice. The final visit will take place at the conclusion of the semester where the Visiting Artist will join other faculty and guest critics for mid-year and end-of-year final thesis juries. Throughout the term, Visiting Artists will be expected to be in timely correspondence with the MFA candidates in their Graduate Studio Seminar section, via email, telephone, or in person.

Past, current and committed Visiting Artist / Scholars include Dan Estabrook, Vicki Goldberg, Keith Carter, Luis Gonzalez Palma, Lyle Rexer, Susan Bright, Roy Flukinger, Holly Roberts, Matt Saunders, David Hilliard, John Stilgoe, Holly Roberts, Deborah Luster, Andy Grundberg, Merry Foresta, Alison Nördstrom, Elinor Carucci, Sebastião Salgado, Deb Todd Wheeler, Lucy Soutter, Laurel Nakadate, Joe Wolin, Binh Danh, Diana Stoll and Susan Meiselas.

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Lara Porzak, Bird Corpse Series, 2015 (wet plate collodion)

One of the major benefits of a full immersion, residency, graduate program is the intensity of the experience, the eagerness of your fellow candidates, and the generosity and knowledge of the faculty and Visiting Artist / Scholars who are working with you throughout the year. Each encounter offers new and honest perspectives to consider, fresh eyes to assess your progress, and the encouragement to go forward.

Sara Bonnick, second year MFA Photography candidate

Visiting Artist’s 2011 2012

Dan Estabrook - fall of 2012 Dan Estabrook pathetica: artwork

Vicki Goldberg – spring 2012 Home - Vicki Goldberg

Visiting Artist’s 2012 – 2013

Keith Carter – fall 2012 Keith Carter Photographs - Home

Luis Gonzalez Palma – fall 2012 Luis Gonzalez Palma

Lyle Rexer – spring 2013 Lyle Rexer Web Site

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Holly Roberts – spring 2013 Holly Roberts

Visiting Artist’s 2013 – 2014

John Stilgoe – fall 2013 www.people.fas.harvard.edu/~stilgoe/

David Hilliard – fall 2013 www.davidhilliard.com

Susan Bright – spring 2014 . http://susanbright.net/

Roy Flukinger – spring 2014 www.utexas.edu/opa/experts/profile.php?id=122

Visiting Artist’s 2014 – 2015

Deborah Luster - fall 2014 - http://deborahluster.com

Matt Saunders – fall 2014 - http://www.mariangoodman.com/artists/matt-saunders/

Andy Grundberg - spring 2015 - http://www.corcoran.edu/faculty/andy-grundberg

Merry Foresta – spring 2015 - http://www.prixpictet.com/nominators/foresta-merry/

Visiting Artist’s 2015 – 2016

Alison Nordström - fall 2015 - http://www.prixpictet.com/nominators/nordstrom-alison/

Elinor Carucci – fall 2015 - http://www.elinorcarucci.com

Lucy Soutter – spring 2016 - http://www.lucysoutter.com

David Hilliard – fall 2013 - www.davidhilliard.com

Visiting Artist’s 2016 – 2017

Deb Todd Wheeler – fall 2016 - http://babel.massart.edu/~debtoddwheeler/index.htm

Dan Estabrook – fall 2017 - Dan Estabrook pathetica: artwork

Diana Stoll – spring 2017 - (13 years as Senior Editor of Aperture)

Lyle Rexer – spring 2017 - Lyle Rexer Web Site

Visiting Artist’s 2017 – 2018

David Hilliard – fall 2013 - www.davidhilliard.com

Laurel Nakadate - fall 2017 - http://www.tonkonow.com/nakadate_relations.html

Joe Wolin - spring 2018 - O pen This End Exhibition - The Skylark Foundation

Binh Danh - spring 2018 - h ttp://www.binhdanh.com

Visiting Artist’s 2018 – 2019 ( scheduled)

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Keith Carter – fall 2012 Keith Carter Photographs - Home

Elinor Carucci (photographer, author, professional dancer – fall 2018)

Susan Meiselas (photographer, filmmaker, former President of Magnum - fall 2018)

Luis Gonzalez Palma – fall 2017 - L uis Gonzalez Palma

Visiting Artist’s 2019 – 2020 ( scheduled)

Mazie Harris (Curator, Getty Museum – spring 2019)

Luis González Palma MFA Visiting Artist – fall 2012 / Fall 2017

Born in Guatemala in 1957, Palma currently lives and works in Córdoba, Argentina. Among his personal exhibitions can be noted: the Art Institute of Chicago (USA); the Lannan Foundation, Santa Fe, (USA); the Australian Centre for Photography, Australia; Palacio de Bellas Artes of México; the Royal Festival Hall in London; Palazzo Ducale di Genova, Italia; Museos MACRO and Castagnino de Rosario, Argentina. He has also exhibited in photographic festivals such as Photofest in Houston, Bratislava in Slovakia, Les Rencontres de Arles in France, PhotoEspaña in Madrid, Singapore, Bogotá; San Pablo and Caracas, among others.

He has participated in collective shows including the 49th and 51st Biennale di Venezia, Fotobienal de Vigo, XXIII Bienal de Sao Paulo, Brazil, V Bienal de la Habana; the Ludwig Forum for International Kunst in Aachen, Germany; The Taipei Art Museum in Korea, Museo de Bellas Artes of Buenos Aires, Argentina; Foundation Daros in Zurich, Switzerland; Palacio del Conde Duque in Madrid, España and the Fargfabriken in Stockholm, Sweden.

His work is included in various public and private collections including the Art Institute of Chicago, the Daros Fundation in Zurich, Switzerland, La Maison European de la Photographie in Paris, the Houston Museum of Fine Arts, la Fundation pour l'Art Contermporain in Paris, France; la Fondazione Volume! in Rome, Italy; La Biblioteca Luis Angel Arango in Bogotá, Colombia; the Fogg Museum at Harvard University, the Minneapolis Institute of Art; and the Kiyosato Museum of Photographic Arts, Japan.

He received the Grand Prize Photo España “Baume et Mercier” in 1999 and collaborated in the staging of “Death and the maiden” in the Opera of Malmö, Sweden in 2008. He has three monographs of his work published including “Poems of Sorrow” by Arena Editions, and “El silencio de la Mirada” by Pelliti Editions in Rome. w ww.gonzalezpalma.com

Keith Carter – MFA Visiting Artist – fall 2012

Keith Carter holds the Endowed Walles Chair of Art at Lamar University in Beaumont, Texas. He is the recipient of the Texas Medal of Arts, the Lange-Taylor Prize from the Center for Documentary Studies at Duke University, and the Regent's Professor Award from the Texas State University System. His work has been shown in over 100 solo exhibitions in thirteen countries. He is the author of eleven books: Fireflies, A Certain Alchemy, O pera Nuda, Ezekiel's Horse, Holding Venus, Bones, Mojo , Keith Carter Photographs: TwentyFive Years, Heaven of Animals, The Blue Man, and From Uncertain to Blue. A DVD documentary of his work titled The Photographer's Series: Keith Carter was produced by Anthropy Arts. Carter's work is included in numerous private and public collections, including the National Portrait Gallery, Art Institute of Chicago, San Francisco Museum of Modern Art, J. Paul Getty Museum, Los Angeles, Museum of Fine Arts, Houston, George Eastman House, Smithsonian American Art Museum, 29

MFA Photography and Integrated Media

Quick Hit Overview – January 2018 and the Wittliff Collections at Texas State University. w ww.keithcarterphotographs.com

Dan Estabrook MFA Visiting Artist – fall 2011 / Thesis Seminar V.A. – 2013 2015

Dan has exhibited widely and has received several awards, including an Artist’s Fellowship from the National Endowment of the Arts in 1994. He is also the subject of a recent documentary by Anthropy Arts. He is represented by the Catherine Edelman Gallery in Chicago, Daniel Cooney Fine Art in New York and Jackson Fine Art in Atlanta. He lives and works in Brooklyn, New York. h ttp://danestabrook.com/

Cotton Miller_MRI_005- 2012

Vicki Goldberg MFA Visiting Artist / Author fall 2012

Vicki Goldberg is one of the leading voices in the field of photography criticism, having written for New York Times for thirteen years, and has published several books and the texts for more than twenty photographic monographs. Her books "T he Power of Photography: How Photographs Changed Our 30

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Lives" and "M argaret BourkeWhite: A Biography" were each named one of the Best Books of the Year by the American Library Association, and the anthology she edited, "Photography in Print: Writings from 1816 to the Present," was cited in the Wall Street Journal in 2006 as one of the five best books ever written on photography. Most recent book: "T he White House: The President's Home in Photographs and History,” 250 photographs from the 1840s to 2010 of the house, the presidents, their wives, children, staffs, guests, pets, relations with the media and involvement with technology. She has received numerous awards for writing, including the International Center of Photography's Infinity Award, the Royal Society's Dudley Johnston Award, and the Long Chen Cup (China). Ms. Goldberg, who has taught courses at the Institute of Fine Arts in New York, the Centro de la Imagen in Mexico City, and the Rhode Island School of Design, lectures internationally (in Russia this past November) and writes on photography for various magazines. Vicki is currently working on a book on Brice Davidson for Magnum. Her web site is: w ww.vickigoldberg.com/

Lyle Rexer – MFA Visiting Artist / Scholar / Author –2013 & 2016

Lyle Rexer was born in 1951. He was educated at the University of Michigan, Columbia University, and Merton College, Oxford University, which he attended as a Rhodes Scholar. He is the author of several books, including Photography’s Antiquarian AvantGarde: The New Wave in Old Processes (2002); Jonathan Lerman: The Drawings of an Artist with Autism (2002); How to Look at Outsider Art (2005); and The Edge of Vision: The Rise of Abstraction in Photography (2009). In addition to his book projects, Lyle Rexer has published many catalogue essays dealing with contemporary artists and collections and contributes articles on art, architecture, photography, and culture to a variety of publications, including The New York Times, Art in America, Modern Painters, Aperture, Metropolis, Parkett, a nd R aw Vision. As a curator, he has organized exhibitions in the United States and internationally. For the Aperture Foundation he curated The Edge of Vision, an exhibition of contemporary abstract photography, which is traveling through 2013. Lyle Rexer teaches at the School of Visual Arts in New York City and is a columnist for P hotograph m agazine. h ttp://lylerexer.com/

Holly Roberts – MFA Visiting Artist – spring 2013

Holly Roberts received her BA from the University of New Mexico and an MFA from Arizona State U. University. A two time recipient of the National Endowment for the Arts award, she has had numerous solo and group exhibitions including those at SF MOMA, the Museum of Contemporary Photography in Chicago, and the Los Angeles County Museum of Art. Her work is in many important collections including LA MoCA, The Art Institute of Chicago, Museum of Fine Arts, Houston, and the Center for Creative Photography in Tucson. w ww.h ollyroberts studio.com

Susan Bright – MFA Visiting Artist – spring 2014 Susan Bright is a curator and writer based in New York. She was formally Assistant Curator of Photographs at the National Portrait Gallery (London), Curator at the Association of Photographers and Acting Director for the MA at Sotheby's Institute of Art in London. Her previous exhibitions include: Something Out of Nothing (Fotogalleriet, Oslo), How We Are: Photographing Britain (co-curated with Val Williams; Tate Britain, London) and Face of Fashion (National Portrait Gallery, London). She is the author of Art Photography Now and Auto Focus—The Self Portrait in Contemporary Photography, both published by Thames and Hudson. Her newest book is Home Truths: Photography and Motherhood. She is currently a PhD candidate at Goldsmiths College (University of London) pursuing a PhD in Curating. Here’s a MOCAtv video of Susan in action. YouTube Curated by Susan Bright - MOCAtv - YouTube. Susan will be a Visiting Artist in the MFA in Photography Program in the spring of 2014. http://susanbright.net/

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Anne Eder, Anthotype Portrait

John Stilgoe – MFA Visiting Artist / Scholar / Author fall 2013

John Stilgoe is the author of many books and has taught at Harvard University since 1977. As Orchard Professor in the History of Landscape, he divides his time equally between the Department of Visual & Environmental Studies in the Faculty of Arts and Sciences and the Department of Landscape Architecture in the Graduate School of Design. His courses focus on learning to see acutely (and sometimes serendipitously): the ordinary built environment forms his core subject. His introductory course explores ways of seeing the national built landscape since Spanish colonial times: his modernization course explores the ways advertising and other forces changed national attitudes and visions after 1890: his seminar on the North American seacoast lately emphasizes the depiction of the seacoast in period literature that now shapes tourism attitudes: and his course on fantasy centers on those elements of real landscape that morph into envisioned ones so much a part of modern childhood. He directs undergraduate and graduate theses that reflect the interests of individual students.

His books include Common Landscape of America, 1580 to 1845, Metropolitan Corridor: Railroads and the American Scene, Borderlands: Origins of the American Suburb, 1820 to 1939, and Outside Lies Magic. More recently they have focused on the maritime and marine topics: ShallowWater Dictionary: A Grounding in Estuary English, Alongshore, and Lifeboat: A History of Courage, Cravenness, and Survival at Sea. A Fellow of the Society of American Historians and the winner of the Francis Parkman Medal, the George Hinton Prize, the Bradford Williams Medal, and other awards, he is a determined film photographer, often using one of his Rolleiflex medium-format cameras in his drives around the United States. He lives on an old farm and rebuilds antique small boats for relaxation.. www.people.fas.harvard.edu/~stilgoe/ John was featured in a 60 Minutes profile segment a short time ago and you can watch it by clicking on this link.

Roy Flukinger – MFA Visiting Artist – spring 2014

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Roy Flukinger - as Senior Curator of Photography & Film at the Harry Ransom Humanities Research Center, Mr. Flukinger is currently in charge of the development, administration and application of the collections. He has and continues to lecture and publish extensively in such fields as: regional, cultural and contemporary photography, the history of art and photography, and film. He has produced nearly fifty exhibitions ranging from classical photo history to contemporary photography, and from photographers' retrospectives to American / regional / Texas photography. He serves as juror, reviewer and evaluator for contemporary photographic events, institutions and support organizations, as well as finds and develops acquisitions for the HRHRC Photography & Film Department. Mr. Flukinger serves as liaison for the Department with fellow professionals worldwide throughout the fields of Photography & Film.

Lyle Rexer – MFA Visiting Artist – spring 2013 / spring 2017

The MFA program in photography at LUCAD has established itself as distinctive for the diversity of approaches it encourages, but as a visiting faculty member, I have come to appreciate its critique juries as among the most stimulating academic experiences I have had. Students have a tremendous advantage in presenting their work to a rotating group of the most important photographic professionals in the country: critics, artists, curators and educators. The spirit in the room is intense but also collaborative and profoundly supportive. Everyone has the same goal to help the work get better and the dialogues that result open up wonderful creative possibilities. There's nothing else like it in my experience, which is why I agree to participate whenever I am asked.

—Lyle Rexer, author, educator, curator and Visiting Artist / Scholar, 2016

David Hilliard – Visiting Artist Fall 2013 & 2016 / Guest Juror 2012 – 2015

MFA Photography and Integrated Media

Quick Hit Overview – January 2018 collections including the Whitney Museum of American art in New York, the Museum of Fine Arts Boston, the Museum of Contemporary Art in Los Angeles and the Philadelphia Museum of Art. His work is represented by the Yancey Richardson Gallery in New York, Carroll and Sons Gallery in Boston, Jackson Fine Art in Atlanta, The Schoolhouse Gallery in Provincetown, MA and in Paris at La Galerie Particuliere. In 2005 a collection of his photographs was published in a monograph by Aperture Press and more recently Minor Matters Books published his new monograph “What Could Be". His web site - w ww.davidhilliard.com

Matt Saunders - V isiting Artist Fall 2014

Matt Saunders works cross boundaries between paintings, photographs, and animated films. Recent one-person exhibitions include those at Tate Liverpool, Marian Goodman Gallery, the Renaissance Society in Chicago and Harris Lieberman Gallery in New York. His work has been seen in group exhibitions at the DeCordova Biennial, the Sharjah Biennial, San Francisco Museum of Modern Art, Deutsche Guggenheim, Aspen Art Museum, University of Michigan Museum of Art, Sabanci Museum in Istanbul, and Artists Space in New York, and can be found in the collections of MoMA, SFMoMA, the Guggenheim, the Whitney, UCLA Hammer, and the Harvard Art Museums. Saunders earned his A.B. from the department of Visual and Environmental Studies at Harvard in 1997, and his MFA from Yale in 2002. Since then he has been primarily living and working in Berlin. As a writer, Saunders is an occasional contributor to Artforum and Texte zur Kunst, among others. From 2007 to 2008 he collaborated with Katarina Burin, Philipp Ekardt, Heike Föll, and Jan Kedves on a project series and exhibition space – the “Institut im Glaspavillon”—on Rosa-Luxemburg-Platz in Berlin.

Matt Saunders: h ttp://www.mariangoodman.com/artists/matt-saunders/

Natalie Titone, 2015 (porcelain ceramic pillows with image transfer)

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Deborah Luster Visiting Artist Fall 2014

Deborah Luster is best known for her installation archive series O ne Big Self: Prisoners of Louisiana and Tooth for an Eye A Chorography of Violence in Orleans Parish. For One Big Self, Luster photographed for six years in Louisiana's prison system, including the state's maximum-security prison at Angola. Tooth for an Eye documents homicide locations in the nation’s homicide capital, New Orleans. Monographs of both long-term projects are published by Twin Palms Publishers.

Deborah’s work is included in the permanent collections of the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the Houston Museum of Fine Arts. Her awards include a John Simon Guggenheim Fellowship (2013), a Dorothea Lange-Paul Taylor Prize from the Center for Documentary Studies at Duke University, an Anonymous Was a Woman Award, the John Guttman Award and a Bucksbaum Family Award of American Photography. She is represented by Jack Shainman Gallery. Deborah’s web site: w ww.deborahluster.com

Andy Grundberg Visiting Artist / Author / Critic spring 2015

Andy Grundberg (BA Cornell University, MFA University of North Carolina at Greensboro) is a writer, curator, teacher, and arts consultant who has been involved with photography and art for more than 25 years. As a critic for the New York Times from 1981 to 1991 he covered the rapid ascent of photography within the art world. From 1992 to 1997 he was the director of The Friends of Photography in San Francisco, where he founded the quarterly journal see. Among the major exhibitions he has organized are Photography and Art: Interactions Since 1946 (1987), Points of Entry: Tracing Cultures (1996), Ansel Adams: A Legacy (1997), and In Response to Place: Photographs from The Nature Conservancy’s Last Great Places (2001). His books include Crisis of the Real (Aperture, 1999), Alexey Brodovitch (Abrams, 1989), and Mike and Doug Starn (Abrams, 1990). He is one of the contributors to William Christenberry (Aperture, 2006) and the Corcoran exhibition catalog Helios: Eadweard Muybridge in a Time of Change (Steidl, 2010).

Grundberg is Associate Provost and Dean of Undergraduate Studies at the Corcoran College of Art and Design in Washington, D.C., where he has taught since 2002.

Merry Foresta Visiting Artist / Curator / Scholar spring 2015

Merry Foresta served as the founding director of the Smithsonian Photography Initiative from 2000 to 2010. Having received her bachelor’s and master’s degrees from Cornell University, she was a curatorial assistant at the Herbert F. Johnson Museum of Art in Ithaca, New York, before joining the Smithsonian Institution in 1978. She first served as an assistant curator for twentieth-century art at the National Collection of Fine Arts (now the Smithsonian American Art Museum). There she was named the museum’s first curator of photography in1982 and subsequently was appointed senior curator of photography in 1992. In 2000, she was appointed Director of the Smithsonian Photography Initiative, a web-based, multi-disciplinary project about photography in Smithsonian collections. During this time, Ms. Foresta also has taught at a number of Washington, D.C. area universities and colleges.

During her tenure at the Smithsonian, Ms. Foresta has built one of the world’s premier collections of American photography. She has curated many exhibitions and authored catalogues on art and photography, including “Perpetual Motif: The Art of Man Ray;” “Photography of Invention: Pictures of the 1980s;” “Between Home and Heaven: Contemporary American Landscape Photography;” Secrets of the Dark Chamber: The Art of the American Daguerreotype;” and “American Photographs: The First Century. For the inaugural project of the Smithsonian Photography Initiative,” Ms. Foresta authored At First Sight: 35

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Photography and the Smithsonian, which featured a broad sampling of photographs from collections throughout the Institution as well organized and authored an institution-wide website devoted to photography. “Click: Photography Changes Everything,” co-curated and co-authored with Marvin Heiferman, was the Smithsonian’s first online exhibition and publication site. Aperture published the printed version, Photography Changes Everything, in 2012. More recently she curated “A Democracy of Images: Photographs from the Smithsonian American Art Museum,” and is the curator for the forthcoming Irving Penn Retrospective exhibition that will open at the Smithsonian in 2015. Currently she is an advising fellow at the Voinovich School of Leadership and Management at Ohio University, and works as an independent curator and advisor for the arts at various museums and libraries, including the Museum of Photographic Arts, San Diego and the University of Virginia Arts Initiative.

Alison Nordström – Visiting Artist / Scholar Fall 2015

Alison Nordström is an independent scholar, writer and curator specializing in photography, formerly Founding Director and Senior Curator of the Southeast Museum of Photography, and Senior Curator of Photographs/Director of Exhibitions at George Eastman House. She has worked with students of photography, art and photographic preservation at numerous international institutions. She was an editor of the academic journal Photography and Culture (London) from 2007 to 2010 and is the author of over 100 books and essays on photographic topics. She has has curated over 100 photographic exhibitions in nine countries, including L ewis Hine, T ruth/Beauty: Pictorialism and the Photograph as Art, 1845-1945, and I deas in Things: Photography and Materiality. She is currently Consulting Curator for International Programs at the Griffin Museum and Curator/Lead Writer for the Dutch project P hotographs After Baldus. In 2015 and 2016 she is artistic Director of Fotofestiwal Lodz, in Poland. She holds the PhD in Cultural and Visual Studies. Web Site: h ttp://www.prixpictet.com/nominators/nordstrom-alison/ As well, Alison’s Linked in bio. She relates that she accepts everyone who asks. https://www.linkedin.com/profile/view?id=AAMAAAyen7IBoeqrkpSPQDpLAH0SwrnDviAqzVo&trk=hp -identity-name

Elinor Carucci – Visiting Artist / Scholar – Fall 2015 – fall 2018

Born 1971 in Jerusalem, Israel, Elinor Carucci graduated in 1995 from Bezalel Academy of Arts and Design with a degree in photography, and moved to New York that same year. In a relatively short amount of time, her work has been included in an impressive amount of solo and group exhibitions worldwide, solo shows include Edwynn Houk gallery, Fifty One Fine Art Gallery, James Hyman and Gagosian Gallery, London among others and group show include The Museum of Modern Art New York and The Photographers' Gallery, London. Her photographs are included in the collections of The Museum of Modern Art New York, the Brooklyn Museum of Art, Houston Museum of Fine Art, among others and her work appeared in The New York Times Magazine, The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and many more publications. She was awarded the International Center of Photography’s Infinity Award for Young Photographer in 2001, The Guggenheim Fellowship in 2002 and NYFA in 2010. Carucci has published two monographs to date, Closer , Chronicle Books 2002 and Diary of a dancer, SteidlMack 2005. Carucci currently teaches at the graduate program of photography at School of Visual and represented by Edwynn Houk Gallery. In winter of 2013/2014 Prestel publishing published her third monograph, MOTHER, portraying nearly a decade of her motherhood project. A solo show of this work was exhibited at Edwynn Houk Gallery in NYC in March 2014 and Museum of Contemporary Photography in Chicago. Elinor’s web site: w ww.elinorcarucci.com

Lucy Soutter – Visiting Artist / Scholar spring 2016

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Photographer, critic, art historian and CalArts alumna Lucy Soutter (Art MFA 93) has released the book, W hy Art Photography?, via London-based Routledge Press early this year. The publication is an introduction to art photography and the ideas behind the genre, exploring key issues such as ambiguity, objectivity, staging, authenticity, the digital and photography’s expanded field. Besides contemporary work, the book also traces concepts and visuals to their sources throughout art history.

Soutter, who currently tutors at the Department of Critical and Historical Studies at the Royal College of Art in London, has spent more than two decades exploring contemporary art and photography through dozens of critical and academic writings, including essays in G irls! Girls! Girls! in Contemporary Art (Intellect, 2011), A ppropriation (Whitechapel Gallery, 2009) and R ole Models: Feminine Identity in Contemporary Photography (Scala, 2008). Her web site: www.l ucysoutter. com/ Find more information about the book h ere.

Deb Todd Wheeler – Visiting Artist – Fall 2016

Deb Todd Wheeler is a media artist who produces installations, photographs, and sculptural objects that explore the aesthetic impact of human productivity in the natural world. There is a clash between the desire to be productive, to be industrious, to push technology forward, and the fraught consequences this desire reaps: through the impact of waste, residue and other less visible costs of productivity. Her work draws a bit from the 19th century, a time when artists and scientists were more closely linked for their compatible skills in both examining and documenting the natural world, and a bit from the industrious DIY culture of the 60’s. From power generating interactive installations to cataloging prints of plastic as a possible new species of marine life, to working with live western harvester ants who are, as Ann Wilson Lloyd wrote in Art in America, “… perfect collaborators for Wheeler, as their industry is a micro-complement to her own intensive, finely wrought crafting, and her ongoing interest in science and nature”. Recent exhibitions include the ICA at MeCA in the exhibit EXCHANGE, Ellen Miller Gallery Boston, The New Britain Museum of American Art, the Islip Art Museum, St Gaudens Museum, as well as the Megapolis Audio Art and Documentary Festival. Her work was chosen by both the Boston Globe and the Boston Phoenix as “Best Exhibitions of 2010”, and was awarded the Best Solo Exhibition and Best New Media of 2010 in the New England Journal of Aesthetic Research annual awards. She has also received both an individual and institutional artist grant from the Artist Resource Trust, a LEF Contemporary Work Fund Artist grant in Inter-media, Massachusetts Cultural Council Grants in Sculpture and Installation, as well as Photography, and a collaborative project grant from Artists in Context through the BARR Foundation. She teaches in the 3D Department at Massachusetts College of Art and Design, and is on the Low Residency MFA Faculty at the Art Institute of Boston/Lesley University, and spent 2012/13 teaching sculpture and working on the Eric Green Sculpture/Installation commission at Brandeis University. h ttp://babel.massart.edu/~debtoddwheeler/index.htm

Diana Stoll – Visiting Artist / Scholar spring 2017

Diana C. Stoll is an independent editor, writer, and curator specializing in contemporary photography and photo-based art. She works with numerous cultural institutions, and has been affiliated with the Aperture Foundation since 1993: from 2000 to 2013 as Senior Editor of A perture magazine, and currently as an editor of photobooks. Among Diana's recent editorial projects: Charlotte Cotton's Photography Is Magic (Aperture 2015), David Levi Strauss’s W ords Not Spent Today Buy Smaller Images Tomorrow (Aperture 2014), Eva Respini’s R obert Heinecken: Object Matter (MoMA 2014), Kathy Ryan's New York Times Magazine Photographs (Aperture 2012), and the forthcoming R obert Mapplethorpe: The Perfect Medium ( Getty Publications 2016). Based in Asheville, North Carolina, Diana frequently focuses on photography of the Southeast, and has curated exhibitions at galleries in North Carolina as well as at Aperture, and has contributed catalog texts on the work of Mike Smith, Paul Kennedy, Ken Abbott, Doris Ullman, and emerging Southern photographers. She has lectured and participated on panels at Art Chicago, Aperture, the Asheville Art Museum, YoungArts Miami, and elsewhere. Diana is the co-author,

MFA Photography and Integrated Media

Quick Hit Overview – January 2018 with Lin Arison, of F east (Chronicle 2011) and D esert and Cities Sing ( Chronicle 2016), and her writings on photography appear regularly in A perture a nd other publications.

Diana Stoll—spring 2017—longtime editor with the Aperture Foundation: w ww.aperture.org

Laurel Nakadate – Visiting Artist / Scholar fall 2017

Laurel Nakadate was born in Austin, Texas and raised in Ames, Iowa. From 1999 to 2001, while completing her MFA in photography at Yale University, she began to create provocative works in video, photography, performance and film that challenge conventional perceptions of power, seduction, tenderness and trust. Nakadate’s early relationship to the fixed single viewpoint of the camera (as both artist and subject), her insistence on simple production values, and her upending of public and private ritualistic behaviors, anticipated the amateur video aesthetic of YouTube diaries and internet blogs. A major monograph, 3 65 Days: A Catalogue of Tears, featuring a yearlong photographic “performance,” in which the artist forced herself to cry each day during the year 2010, was published by Hatje Cantz and the Zabludowicz Collection, London. Laurel Nakadate has participated in solo and group exhibitions at museums and galleries worldwide, including a critically acclaimed ten-year survey L aurel Nakadate: Only the Lonely a t MoMA PS 1 in 2011. Her works are in the collections of The Museum of Modern Art; the Whitney Museum of American Art; the Cincinnati Art Museum; the Yale University Art Gallery; the Princeton University Art Museum; the Hessel Museum of Art at Bard College; the Museum of Modern Art, Warsaw; and other distinguished institutions. The artist has also received widespread acclaim for two feature-length films, S tay the Same Never Change, which premiered at the 2009 Sundance Film Festival, and T he Wolf Knife (2010), which was nominated for Gotham and Independent Spirit Awards and was the featured work in T he Believer Magazine’s 2012 annual film issue. Nakadate's most recent museum show, Strangers and Relations, at the Des Moines Art Center ran for five months of 2015. The most recent images from that body of work were included in L and/Sky: Temporal Concepts, at Leslie Tonkonow Artworks + Projects in Feb. 2016. For recent work and updates: h ttp://www.tonkonow.com/nakadate_relations.html and https://www.youtube.com/watch?v=-c8KCJYVKGw

Binh Danh – Visiting Artist / Scholar – spring 2018

Binh Danh was born in Vietnam in 1977. He received an MFA from Stanford University and a BFA from San Jose State University. His technique incorporates his invention of the chlorophyll printing process, in which photographic images of war appear embedded in leaves through the action of photosynthesis. His current work explores photography’s relationship to memory and landscape with subject matters ranging from the American Civil War to the National Parks. Danh’s works were recently included in the exhibition “T he Memory of Time” at the National Gallery of Art as well as “War Memoranda: Photography, Walt Whitman, and Renewal,” at the Taubman Museum of Art, Roanoke, Virginia. His work is included in the permanent collections of the San Francisco Museum of Modern Art, George Eastman Museum, and the National Gallery of Art, among many others. In 2012, he was a featured artist at the 18th Biennale of Sydney in Australia. He is represented by Haines Gallery in San Francisco and Lisa Sette Gallery in Phoenix, Arizona. He lives and works in Tempe, AZ and teaches photography at Arizona State University, where he is an assistant professor of photography in the Herberger Institute for Design and the Arts. You can see Binh’s work on his site: h ttp://www.binhdanh.com

Susan Meiselas – Visiting Artist / Scholar – fall 2018

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Susan Meiselas is a photographer / filmmaker, author, professor, MacArthur Fellow (1992), and former President of Magnum Photos. Educated at Sarah Lawrence College and Harvard University She has been associated with Magnum Photos since 1976 and a full member since 1980. She has published several books of her own photographs including Carnival Strippers (1976), Nicaragua (1981) and has edited and contributed to others. Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since then. She is best known for her coverage of the insurrection in Nicaragua and her documentation of human rights issues in Latin America. She published her second monograph, Nicaragua, in 1981. Meiselas served as an editor and contributor to the book El Salvador: The Work of Thirty Photographers and edited Chile from Within featuring work by photographers living under the Pinochet regime. She has co-directed two films, Living at Risk: The Story of a Nicaraguan Family and Pictures from a Revolution with Richard P. Rogers and Alfred Guzzetti. In 1997, she completed a six-year project curating a hundred-year photographic history of Kurdistan, integrating her own work into the book Kurdistan: In the Shadow of History a nd developed a kaKurdistan, an online site of exchange for collective memory in 1998.

Susan has had one-woman exhibitions in Paris, Madrid, Amsterdam, London, Los Angeles, Chicago, and New York, and her work is included in collections around the world. She has received the Robert Capa Gold Medal for her work in Nicaragua (1979); the Leica Award for Excellence (1982); the Engelhard Award from the Institute of Contemporary Art (1985); the Hasselblad Foundation Photography prize (1994); the Cornell Capa Infinity Award (2005) and most recently was awarded the Harvard Arts Medal (2011). Susan’s web site: w ww.susanmeiselas.com

“I would tell someone considering applying to the program to do it! At LUCAD there is a commitment to individual goals. This individualized approach paired with access to a wide range of instructors who are also practicing photographers and artists, with expertise in a variety of genres, make LUCAD the ideal place to earn an MFA in photography. I decided to enroll in the MFA program because I desired a support system of peers and educators to help me strengthen my voice as a photographer. I was looking for a way to have a clearer understanding of the "why" I make photographs and the best way to communicate that "why." At LUCAD I am finding the answers to why. Jess Somers, MFA Photography graduate

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

Front to back: Danielle, Taylor, Tabitha & Anna - Commencement 2015

Amanda King_Clovers_2013

MFA Photography and Integrated Media

Quick Hit Overview – January 2018

https://www.lesley.edu/academics/graduate/photography-integrated-media

MFA Photography and Integrated Media

Quick Hit Overview – January 2018