This course goes beyond simply “copying” a photograph to thinking critically about using photography as a source for drawing. We will explore technical issues, including: composing your own photographs to work from, using found photographs, modes and mechanisms of transferring your images into drawing, scale, as well as drawing medium and technique—all while discovering both the possibilities and limitations of working from photography. We will also explore conceptual issues, such as: what happens in the transference between the photograph and the drawing, what does it mean to re-present an image, and what are the differences and similarities between drawing and photography? We will look at the strategies of a variety of artists using photography as source material, such as Vija Celmins, Anthony Goicolea, Amy Adler, Michael Borremans, Elizabeth Peyton, and Susan Turcot. We will also cover aspects of photography theory via Roland Barthes, Susan Sontag, and others, as a means to think critically about the source material we are using. Students will learn to make choices in the way they incorporate photographic imagery and the materials they use in order to create innovative and successful drawings.
Jacob Kincheloe uses drawing to explore desire and the curious nature of the physical body. His work engages elements of historical painting and photography, restaging and recontextualizing them through the subtle process of graphite drawing. Kincheloe’s detailed drawings express the struggle and pleasure of inhabiting a desiring body, and examine the peculiar performance of identity.
He is a recent recipient of the Montague Travel Grant, the William R. Kenan Fellowship, and two teaching fellowships at the School of the Museum of Fine Arts in Boston