Welcome to the MICA Photography Department
MICA Photo is proud to announce that alum, Rafael Soldi, has his photographs featured in an article by “The Guardian”. One of his images from the article is featured below:
Follow link for full article and photographs:
Longwood University invites qualified applicants to apply for the position of University Photographer/ Media Specialist III within the University Marketing and Communications department.
The University Photographer should be a talented and motivated individual that is truly excited to help bring the university’s brand to life through creative and visual storytelling. This individual will build and lead a dependable team of student workers, as well as work closely with the rest of the marketing team, to help set and accomplish strategic content goals consistent with the tone and strategy outlined in Longwood’s brand guide. This position will report to the Assistant Vice President of Digital Marketing and Content Strategy.
RESPONSIBILITIES & DUTIES:
• Considerable amount of experience in professional photography or equivalent combination of training and experience required
MICA Photo is pleased to announce that there will be two very interesting photo courses offered in the “Open Studies” (previously known as Continuing Studies) program here at MICA. Instructor Nick Simko is teaching two different sections:
What does it mean to be a “queer” photographer? This term is certainly a loaded one, especially when entangled with the image-maker’s pivotal role in re-presenting themselves and others. The term “queer” is used by some photographers today to contextualize their practice (for purposes such as political intention, subject matter, methodology, etc.) Simultaneously some photographers epitomize “queer”-ness in their work through strategies of purposeful ambiguity and definitional transgression by never allowing the term to come to the fore at all. As we move forward in a cultural climate of national and individual identity emergency (that is, a situation in which “emergence” can occur), this course will aim to expand upon the myriad definitions of what “queer” photography might be.
“Queer Photography: Definitions, Dissonances, and Departures” will feature several thematic studio-based assignments informed by queer theory readings, in-class discussions, written response, and critique. The course will culminate in a self-directed final project that explores the methods in which artists seek out and discover unaccounted-for sites of radical reinvention in the context of their photographic practice.
Though the discovery of photography was largely fueled by a desire to objectively capture visible reality, it has equally been a methodology in which to manifest manifold imagined worlds of the photographer’s own invention. As a relatively new medium, less than two hundred years old, photography has produced countless artists who exploit both its possibilities and limitations in order to represent our dreams while also challenging the power of the photograph as a “fact.” These image-makers go to great lengths to enchant, deceive, inspire, and fool their audience, using tactics sourced from theater, film-making, literature, and even by reiterating the very history of art itself. As our contemporary age is governed by a seemingly endless configuration of images, it is now more than ever that we must examine how these constructed photographic narratives shape our world and ourselves.
This course will cover strategies and ideas relating to staged photography. Students will be introduced to a wide variety of artists who have employed an element of fiction, narrative, drama and/or myth into their photographic practice. Through the consideration of historical and contemporary sources, students will be required to develop their own concepts resulting in a cohesive body of work. In order to realize these final projects the coursework will also cover the multifaceted processes of “building” a photographic image including storyboarding, studio lighting, digital imaging techniques, print production and more.
Nick Simko is an interdisciplinary artist and educator. Simko’s studio practice focuses on the deconstruction of visual culture through material experimentation, inventive iconoclasm, and visual play. Simko’s photographs, collage, and tapestries have been exhibited at museums and galleries throughout the United States. Simko holds a BFA degree in Art History, Theory & Criticism from the Maryland Institute College of Art and is presently completing an MFA in Photography at the University of New Mexico.
The following programs are made possible by the James D. and Kathryn K. Steele Fund for Photography. These presentations are held in conjunction with East of the Mississippi: Nineteenth-Century American Landscape Photography, the first exhibition to focus exclusively on landscape photographs made in the eastern half of the United States during the 19th century. On view from March 12 through July 16, 2017, East of the Mississippi showcases some 175 works—from daguerreotypes and stereographs to albumen prints and cyanotypes—by numerous photographers whose efforts have often gone unheralded. Celebrating natural wonders such as Niagara Falls and the White Mountains, as well as capturing a cultural landscape fundamentally altered by industrialization, the Civil War, and tourism, these photographs not only helped shape America’s national identity but also played a role in the emergence of environmentalism.
April 23 at 12:00 p.m.
James Welling, artist
East Building Auditorium
James Welling discusses his series Railroad Photographs, made from 1987 to 2000 in the context of his 19th-century predecessors. Fascinated with railroads since childhood, Welling has photographed train and railroad landscapes, radiating out from his home in New York City up through Connecticut, Massachusetts, upstate New York, to Pennsylvania, Ohio, Illinois, and eventually Wyoming and California.
Picturing Landscape through Nineteenth-Century Photographic Processes
May 6 at 11:00 a.m.
France Scully Osterman, artist, educator, lecturer at Scully & Osterman Studio, and guest scholar at George Eastman House International Museum of Photography and Film
East Building Auditorium
France Scully Osterman provides an overview of historical photographic processes used to create works in the exhibition East of the Mississippi: Nineteenth-Century American Landscape Photography. Osterman also demonstrates how to make cyanotypes and salted paper prints, two popular 19th-century photographic processes. Beginning with coating papers by hand, she prints the light-sensitive papers with collodion negatives, and she then elaborates on the similarities between the salted paper and albumen printing processes and how they were toned. Osterman will also show examples of photographic techniques, including retouching negatives and waxing prints.
The Geography of Culture: Photographic Narratives in the Landscape of the American East
May 21 at 12:00 p.m.
Mitch Epstein, artist
East Building Auditorium
Mitch Epstein shares how the distress of the New England industrial town of his childhood and the vibrancy of the city of New York, where he’s lived for 45 years, have informed his photographic sensibility. Epstein traces his work, drawn from the eastern United States for nearly five decades, and considers it in the context of his 19th-century predecessors.
Events are free and open to the public. Seating is available on a first-come, first-seated basis. Registration is not required.
MICA Photo is pleased to announce the upcoming reception for the opening of Jay Gould’s new exhibition, “Extreme Materials & Conditions”. This show is part of Jay’s collaborative effort with the HEMI/MICA artist-in-residence at Hopkins. This video gives an a glimpse of the work that Jay has been doing with the lab a Hopkins. Please come and attend the opening reception, and kudos to Jay for this outstanding collaboration!
MICA Photo is pleased to announce the current show in the Wilgus Gallery: