SummER INSTITuTE - Visual Studies Workshop

VSWJuneSummerInstitute17 - July 12, 2013ROCHESTER, NEW YORK

Visual Studies WorkshopRochester, New YorkVisual Studies Workshop (VSW) is a community ofinterest in the media arts expanding the potential ofphotography and artists’ books since 1969. VSW is hometo an MFA program in Visual Studies in connectionwith The College at Brockport, SUNY. VSW supportsthe development of images in all their myriad formsincluding series, sequence, installation, film and video,and digital media. Also well known for expanding thepotential for books as an art form, VSW’s long-standingpublishing activity shows how experimentation withvisual books is an innovative means to make artists’ideas public and to grow visual literacy.VSW is located in downtown Rochester, New York’sNeighborhood of the Arts linking several culturalinstitutions including VSW, Rochester’s literary centerWriters and Books, George Eastman House InternationalMuseum of Photography and Film, and The University ofRochester’s Memorial Art Gallery.Above: Dana and Elliot,photograph by Brenda AnnKenneally, instructor ofThe Emotional Narrative,June 22-13, 2013VSW is a highly respected contributor to the regional,national, and international arts community by publishingAfterimage: the Journal of Media Arts and CulturalCriticism; hosting several noted artist residents eachyear; holding pioneering conferences like the bi-annualPhoto-Bookworks Symposium; a long legacy of publishingartists’ books and critical resources for the visual arts;exhibiting and screening ground-breaking projects byinternational media artists and images from everydaylife; conducting community education workshops; andproviding an extensive media arts Research Center witharchives and collections of thousands of books and filmsas well as over a million images.Cover: 2012 Gunpowderdrawing made in RickHock’s Drawing forPhotographers workshop,offered June 22-23, 2013

GVSW’s SUMMER INSTITUTEFJune 17 – July 12, 2013MapRochester, NYECCollege AveMain StAtlantic AveBUniversity Ave DUniversity AveA to S.3 milesA1A2HRGoodman StStrathallan PkPrince StAlexander StA to R1.3 milesSA to C.8 milesEast Ave East AveHHHVSW’s Summer Institute is a series of intensive one-weekand weekend workshops conducted by visiting artists andscholars and the staff of VSW. These concise, concentratedworkshops enable students to focus on skills and conceptsthat will have lasting affects on their practice andthinking. Classes are held in VSW’s two historic buildingsin Rochester, NY’s Neighborhood of the Arts.A1 Visual Studies Workshop Front BuildingA2 Visual Studies Workshop Back BuildingPlaces to StayR Radisson Hotel Rochester Riverside, 120 E Main Sthttp://www.radisson.com/rochester-hotel-ny-14604/nyroches | (585) 546-6400S The Strathallan Hotel, 550 East Avehttp://www.strathallan.com | (585) 286-5265The neighborhoodB Memorial Art Gallery, 500 University AveC Lumiere/Spectrum Gallery, 100 College AveD Starry Nights Cafe, 696 University AveE Booksmart and Pistachio Press, 250 N Goodman StGood Luck, 50 Anderson AveLento, 274 N Goodman StThe Gate House, 274 N Goodman StSalenas Mexican, 274 N Goodman StCalifornia Rollin Sushi, 274 N Goodman StDark Horse Coffee, 274 N Goodman StF Writers and Books, 740 University AveG George Eastman House and Dryden TheaterH Thai-Lao Restaurant, 309 University AveMurphy’s Law Irish Pub, 370 East AvePita Pit, 311 Alexander StOld Toad British Pub, 277 Alexander StBamba Bistro, 282 Alexander St

Andrea StultiensPhoto Archive Stories$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | RESEARCH CENTER (A1)June17–21Photographs are fluid in meaning. Much of what the image saysdepends on context. In this workshop we will start from andappropriate photographs that are part of the VSW collections anduse them to create book dummies that reflect on the nature andhistory of photography while telling contemporary stories.with a publishing awardOne student’s book dummy from this workshop will be selected byjuror Ron Jude to be published and distributed by Visual StudiesWorkshop Press as an editioned artists’ book.Instructor Bio: Andrea Stultiens (Roermond, NL, 1974) studiedphotography at Utrecht School of the Arts (BFA) and Post St. JoostBreda (MFA). She received an MA from the Masters PhotographicStudies of Leiden University/Royal Academy of Art and is currentlystarting up an artistic research PhD as part of Leiden University’sPhDArts program. Not completely comfortable being called aphotographer or artist, she rather mentions doing things withphotographs. She collects and makes them, thinks about theirpossible uses in understanding the way we present ourselves andtry to represent others, and writes about them. Stultiens publishedseveral photobooks dealing with archival images in various waysand exhibits her work internationally.the publishing award jurorRon Jude is the co-founder of A-Jump Books and the authorof Alpine Star, Postcards, Other Nature and Emmett. His newbook, Lick Creek Line, was published by MACK in April of 2012.Libraryman (Stockholm) published a limited run book versionof his Executive Model project in January of 2013. An extensiveoverview of Jude’s three Idaho projects (Alpine Star, Emmett andLick Creek Line) will be exhibited at the Museum of ContemporaryPhotography in Chicago in a show entitled Backstory in late 2013.Details from the AndreaStultiens installation Reasonsto Smile in Transitions–Rochester at VSW, 2011

Emily LarnedDESIGN THINKING FOR ARTISTS$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | COMPUTER LAB (A2)June17–21Ingrid HessBasic Bookbinding$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | BOOKBINDING STUDIO (A2)June17–21What is graphic design? It is the process through whichdesigners give concepts visual form. Graphic designers findtheir forms by alternating analysis with metaphorical thinkingand action. Anyone who has ever been stuck finding the rightvisual form for a concept will benefit from learning to think andwork as a designer. This workshop for artists is an immersive,exploratory introduction to design thinking: defining the problem,assessing needs and constraints, visualizing many possibilities,and implementing solutions. Writing, research, discussion,brainstorming, collaborating, rendering, critiquing, experimenting,and prototyping are all integral to this process. In this immersivefive-day workshop, participants will explore a sequence of openendedassignments that will generate content and form for anartists’ book. Along the way, tricks of the form-making trade(choosing and combining typefaces, structuring the page, andtypographic refinements) will be revealed and implemented. By theend of the workshop, participants will have begun a book that mayserve as a manual of approach for their future projects.The goal of this class is to teach basic bookbinding and to inspirestudents to create more books as they continue their artisticcareers. Each participant will leave the class with at least 8 booksthat they have completed. The types of binding that will be taughtinclude: Japanese Stab, Simple Spray, Cootie Catcher, Do-Si-Do,Accordion, Woven, and Simple Pop-Ups.Instructor Bio: Ingrid Hess is an illustrator, graphic designer andeducator. She has an MFA in Graphic Design with an emphasisin the book arts and has worked in the publishing industry since1996. After working 9 years in publishing in Chicago, she movedto South Bend and taught design at The University of Notre Damefor three years. In 2011 she moved to Rochester, NY where she hasstarted a design program at The College at Brockport, SUNY.Instructor Bio: Emily Larned makes publicationsand educates designers. She is Chair of GraphicDesign at SASD, University of Bridgeport.She received an MFA in Graphic Design fromYale School of Art in 2008. Together withBridget Elmer, she co-founded ImpracticalLabor in Service of the Speculative Arts (www.impractical-labor.org), an art project andmembership organization that creates resourcesand opportunities for those working with obsolete technology ininnovative ways. Larned has been self-publishing since 1993, andher work is exhibited widely and held by public collections aroundthe world, including the Getty, the Tate, and the Brooklyn Museum.See more of her work at www.redcharming.com.June17–21

Brenda Ann KenNeallyThe Emotional NarrativeJune17–21Rick HockDrawing for PhotographersJune22–23$250 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | SEMINAR ROOM (A1)$150 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | PRINT LOFT (A2)If the work of a novelist is construction, then a journalist’s workmay be seen as “deconstruction,” though the goals are largely thesame: authors in both genres are driven to create works whichintroduce their audiences to new information processed throughcharacters that ultimately become barometer’s for the audience’sown humanity. The journalist is often drawn to a fully formedcharacter because they seem to embody the world they alreadyinhabit. The job of a journalist is to unravel that character detailby detail in order to insert the audience inside a complex andsometimes fraught, emotional life already in progress. It is thefunction of thorough reporting to coax interest in a hypotheticalfuture over which even the journalist as author has no control. Thisdiscussion-based workshop will encompass emotional storytellingin a variety of genres and examine the role of the photojournalist.Instructor Bio: Brenda Ann Kenneally (U.S.) is a mother and anindependent journalist who lives in Brooklyn, New York. The resultof a decade of reporting, Kenneally’s book and web publicationMONEY, POWER, RESPECT; Pictures of My Neighborhood havereceived numerous awards. Her current Project Upstate Girls:Unraveling Collar City has been supported by The Alicia PattersonFoundation, A Getty Grant For Documentary Photography, TheOpen Society’s Documentary Fund and a New York State CouncilFor The Arts Individual Artist Grant. The multi media work that shewas commissioned by The New York Times Magazine to do for thefirst Anniversary of Hurricane Katrina, was nominated for a Pulitzerand the feature production by Media Storm won a Webby Award.Photograph from Upstate Girlsby Brenda Ann KenneallyJune22–23You’ve heard it said before, “anyone can draw.” It is simply howyou think about what drawing is. Photography, in fact, is nothingmore than a mark making system, another pencil in the pencilbox. This workshop will examine various systems of mark makingand their application through practical exercises. Requirements:No experience necessary. Materials required: large smoothnewsprint drawing pad (19”x24” or larger—the larger the better);soft pencil 4B or softer; good size eraser; charcoal sticks; smallbottle of India ink; container for water; anything else you want tomake marks with.Instructor Bio: Rick Hock isformer Director of Exhibitions andProgram Design at George EastmanHouse, International Museum ofPhotography and Film. He hasorganized, curated, and designednumerous exhibitions includingEnhancing the Illusion: The Originsand Progress of Photography;Seeing the Unseen: Harold Edgertonand the Wonders of Strobe Alley;The Sports Illustrated Exhibition of American and Soviet SportsPhotography; The Pencil of Nature: Photograph’s Trace andTransformation; Nathan Lyons: A Survey 1957-2000; World FromMy Front Porch: The Photography of Larry Towell; and Visionand Obsession: The Remarkable George Eastman. He has taughtcourses in the History and Art of Photography at The Universityof Rochester, The Rochester Institute of Technology, VisualStudies Workshop, the State University of New York, Geneseo,and Exhibition Development for Ryerson University’s programin Photographic Preservation and Collections Management. He isthe recipient of two National Endowment for the Arts fellowships.His photographic work has been exhibited internationally andis included in several major collections including The Museumof Modern Art, The Philadelphia Museum of Art, The HoustonMuseum of Art, and The Creative Center for Photography.

Keith F. DavisWhat Do We Remember?/What Should We Remember?$250 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | RESEARCH CENTER (A1)June17–21This seminar will explore our understanding of photographichistory and artistic production, from the standpoint of both theaudience and the artist. How can the depth and inherent pluralityof history be understood? What is the value—and the lesson—of anarchive? What should today’s artists be thinking about the futureuse/meaning of their work?The content of this seminar will be drawn from the resources of theVSW archives, the curatorial experience of the session leader, andthe contributions of participants.Kyle SchlesingerPublishing as an Art Form$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | BOOKBINDING STUDIO (A2)June24–28This one-week workshop details publishing as an art form fromits origins to the latest trends in digital culture. You will learn howto merge theories and techniques to create your own publications,conceive your own imprint, collaborate with writers and artists,as well as market and distribute books that are works of art. Noprevious experience in publishing required.Instructor Bio: Kyle Schlesinger writes and lectures on typographyand artists’ books. For over a decade he has served as the directorof Cuneiform Press, and is currently an Assistant Professor ofPublishing at University of Houston, Victoria.Instructor Bio: Keith F. Davis is Senior Curator of Photography,Nelson-Atkins Museum of Art, and an advisor to the Hall FamilyFoundation, both in Kansas City, MO. He became the foundingcurator of photography at The Nelson-Atkins Museum of Art in2006, following the gift of the Hallmark Photographic Collectionto the museum in the previous year. The Nelson-Atkins now hasone of the nation’s most active photography programs with galleryspace dedicated to the medium and a regular series of historicalrotations, thematic and monographic exhibitions, publications, andrelated educational programming. Davis’s various awards includea Fellowship from the National Endowment for the Humanities(1986-87) for his work on the Civil War-era photographer GeorgeN. Barnard. He is the author of many catalogues, major essays andbooks including the recent titles Timothy H. O’Sullivan: The KingSurvey Photographs (2011); The Photographs of Ray K. Metzker(2012); and Heartland: The Photographs of Terry Evans (2012). Inaddition to lecturing widely on various aspects of 19th and 20thcentury photography, he taught the history of photography at theundergraduate and graduate levels from 1978 to 2005.June22–23

Doug MancheeFundamentals of DigitalPhotographyJune17–21Jenn LibbyWet Plate CollodionPhotographyJune24–28$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | COMPUTER LAB (A2)$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | DARKROOMS (A2)This course is an introduction to the fundamentals of digitalphotography. Students will learn to process and modify their filesusing Adobe Photoshop CS. Demonstrations will be given in imagecapture, image processing and output. At the end of the coursestudents will have a thorough understanding of the tools andtechniques necessary to create high-quality digital files and prints.They will be able to employ a variety of techniques using AdobePhotoshop CS to optimize their files for both hard copy (prints) andsoft display (web). Adobe Camera RAW will be introduced allowingstudents to capture the highest-quality image files possible usingdigital SLR cameras. A fundamental knowledge of the basics ofphotography is desirable.Instructor Bio: Doug Manchee is an Associate Professor andProgram Chair of the Advertising Photography program at theRochester Institute of Technology. He has been teaching digitalimaging since 1992. Doug has exhibited his pictures nationallyand internationally. His commercial clients include Adobe Systems,Eastman Kodak, Xerox, Esprit, and many others. He was a LightWork Artist-in-Residence in 2009.Frederick Scott Archer introduced the wet-plate collodionphotographic process in 1851. Its relative simplicity, cost,reproducibility, and versatility led it to supplant the populardaguerreotype. Collodion was used to produce fine-grain, archivalglass negatives, lantern slides, ambrotypes, and tintypes. Theambrotype, like the daguerreotype, is a unique, direct positivephotograph. It is a thin negative on glass that appears as a positivewhen backed with something dark. This class will cover the basicsof the wet-plate collodion process and how to create ambrotypesand aluminotypes. You will use a large format camera to makeambrotypes and aluminotypes, a contemporary version of theferrotype or tintype made using anodized aluminum. Instructionwill cover how to cut and clean glass, pour collodion, sensitizeand process plates, burnish and hand-color final images, apply aprotective varnish, and house your photographs to complete theprocess. Wear old clothing as silver stains are likely. Participantsshould bring their own large format camera and tripod if available.Instructor Bio: Jenn Libby is an installation artist who worksextensively with the wet-plate collodion process and found media.She is the Research Center Coordinator at the Visual StudiesWorkshop in Rochester, NY.Photograph from Picturingthe Archive by Doug MancheeWet-plate collodionphotograph by Jenn LibbyJune24–28

Elizabeth McDadeGallery Managementand DesignJune17–21Tracy RudzitisSTYLIN’ THE PAGE:AN INTRO TO CSSJune29–30$150 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | SEMINAR ROOM (A1)$150 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | COMPUTER LAB (A2)Visit local galleries. Meet curators and gallery professionals. Learnhow to frame and install artwork. Hone your grant writing andPR skills. Learn the “dos” and “don’ts” of submitting your ownwork to galleries for exhibition consideration. This class providesa unique chance to develop gallery management skills workingwith the former director of a non-profit, community-based artsorganization. See the struggles, the thrills, and the “glamour” of theart world up-close and personal.Instructor Bio: Elizabeth McDadereceived an MFA in Visual Studiesfrom Visual Studies Workshop anda BFA in Photography and BA inItalian Literature from SUNY NewPaltz. Her books, photographs, andalternative process prints havebeen exhibited nationally andinternationally. Currently she is theProgram Coordinator of the Coalition to Prevent Lead Poisoning atthe Finger Lakes Health Systems Agency and an adjunct instructorin the School of Photographic Arts and Sciences at RIT. Prior tojoining the FLHSA, she worked for the City of Rochester and 1199SEIU United Healthcare Workers East and is a former director ofthe Pyramid Arts Center/Rochester Contemporary.Do you have a website on Wordpress, Tumblr or Blogger, or a Wiki,but want to learn how to change the appearance of it? Do you usecontent management systems such as Drupal or Joomla and wantto modify your templates and customize your site’s layout andappearance? Learn the basics of CSS and restyle your existingHTML based web pages using CSS style sheets. The class will coverall the basics of CSS, properties, selectors, font styles, positioningelements on the page, and discussion of the terminology used. Youshould have a basic knowledge of HTML and want to take your webpage design to the next level. We will be using Dreamweaver.Instructor Bio: Tracy Rudzitis has been designing and building webpages since 1995. She worked as a web developer for Starwave(Outside Online, ABCnews.com), Microsoft, Real Networks, andseveral interactive advertising agencies in both Seattle, WA andNew York City for 6 years before going into teaching public schoolfull time. She currently teaches media–arts at a middle schoolin New York City, and designs and builds web pages for severalclients when she is not teaching.June29–30

Tracy RudzitisWeb Design for Artists$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | COMPUTER LAB (A2)JuLY01-05Understanding how to design and publish for the web is animportant tool for the visual artist. Web sites can serve as a placeto promote or display a portfolio, can function as a part of alarger community in which one shares thoughts, writings, andideas, or is the medium in which an artist works, producing piecesthat are web specific. The web presents unique constraints to thepresentation of information and ideas. Principals and elementsof design must adhere to specific modes of production butunderstanding these technical constraints allows one to ‘break’with the rules and move beyond the average site. This class willcover multiple approaches to design and various ways in which topresent work. We will look at incorporating animation, interactivity,and multiple forms of media into a web site. The class is a hands–on workshop. Participants should be prepared to design anddevelop a web site as well as take part in discussions surroundingaesthetics and strategies used in web design.Instructor Bio: Tracy Rudzitis has been designing and building webpages since 1995. She worked as a web developer for Starwave(Outside Online, ABCnews.com), Microsoft, Real Networks, andseveral interactive advertising agencies in both Seattle, WA andNew York City for 6 years before going into teaching public schoolfull time. She currently teaches media–arts at a middle schoolin New York City, and designs and builds web pages for severalclients when she is not teaching.Photograph by Alicia Taylor,a current graduate student inVSW’s MFA program

Keith JohnsonThe Extended Image$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | SEMINAR ROOM (A1)June17–21This workshop is intended to investigate what a photograph issupposed to look like. Typically a body of work has been exhibitedin a linear presentation with equal spacing between pictures. Whilethis method is effective, it may not serve the work to reveal morelayers of information, emotion, intellect, etc. During the week we willlook at a variety of artists’ work, field work, critiques daily and finalpresentation. The expectation is to make a ton of pictures, delve intonew ideas, and have a good deal of photo fun. For advanced level ofability, working digitally, traditionally, time-based, color or B&W.Instructor Bio: Keith Johnson received his MFA from RISD studyingwith Harry Callahan and Aaron Siskind following a year at VSWwith Nathan Lyons. Ten years of teaching led to a move to thebusiness side of photography completing an MBA in 1987. He ison the summer faculty at VSW, Maine Photographic Workshop,and Jackson Hole Art Association. Recent solo shows includeGriffin Museum, FotoFest, Panopticon in Boston, Nelson HancockGallery, Brooklyn, NY and Wall Space gallery in Seattle. He has doneresidencies at Light Work, VSW and CEPA and is a fellow of theConnecticut Commission on the Arts.Scott McCarneyBookbinding forPhotographers$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | BOOKBINDING STUDIO (A2)JULY01–05The desire to make books with photographic content is as oldas photography itself. The accessibility of digital printing, fromthe inkjet in your studio to the Indigo of online publishers, isfulfilling this desire for contemporary photographers. But howto make a unique product tailored to the physical and conceptualneeds of your images? This workshop employs the basic toolsand techniques of hand bookbinding to answer that question. Wewill make a series of unique book structures that accommodatesingle sheets, folded folios and gathered sections, whileexploring the materials of traditional book making. Strategiesfor repurposing pre-bound print-on-demand projects will beintroduced. We will also construct a two-tray drop-spine Solanderstyle box which can be used for storing prints, protecting a finebinding or packaging samples made in the workshop. The classwill focus primarily on physical considerations of the book, butparticipants are welcome to bring work in progress or ideas forbooks. Some time will be devoted to discussing how bindingstructures and layout strategies literally as well as figurativelysupport image display.Instructor Bio: Scott McCarney has been makingbooks as works of art for over thirty years. Hisbookworks explore many media, from offsetand digital printing to sculptural objects andinstallation. He lectures, teaches and exhibitsinternationally and is currently an adjunct facultymember at RIT.Talking Heads, Photographsby Keith JohnsonJuly01–05

Adam BellTwenty PhotobooksI Love and Why$150 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | RESEARCH CENTER (A1)Dissect the intricacies, pleasures, and mysteries of photobooks bylooking at twenty of photographer and critic Adam Bell’s favoriteexamples of the form. Then discuss and receive feedback onyour own work and/or writing to add degrees of complexity andprecision to your own photobook and/or written work.June17–21Adam Bell is a photographer and writer based in Brooklyn, NY. Heis the co-editor and co-author of The Education of a Photographer(Allworth Press, 2006). His reviews and writings have beenpublished in Afterimage, Ahorn Magazine, foam InternationalPhotography Magazine, Photo-Eye, Lay Flat and The Brooklyn Rail.He is currently on staff and faculty at the School of Visual Arts’MFA Photo, Video and Related Media Department.Tate ShawPerforming Books$150 | This course is not-for-creditSat - Sun | 9:30AM - 5:00PM | SEMINAR ROOM (A1)JULY06–07Create multi-media events for experiencing a book by audiencesof more than one person at a time. Borrow strategies from poetryreadings, film screenings, live music, theatrical performance,slideshows, installations, websites, and interactive games. Dayone of the workshop we will look at a myriad of interesting bookperformances and discuss your own books and how they mightbe presented publicly. Day two create your own multi-media bookpresentation and hear group feedback on how it was received.Instructor Bio: Tate Shawis Director of the VisualStudies Workshop,Rochester, New York, anonprofit organizationsupporting photographyand books with anaccredited MFA programin Visual Studies. Shawhas contributed writings to the Journal of Artists’ Books (JAB), andAperture’s The Photobook Review, amongst other publications. Heroutinely organizes public events including VSW’s monthly VisualBook Club and bi-annual Photo-Bookworks Symposium as wellas exhibitions at such institutions as The Center for Book Arts,New York. He is co-publisher of Preacher’s Biscuit Books (www.preachersbiscuitbooks.com) and his own work is held in manyprivate and public collections of artists’ books internationally.Shaw has publicly performed his books nationally at institutionsand gatherings like the Minnesota Center for the Book,Minneapolis; The Hybrid Book in Philadelphia; Action/Interactionat The Columbia College Chicago Center for Book and Paper Arts;and he has a forthcoming multi-media reading at The WesternNew York Book Art Center, Buffalo, NY in the fall of 2013.July06–07

Christine ShankProfessional Practicefor the MFA$550 | This course is available for 2 Graduate creditsM - F | 9:30AM - 5:00PM | SEMINAR ROOM (A1)June17–21Professional Practice for the MFA prepares students with orobtaining a Master of Fine Arts degree for their professional livesbeyond graduate school. Students will gain practical knowledgeand experience to enter the professional environment of being anartist and arts professional. Through presentations, guest lectures,readings, and a variety of exercises, participants will engage in theprocess of learning and practicing professionalism, promotion, andcontributing to the field on a professional level. The workshop willcover developing a CV, teaching packets for applying for universitylevelpositions, writing artist statements, personal promotionalmaterials, and other aspects of post-MFA life.Instructor Bio: Christine Shank’s work is concerned with ideas ofloss, isolation, intimacy, storytelling and the implication of place.She has exhibited in both solo and group exhibitions throughoutthe United States since 1998. Her work has received fundingthrough NYFA, The Midwest Center for Photography and TheConnecticut Commission on Culture and Tourism. Shank has beenan artist resident with Booksmart Studios, Constance SaltonstallFoundation for the Arts, and the Kimmel Harding Nelson ResidencyPrograms. Her artwork is the collection of the Harry Ransom Centerand the William Benton Museum of Art as well as multiple privatecollections. Shank has a BFA from Miami University, Oxford Ohioand a MFA from Texas Woman’s University. She currently lives inRochester, NY where she is an Assistant Professor of Photographyat Rochester Institute of Technology.Joan LyonsFairweather Photography$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | DARKROOMS (A2)JULY08–12Going back to the basics of hands-on photography, and usingsunlight as our primary light source, we will work with two 19thCentury processes—Cyanotype and VanDyke brown printing—both contact-printing processes. We will use pinhole cameras tomake large negatives and also explore Cliché Verre and foundmaterials to make light-blocking stencils. Printing on rag paperor fabric provides opportunity to work back into the print.Instructor Bio: Grounded in the understanding that photographyand print developed simultaneously and are inextricablyconnected, Joan Lyons has made work in a variety of mediaincluding, and often combining, silver gelatin prints, archaicphotographic processes, pinhole photography, offset lithography,Xerography, photo-quiltmaking, and computer-based work. Shehas published over 30 editions of her artist’s books. Her workcan be found in collections including the Museum of ModernArt, George Eastman House, Visual Studies Workshop, Centerfor Creative Photography, Tucson, and the Museum of Fine Arts,Houston. As Founding Director of the Visual Studies WorkshopPress, (1972 – 2004) Lyons was responsible for the productionand publication of 450 titles. She is the editor of Artists’ Books:A Critical Anthology and Sourcebook, (1986, ’88, ’91, ’93) andArtists’ Books: Visual Studies Workshop Press 1972 – 2008(2009). Lyons taught in the MFA Program in Visual Studies andcoordinated Artists’ Programs and Residencies at VSW.Detail from thebook Sun Spots byJoan Lyons, 1978July08–12

Larry TowellThe Personal Photo Story$550 | This course is not-for-creditM - F | 9:30AM - 5:00PM | SEMINAR ROOM (A2)JULY08–12Students will show their own work and evaluate the personalphoto story as well as the making of pictures that reflect theirown fascinations and interests in the social documentarytradition. We will discuss how to work independently on projectsthat are important to us as well as the mechanics of individualimage making, what makes one image work better than another,and the importance of sequence and flow in exhibitions and bookmaking. There will be morning reviews and afternoon shootingsessions where students will explore themes of their own choice.Bring your personal projects as slide shows, individual picturesand book dummies.Instructor Bio from the Magnum Photos website: Larry Towell’sbusiness card reads “Human Being.” Experience as a poet anda folk musician has done much to shape his personal style. Theson of a car repairman, Towell grew up in a large family in ruralOntario. During studies in visual arts at Toronto’s York University,he was given a camera and taught how to process black and whitefilm. A stint of volunteer work in Calcutta in 1976 provokedTowell to photograph and write. In 1984 he became a freelancephotographer and writer focusing on the dispossessed, exile andpeasant rebellion. He completed projects on the Nicaraguan Contrawar, on the relatives of the disappeared in Guatemala, and onAmerican Vietnam War veterans who had returned to Vietnam torebuild the country. His first published magazine essay, “ParadiseLost,” exposed the ecological consequences of the catastrophicExxon Valdez oil spill in Alaska’s Prince William Sound. He becamea Magnum nominee in 1988, and a full member in 1993. In1996 Towell completed a project based on ten years of reportagein El Salvador, followed the next year by a major book on thePalestinians. His fascination with landlessness also led him to theMennonite migrant workers of Mexico, an eleven-year projectcompleted in 2000. With the help of the inaugural Henri Cartier-Bresson Award, he finished a second highly acclaimed book onthe Palestinian-Israeli conflict in 2005 and in 2008 released theaward-winning The World From My Front Porch, a project on hisown family in rural Ontario where he sharecrops a 75 acre farm.

W. Keith McManusProducing an Oral History$550 | This course is available for 3 Undergraduate or 2 Graduate creditsM - F | 9:30AM - 5:00PM | COMPUTER LAB (A2)June17–21register now andbecome a memberThis one week workshop presents an opportunity to explore therich history of several key photographer/educators in Rochester,NY that have had a role in defining the medium of photography.In an intimate environment, workshop participants will discussand record these photographer/educators as they share thoughtson their contributions to the field. The class will then organize thematerial for a multi-media presentation at the end of the week. Afinal product will be presented to the Visual Studies Workshopcommunity and become part of the collection of the organization.Workshop participants will use digital audio, digital photographyand video to create this history document.Members enjoy thought provoking material allyear long with a subscription to VSW’s journalAfterimage and opportunities to share anddiscuss work with the VSW community.JOIN US.There will be hands on instruction and experience with the mediaand materials used in creating and presenting the final document.Instructor Bio: W. Keith McManus has been a documentaryphotographer for over 40 years. His cameras have been directed tosubjects as varied as American national politics to college studentsbasking in the Florida sun during spring break to rural and smalltown American life. Recently, Keith returned to southwesternPennsylvania where he had grown up to photograph in the oldcoal & steel towns of the Monongahela River Valley. His workhas also included several PBS documentary films, working atmajor news weekly as a photo editor and web producer. Duringhis tenure at the magazine in the mid 90s, Keith was an earlyadopter creating both audio and video for the magazine’s web site.During that time he also helped found an award winning web sitedevoted to documentary photography, Journal E. Keith has beenfull-time faculty at the Rochester Institute of Technology’s Schoolof Photographic Arts & Sciences and recently returned there asvisiting faculty teaching documentary photography.VISUAL STUDIES WORKSHOP31 PRINCE ST. ROCHESTER, NY 14607585.442.8676 | INFO@VSW.ORGJuly08–12

Registration formThe form below may be filled out and mailed directly to VSW for not-for-creditregistrations or you may register by phone, fax, email, or online: 585.442.8676, fax:585.442.1992, info@vsw.org, vsw.org. Contact The College at Brockport to registerfor Undergraduate or Graduate credit: 585.395.2900, www.brockport.edu/ssp/.q Photo Archive Stories, A. Stultiens June 17–June 21 $550q Design Thinking, E. Larned June 17–June 21 $550q Basic Bookbinding, I. Hess June 17–June 21 $550q Emotional Narrative, B. Kenneally June 22–June 23 $250q Drawing for Photographers, R. Hock June 22–June 23 $150q What Do We Remember, K. Davis June 22–June 23 $250q Publishing as an Art, K. Schlesinger June 24–June 28 $550q Fundamentals of Digital, D. Manchee June 24–June 28 $550q Wet Plate Collodion, J. Libby June 24–June 28 $550q Gallery Management, E. McDade June 29–June 30 $150q Stylin’ the Page, T. Rudzitis June 29–June 30 $150q Web-Page Design, T. Rudzitis July 01–July 05 $550q Extended Image, K. Johnson July 01–July 05 $550q Bookbinding for Photo, S. McCarney July 01–July 05 $550q Twenty Photobooks, A. Bell July 06–July 07 $150q Performing Books, T. Shaw July 06–July 07 $150q Professional Practice, C. Shank July 08–July 12 $500q Fairweather Photo, J. Lyons July 08–July 12 $550q Personal Photo Story, L. Towell July 08–July 12 $500q Producing Oral History, K. McManus July 08–July 12 $500q VSW Student Membership with Afterimage Subscription $20q VSW Individual Membership with Afterimage Subscription $35q VSW Dual Membership with one Afterimage Subscription $50Name Total $AddressCity State ZipPhoneEmailq Check q VISA q Mastercard q AMEXCredit Card # Exp. /SignatureMake all checks payable in U.S. funds to Visual Studies WorkshopMail to: VSW’s Summer Institute | 31 Prince st. | rochester, ny, 14607

VISUAL STUDIES WORKSHOP31 PRINCE ST. ROCHESTER, NY 14607 | 585.442.8676 | INFO@VSW.ORG