About

The Photography + Integrated Media Area offers an innovative MFA curriculum that defines photographic practice in its most inclusive and experimental manifestations. The program builds upon the legacy of the historically renowned Clarence White School of Photography in New York, which was re-established at Ohio University in 1948 by his son, Clarence White, Jr., creating the first degree-granting program in photography at a major university in the country.

The curriculum encourages experimentation with a wide variety of processes and platforms ranging from black and white photography, to digital imaging and video, to interdisciplinary practice. The program stresses the development of the photographer as an artist and the use of lens-based technologies as vital tools of creative expression.

Facilities

The Photography + Integrated Media Area consists of over 11,000 square feet of space located on three floors of the School of Art + Design at Seigfred Hall. The program’s work space includes four large communal B&W darkrooms, analog color printing facilities, a large lighting studio, and a Macintosh digital lab that includes a large-scale color printer. Graduate students also have access to CREATE_space, the College of Fine Arts arts and technology initiative that provides extensive resources including production facilities, training, and equipment.

Programs

Clarence White Jr. Fund for Photography Lecture Series

The program hosts the Clarence White Jr. Fund for Photography Lecture Series dedicated to the leading artists and scholars in the field of photographic media. The series is an invaluable aspect of the curriculum with visitors conducting studio visits with graduate students. Past visiting artists include Geoffrey Batchen, Sadie Benning, Jim Campbell, Nancy Davenport, Moyra Davey, Liz Deschenes, Nan Goldin, Dan Graham, Frank Gohlke, Kahn/Selesnick, Craig Kalpakjian, Justine Kurland, Em Rooney, Clarissa Sligh, A.L. Steiner, and Catherine Wagner.

Alternatives Exhibition

Alternatives is a biennial juried exhibition organized by the graduate students of Ohio University’s MFA Photography and Integrated Media program in the School of Art + Design. Since its beginning in 1980, Alternatives has achieved national recognition for its leadership in forging new definitions in the medium by emphasizing the work of photographers in the conceptual forefront of the practice. The exhibition has hosted a distinguished roster of artist jurors including Carrie Mae Weems, Kelli Connell, Jason Reed, and Judy Natal. Juried by Hans Gindlesberger, the most recent installation, Where I Come From, was on view in January 2017.

Curriculum

The M.F.A. curriculum in Photography and Integrated Media links innovative studio practice to a rigorous foundation of intellectual inquiry. Special topics courses and graduate seminars reflect contemporary currents in photography and criticism within an interdisciplinary context. Here are some examples of graduate courses offered in recent years.

What We Talk About When We Talk About Photography

Walter Benjamin, Susan Sontag, and Roland Barthes wrote extensively about the nature of photography and the medium’s organic relationship to the subjects of memory, melancholy, fantasy, history, and loss. Their texts continue to be a source of inspiration, fascination, and disturbance for artists and writers. In this seminar, we will read and discuss contemporary work and texts that directly, and elliptically, address the writings of these authors. We will consider how these texts offer both a foundation and point of departure for exploring the nature of photography and the significance of the subjective voice within critical inquiry.

Feminisms: The Personal is Political will explore the key issues and methodologies of feminist art practice. What is the relationship between individual experience (the autobiographical) and the collective experience of women? How can feminist practice reconcile activist and artistic agendas? Are there particular modes of formal expression that we can identify as feminist? That is, how does feminist art weave artistic form and content? Within this field of the personal/political, how can feminism productively map the terrain of difference? Our emphasis will be on the plural feminisms and as such the intersections of race, class, sexuality with gender and sex. We will discuss the continuity of feminist concerns and strategies through an examination of the history and contemporary manifestations of feminist art. The course will reflect the hybrid practices of much feminist art and assignments will engage multiple disciplines with a strong component of writing and research.

Revolution, Silence, and Blindness

This seminar will be divided into three discrete chapters. The first will consider the biological, ontological and mechanical evolution of seeing and photography. We will consider the practitioners, the background and privilege of which they come from, their concerns as innovators, and how these underlying methods evolved into the complex system of image making and distribution that we are familiar with today. The subsequent chapters will explore the importance of non-visual sensation and its impact on our intellectual selves. To this end, some of the themes we’ll explore include: absence, silence, darkness, and blindness — a kind of antithesis of visual impression.

 

People

Laura Larson has exhibited her work nationally and internationally, including Art in General, Bronx Museum of the Arts, Metropolitan Museum of Art, Museum of Fine Arts, Houston, SFCamerawork, Susanne Vielmetter/L.A. Projects, and Wexner Center for the Arts. Reviews of her exhibitions have appeared in Artforum, HyperallergicThe New York Times, The New Yorker, and Time Out New York, and she has published artist projects in Cabinet, Documents, and The Literary Review. She is the recipient of grants from Ohio Arts Council and the New York Foundation of the Arts, and of residency fellowships from MacDowell Colony, Santa Fe Art Institute, and Ucross Foundation. Since 2001, her work has been represented by Lennon, Weinberg Gallery in New York City.

Luke Stettner has had nine solo exhibitions including The Storm King Art Center, Mountainville, NY (2015), The Kitchen, New York, NY (2014), Kate Werble Gallery, NY (2014, 2011) and Stene Projects, Stockholm, SE (2015, 2012, 2010). In 2010 he attended the Skowhegan School of Painting & Sculpture. His work has been reviewed in The New York Times, Artforum, Art in America, Art Review, Mousse Contemporary Art Magazine, Gallerist NY, Aperture, and The Boston Globe. He is the co-founder and editor of the online arts journal, thehighlights.org

Apply

Complete the on-line application through the Graduate College application portal at http://www.ohio.edu/graduate/apply.

Application Fee: $50 for U.S. citizens, $55 for international. Credit card or electronic check only.

For consideration of your application, please include the following:

  • Letter of intent/statement of purpose
  • Artist statement
  • Resume/CV
  • Three letters of reference

These materials should be mailed to: Ohio University, Graduate College, Research & Tech Building, Room 220, Athens, Ohio 45701.

Please note: portfolios must be submitted via SlideRoom.

For more information about the program, contact Professor Laura Larson at larsonl1@ohio.edu.