Of all the visual arts, photography and video are the most accessible. Advancement in technology, visual literacy, and cultural affluence have contributed to the medium’s penetration of all aspects of commerce, culture, and daily life. Contemporary life increasingly involves the seeming desire to document and observe and celebrate daily life through photography and video. These mediums are elastic, accommodating the vast multiplicity of ideas, references, uses, contexts, genres, and agendas that construct this age of information.The best photographic and video education must remain responsive and flexible in its curriculum to ensure that courses are relevant and inventive, and reflect issues and interests in the professional community. It is through the course curriculum and faculty that ideological diversity is encouraged, along with vigorous and deliberate dialogue between student work and contemporary photography and video ideas.Students of photography and video can be empowered by seeing their work as part of a cultural matrix, as entering into a conversation with the professional and historical community. The best photographic education is no longer segregated by opposing genres, identities, and ambitions, but is rather an education that seeks a plural and overlapping and fluid combination of forms, vocabularies, and contexts. To the students: you are the future we could never predict. You will subvert all our tired assumptions, our cliches, and conversations. You will redraw our maps from our seeds unfamiliar and disorienting forms will sprout. Our caution will become your risk. When we seek the reassurance of answers, you will commit to the elegance of inquiry. You will outdo us, confuse us, and approach the unknown future with an open heart.
Homepage Photos by: Alexis Adam, Michael Bailey-Gates, Hannah Bradbury, Michelle Dunckley, Carlos Jaramillo, Samantha San Roman, Andrew Wheeler, Bingjie Yu, Vicky Zambrano