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JOHN CABOT UNIVERSITY

COURSE CODE: "AS 391"
COURSE NAME: "Special Topics in Photography: Body and Identity"
SEMESTER & YEAR: Fall 2025
SYLLABUS

INSTRUCTOR: Ilaria Ortensi
EMAIL: [email protected]
 HOURS: M3:30 PM 6:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisites: One previous course in Photography or the permission of the instructor.
OFFICE HOURS:
COURSE DESCRIPTION:
Specialized courses offered periodically that focus on specific thematic, conceptual, or technical aspects of photography. These courses engage with current artistic practices, exploring how particular themes, concepts, or techniques influence the practice and process of photography. The curriculum provides an in-depth exploration of specialized topics, allowing students to critically examine the relationship between subject matter, conceptual frameworks, and photographic methods. Through this focused study, students will develop a comprehensive understanding of contemporary photographic practices and refine their own technical and creative approaches.
SUMMARY OF COURSE CONTENT:

 

COURSE DESCRIPTION

This course explores the complex relationship between identity and the body through the lens of contemporary art and photography. Students will explore the dynamic interplay between self-perception, societal norms, and artistic expression, engaging deeply with both theory and practice. Through a combination of critical readings, technical workshops, and hands-on exercises, the course investigates how the body and identities are represented, deconstructed, and transformed within visual media. Key topics include self-portraiture, embodiment, intersectionality, and performativity. By integrating analytical inquiry with creative production, students will gain a deeper understanding of how identity is constructed and articulated through art. The course culminates in a final project, where students synthesize their technical skills and conceptual insights into a cohesive presentation of their work.

SUMMARY OF COURSE CONTENT

The course is divided into thematic units that explore the intersection of identity and the body in art and photography. Students will begin by examining foundational concepts of identity, representation, and the gaze, engaging with key readings and discussions to ground their understanding. Through regular lectures students will gain a historical perspective on how movements, such as feminist art and performance art, have profoundly influenced the contemporary representation of identity and the body in art. Practical workshops will introduce tools and techniques such as digital editing, cyanotype, printing, and studio lighting.

The syllabus covers topics such as self-portraiture, the symbolic and performative use of the body, and the ethics of representation. Through exercises like silhouette exploration, self- portraits, embodiment, and visual narration, students will critically engage with the material while developing personal work. Group critiques and workshops will provide opportunities for feedback and refinement, culminating in a final project that synthesizes conceptual and technical elements.

 

Required course materials/study visits and expected expenditure for the students

  • Camera: Digital single lens reflex (DSLR) or mirrorless camera with manual adjustments of f-stop and shutter speed.

  • Storage: SD or CF memory card(s) 8GB+.

    1. Please note: students will have to produce archival inkjet prints during this course. The cost shouldn’t exceed 50 euros. Students are responsible for the purchase of additional supplies required for the Final Project.

 
LEARNING OUTCOMES:

  1. LEARNING OUTCOMES

    • Analyze and connect historical and contemporary practices through critical engagement with theoretical concepts.

    • Understand artistic movements and identity representation while examining ethical considerations.

    • Develop technical and conceptual proficiency in photographic and artistic practices.

    • Engage in constructive critique through individual and collaborative reflection.

    • Plan, execute, and present a comprehensive Final Project.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance & ParticipationStudents are required to attend every class punctually and come prepared to actively participate. If a class is missed without a valid doctor's note approved by the Dean’s Office, it will be considered an unexcused absence. Additionally, students are expected to maintain a respectful attitude (no cell-phones or talking) and actively engage in in- class exercises, critiques, and discussions.20%
Proficiency & AssignmentsThis component evaluates students' technical skills, including camera operation, editing software proficiency, and mastery of fine art techniques introduced during the course. It also assesses growth in photographic vocabulary, conceptual understanding, and engagement with weekly readings. Students are expected to integrate theoretical insights from the readings into their practical assignments and complete all tasks by the designated deadlines.60%
Final PresentationStudents are expected to create an original artwork inspired by one of the course topics. The final presentation should demonstrate the improvement of their work over the semester and reflect an understanding of the analysis provided during in-class critiques. 20%

-ASSESSMENT CRITERIA:
AWork of this quality shows excellent mastery of the course content along with exceptional levels of technical skill, artistic awareness, originality, resourcefulness, commitment, quantity of work and improvement. There has been excellent collaboration and leadership in group projects, and there have been no attendance problems.
BA highly competent level of performance with work that directly addresses the content of the course, with a good quantity of work produced.
CAn acceptable level of performance: the work shows awareness of the course content, but is very limited in quantity, quality, commitment and skill.
DThe student lacks a coherent grasp of the course material and has failed to produce much work.
FNegligent in attendance, academic honesty, engagement with the course content, or production of work.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

WEEK 1

09/01 - First day of class

Intro to the Course: Syllabus Overview, Equipment Review, Identity and the Body in Art and Photography Lecture

Day one covers the syllabus, assignment guidelines, and grading criteria, followed by an equipment review session addressing any related queries. The day concludes with a lecture on the history of identity and the body in art and photography.


WEEK 2

09/08 

Digital Workshop #1: Workflow
This week focuses on the principles of workflow in digital photography from capturing raw files to importing them into the computer, editing them on Adobe Photoshop and uploading the edited photographs for assignments.


WEEK 3

09/15 

Body I: An Intersectional Approach
This class provides an overview of major themes and issues related to the body in contemporary art and photography. In what ways can the body be a site of resistance, representation, and identity? Students will engage with a lecture including artists from disadvantaged and marginalized groups who explore the body as a subject, followed by a discussion. The session concludes with an ice-breaking exercise on outlining silhouettes.

 

WEEK 4

09/22

Body II: Deconstructing the Bodily Form
Students will explore the deconstruction of the body in art through a performative exercise. They will be introduced to the technique of cyanotype and create prints of their own bodies. This hands-on activity fosters reflection on how deconstruction challenges norms of representation and what silhouettes reveal or conceal about identity. 

 

WEEK 5

09/29

Self I: Politics of the Gaze; Digital Workshop #2: Studio Lighting
This class investigates the concept of the gaze in art and photography. How can self-portraits challenge traditional power dynamics associated with bodily representation? Through a lecture students will analyze works where artists use self-portraits to subvert conventional notions of the gaze. The session will include a discussion and conclude with a hands-on technical exercise in studio lighting.

 

WEEK 6

10/06

Self II: Deconstructing Gender, Race and Heritage Identity
During this session students will create self-portraits using layering techniques to explore fragmented representations of identity. The exercise prompts reflection on how complexity and multiplicity can be visually expressed.

 

WEEK 7

10/13

Group Critique #1: Assignment Review and Discussion
Students will present the work they have completed so far, engage in discussions, and provide feedback to their peers. 

 

WEEK 8

10/20

Identity I: Ethics of Representation
This class explores the ethics of representing others in art. How can artists navigate the tension between empathy and appropriation when representing others in their work? Through a lecture featuring examples of works that address ‘otherness,’ students will gain insight into the ethical considerations surrounding such representations. The lecture will be followed by a discussion and a performative exercise.


WEEK 9

10/27

Identity II: Embodying the Other
Building on the previous week's discussion, students will stage themselves as the main subject, exploring different identities. This performative exercise develops awareness of body language and the empowerment of performing for the camera. 

 

WEEK 10

11/03

Group critique #2: Assignment Review and Discussion; Digital Workshop #3: Fine Art Printing Students will present the work they have completed so far, engage in discussions, and provide feedback to their peers. Afterward, the class will feature a demonstration on creating fine art prints, providing technical insights and practical tips. 

 

WEEK 11

11/10

Performance: Constructed Narration in the Age of Social Media; Digital Workshop #4: Photography and Social media

This class will explore how narrative artistic practices have been used to investigate identity representation. How has the evolution of performance art shaped the way identity is constructed and shared in social media? The session will begin with a lecture providing an overview of how performance and narrative have been depicted in art and photography from the 1970s to the digital age. This will be followed by a discussion and a technical exercise designed to prepare students for the at-home assignment. 

 

WEEK 12

11/17

Meeting outside for a museum visit: tbd

 

WEEK 13

11/24

Group Critique #3: Assignment Review and Discussion; Digital Workshop #5: Advanced Retouching Techniques
Students will present the work they have completed so far, engage in discussions, and provide feedback to their peers. Afterward, the class will feature a demonstration on advanced retouching techniques in Adobe Photoshop, providing technical insights and practical tips. 

 

WEEK 14

12/01

In class workshop in preparation for the final project
During this class, students will independently work on developing a mock-up of their final project using appropriate techniques, such as written notes, sketches, collages, etc. Additionally, they will have the opportunity to meet individually with the teacher to discuss their ideas. 

 

WEEK 15

Final Exam: Final Project Presentations
This session serves as the final exam, allowing students to demonstrate mastery of course concepts and integration of various photographic techniques and theories. The session concludes with a final review and discussion, marking the end of the course.