OCAD U Photography Program

News about events, our community & opportunites

IMPORTANT – Meet the Future – Share your Feedback

Administrative Search: Shortlist for the CHAIR of PHOTOGRAPHY, PRINTMAKING & PUBLICATIONS

A public lecture is a significant part of the selection process for new hires and this gives everyone the chance to give feedback to the committee before final decisions are made. Here are the 3 final candidates for a new Chair.

Please attend as many of these lectures as you can and share your thoughts. All are welcome.
 public-presentation-evaluation-form

Kotama Bouabane
Talk/title: Let’s warm up a cool tone: Re-calibrating the fixed Image
Tuesday, November 20th, 2018
1:30 PM – 2:30 PM
113 McCaul St., Room 525

 Kotama Bouabane is a Laotian born artist and educator. He is a sessional instructor in Photography at OCAD University and holds an MFA in Studio Arts in Photography from Concordia University. Bouabane has shown extensively throughout Canada in notable galleries including Centre A, Vu Photo, Contemporary Calgary, Parisian Laundry and Gallery TPW. He has adjudicated many art juries including the Emerging Artists grant for the Toronto Arts Council and was on the nominating committee for the City of Toronto’s first Photo Laureate. His work has been published in Prefix Photo, Art Papers, Ciel Variable and most recently contributed to The Making of An Archive, initiated by artist Jacqueline Hoàng Nguyễn. Bouabane has received funding through the Toronto Arts Council, Ontario Arts Council and Canada Council for the Arts and will be a visiting artist in residence at Open Studio in 2019/20. He is currently the Co-President of the Board of Directors at Gallery 44 Centre For Contemporary Photography.

Emma Nishimura
Talk/title: Interpreting and re-negotiating history: exploring the third and fourth dimensions within printmaking and photography
Tuesday, November 27th, 2018
1:30 PM – 2:30 PM
113 McCaul St., Room 525

 Emma Nishimura’s work ranges from traditional etchings and digital prints to sculptural installations. Using diverse media, her work addresses ideas of memory and loss that are rooted within family stories and inherited narratives. Emma received her MFA from the University of Nebraska-Lincoln (2013) and her BA from the University of Guelph (2005). Her work is in public and private collections and has been exhibited nationally and internationally. Emma is currently an Assistant Professor at the University of Guelph. Previously she taught at OCAD University, Sheridan College and the University of Nebraska-Lincoln. She is the 2018 winner of the Queen Sonja Print Award.

 nichola feldman-kiss
Talk/title: that which has been witnessed
Wednesday, December 5th, 2018
1:30 PM – 2:30 PM
113 McCaul St., Room 525 OR 113 McCaul St., Room 512

 nichola feldman-kiss is a multi-disciplinary artist. Her research is socially engaged and performative. feldman-kiss’s artworks explore body, citizen, collectivity and hybridity. Her art and technology innovations have been supported by the National Research Council, the Ottawa Hospital Eye Institute, the Canadian Forces and the United Nations. feldman-kiss holds an MFA from California Institute of the Arts (CalArts). Her artworks have been presented in Canada, the United States, Mexico, India, and Europe.  She is an art and technology policy consultant and a former Officer for New Media and Audio at the Canada Council for the Arts.

November-December Residency Opportunity

Prefix and the Centre for Emerging Artists & Designers at OCADU are launching a 6-week Self-Directed Residency this Fall. The residency will take place at Prefix ICA between November 12th and December 21st, 2018. Below is a link to the opportunity description and submission requirements:

Avid Blogger Needed

I am looking for a student keen on adding items to this blog and keeping it active and informative. Over the past few years, Morgan has produced the Friday Art Crush, interviewing students about their work. Someone could follow in her footsteps.

As well, there are many events and opportunities which come along and can be posted here for everyone.

Let me know if you are interested.  Peter   psramek@ocadu.ca

Shivani Sharma and Abigail Lomboy Exhibition Event Nov 16 at the Mod Club

http://www.rawartists.org/shivanisharmaxabigaillomboy

OCAD Photo Alums make a Scene

shivani-abi-show

PhotoED Pecha Kucha Oct 17

Register NOW for this upcoming event featuring our own Farihah Shah
Special Student Price  PhotoEd.ca

Get a preview with Rita Godlevskis, Director of PhotoEd  by joining us in Directed Studio at Noon, October  17, Room 650, 100 McCaul
with added guests: InFocus curator Alexis Marie Chute from Edmonton discussing their national Call for Submission
followed by Scott Morgan, Photographer talking about his commercial practice and creative branding.

photedpechakucha

Gallery 44 Career Launcher – call for applications

Specifically open to Recent OCADU Photo Grads, this is an amazing opportunity.
Apply NOW! The deadline is approaching fast – Tuesday, September 4.

This opportunity will provide access to Gallery 44 production facilities, equipment rentals and programming for one (1) year starting October 2018, for five (5) OCADU recent graduates, to support their upcoming exhibitions and professional opportunities. Recipients will also receive studio credits valued at $500, and opportunities to participate in G44 member’s exhibitions, workshops and events.

Here is the link:  Gallery 44 Production Membership Career Launcher 

Here is a PDF version: g44-career-launcher-2018-call

International Collaboration Studio Applications

Applications for the International Collaboration Studio courses are now being accepted.    Download the PDF:

intac-call-for-applicants-2018-19-red

intac-call-for-applicants-2018-19_page_1



International Collaboration Studio Sept–April, 2018-19 1.0 credit

Now Accepting Applicants from all Programs
Apply in writing by e-mail to both teaching faculty:
psramek@ocadu.ca and msingh@faculty.ocadu.ca
Deadline: ASAP, July 15 and continuing until course is full

 

Work on collaborative projects with students from universities around the globe in an informal, team-based environment with 15 OCAD U students. Work towards collaborative visual projects, online presentations, book publications and international exhibitions. Current collaborations feature students in Tampere (Finland), Seoul (S. Korea), Berlin (Germany), Osaka (Japan), Ahmedabad (India), Toluca (Mexico).

This coming year, the plan is for OCADU to host the culminating show here in Toronto in May, so a major part of the second semester will be working to prepare the work and organize for the visiting groups. Travel may be an option during February Study Week, but this is not certain at this point, or in fact a requirement for the course.

 You will register for both semesters, comprising 2 courses at either the 300 OR 400 level:

International Collaboration Studio: Photo 3018
International Collaboration Studio II: Photo 3019
International Collaboration Studio III: Photo 4016
International Collaboration Studio IV: Photo 4017

Visit INTACnet.ca to see a description of our process and examples of past students’ activities. You can also check out one of our public Facebook pages: https://www.facebook.com/INTACinfo/

The Complexities of Language and Communication in a global context will provide a focus for this year’s projects.

 What is INTAC? This hybrid studio course takes place over two semesters during which time students design and undertake collaborative projects with international partners. Directions identified by the group will vary from year to year, but address the ongoing goals of engaging global issues and communicating across cultures. The coming year’s overarching theme will relate the fact that we speak many different languages, creating a complexity for communication and collaboration. Participants will respond with project proposals in whatever way they may interpret this, although we hope that global and cross-cultural issues will be fore-fronted. Projects will be developed in a range of media, but particularly those that may be shared readily through online channels. For this reason, photographic and time-based formats are a primary focus, however past students have also worked in other media – most recently audio, sculpture, writing, quilting, jewelry, drawing, painting and performance.

Along with creating relationships with students in the various schools, you will propose project concepts, join a few project groups and produce collaborative artworks within each group. You will maintain online communication and build a sense of community with the OCAD participants in group crits, fundraising activities, an exhibition event and possibly publication. Guided by Professors Peter Sramek and Meera Margaret Singh, you will take responsibility for cooperative leadership and initiative in these areas.

 How? Using class meetings, video conferencing (sometimes very early in the morning) and online blogs/communication environments (currently Slack) and popular social networking tools, students will communicate and develop projects under the guidance of the instructors at each school. Scheduling will be flexible, responsive to the needs of the activities while much of the work will be done on the students’ individual time with their project partners using various platforms: Skype, FaceBook, E-mail, Tumblr Blogs and other channels. Specific joint activities and projects will be articulated each year, based on specific partnerships and opportunities. There will be short-term objectives and deadlines over the 8 months of the course.

It is important to note that the course structure consists of a flexible meeting schedule and the class group will not meet physically every week, rather more or less every other week.

Who?

  • This course is open to students in years 3 and 4 from all programs – Art, Design, INVC, LAS, DigF
  • There are two sets of course codes and you must register for the paired Fall and Winter sections.
  • Students who have taken the 300-level courses may continue in INTAC by registering
    for the 400-level ones. Students requiring 400 level credits may register at that level.

 Apply Now!!

 Acceptance to this course is limited and will be by prior written application. Of key importance will be your commitment to exploring global perspectives. You must be self-motivated and able to work well in an environment where activity is self-initiated and online communication is at the core of the process. This is a less-structured context where you will be responsible for much of your work time on your own. You should be willing to take the lead in building new relationships, sharing ideas and communicating online. Comfort and proficiency with working in online environments is a definite plus.

 The Application Process
Deadline for Approval is mid-July, but students will be approved as applications are received until the positions are filled. If accepted, you will be given instructions on completing the online registration process using the appropriate codes.

 Please provide: Name, Student Number, Program/Major, Year Level, Number of Accumulated Credits (at least 10), Overall Average and an E-mail address you will respond to over the summer.

 Write a 500 word Statement of Intent including why you are interested in, and an excellent candidate for:

  • international collaboration
  • team-based project development
  • socially-engaged art practices
  • online learning and communication environments
  • photographic, time-based and/or online formats

Describe the primary media you are thinking of working in and how you would see collaborating with a group that is in different parts of the world. Describe any previous international experiences: living, travel, programs, languages, etc. Discuss how this course experience will fit your educational goals.

Include 5–10 captioned images of recent works in your application document (PDF, Word or Pages), which you feel illustrate your approach to artmaking.

Email your application to psramek@ocadu.ca and msingh@faculty.ocadu.ca

 Note: It is highly recommended that, unless you have already received approval for this course, you first register for a full load of courses during the registration period. All applicants will not be selected for this program. Once registered you can drop 2 studio courses. This 1.0 credit will be equivalent to 1.0 Studio Option credit in Photography or as an elective in your major program. It can be approved as a Program Studio Option for those not in Photography with special permission of your Chair.

 

International Collaboration Studio Application Requirements List

Name:
Student Number:
Program/Major:
Year Level:
Number of Accumulated Credits (at least 10):
Overall Average:
E-mail address you will respond to over the summer:

 Do you require 400 level credit for INTAC to fulfill Program Requirements for graduation?   Yes ____   No ____

  • These credits can fulfill program studio credits and 4th year Photo majors in particular need to check if they need 400 level credit and then be registered in the right course codes).

Write a 500 word Statement of Intent
Add 5-10 captioned images

 Please provide this in 1 document – PDF, Word or Pages – 8 Mb or less.

 Send directly to both teaching faculty

psramek@ocadu.ca and msingh@faculty.ocadu.ca

Deadline: ASAP and continuing until course is full

 

If you are approved, you will work with the Faculty of Art Office to complete registration:

  • You need to ‘choose/plan’ the appropriate two courses in the Registration System –
  • Then, the Program Assistant must give you permission in the System –
  • Then you must complete the Registration.
    Guidance will be given.

 

Start by downloading the PDF:

intac-call-for-applicants-2018-19-red

Friday #ArtCrush: Jamila Noritz Reyes

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Jamila, a fourth year photography student in thesis. 

In this series, Jamila and Morgan talk about involving your family in projects and de-constructing histories and narratives.

What body of work are you working on right now?

 

Currently I am working on D U E N D E, my thesis project I spent all year on which explores my perception of a collective story, a family collective memory. Growing up as the eldest of three daughters and coming from a household where realizing my fathers alcoholism was an influence to our domestic behavioural patterns, I took a lot of curiosity into the causes and affects of our social and emotional interactive dynamics in the home. With this investigation/exploration of who we are: out came a flood of repressed memories and stories which all have another untold side to them. I have found so much healing in all the process work that has forced me to confront and work with this history of our family disease.

 

What subject matter do you tend to spend the most time working on?

 

This curiosity began when I started to photograph my middle sister Inti in my first year of high school. As an unusual adolescent who found comfort in her chosen isolation, her room, and her quite spaces, Inti’s presence in front of my camera has always been quit unveiling and intimate. She has allowed me to witness her in states of mind I believe she attempts to keep hidden and to herself.

 

Photographing her was my outlet at trying to connect with her engulfed state and in trying to understand my younger sister. She finds a lot of difficulty in expressing her emotions, so for years without realizing until only recently, all I did was alternate from photographing my younger sister and my family. I found myself circling around this notion of family, trying to reveal the things that I thought we tried so hard to keep concealed. I didn’t even know what that was at the time, I was always looking for a quality, an essence that just didn’t speak to me in a way I knew it could. So looking back now I believe it started with recognizing an act and becoming dedicated in learning how to interpret, relate, and bond with my younger sister through other interactive means.

 

screen-shot-2018-04-04-at-2-47-04-pm-1

Who or what are your main photographic inspirations?

 

My photographic inspiration started off with artists such as Larry Sultan, Julie Renee Jones, Nancy Friedland and Patrick Martinez. But for D U E N D E many of my inspirations have been feeding off from specialists, doctors and writers such as Dr. Gabor Maté, Barbara Coloroso, and Janet G. Woititz. The discussions these specialists talk about are of trauma, addiction, memory, absence, anger, acceptance, recovery, seeking truth, adult child relationships, development/child development, and internal power constructures.

 

 

In working through my thesis project I have found my most direct sources embedded in 20 years worth of journal entries. My fathers private journal has become something very eye opening, a starting point to a discovery, a rebirth of self. The narratives you read in my work D U E N D E are pieced together and re-constructed through de-constructions of his own narratives.

 

Working so closely with family narratives and histories, how do you find, or did you find it change, shift or mould your relationship to your family and close ones?

 

My family and I have open conversations about this topic, it is not something we tippy toe around.  I have kept my family in constant involvement with this project; in fact they have been there to help me in every aspect of putting an embodiment to this journey of mine and of ours.

 

In all its process it has allowed me to connect the dots, fill gaps in the memories we share as a family. This has invited me to take an honest look at my family by using my past as a rear view mirror like a reminder that our memories and who we are is always changing and never the same as we keep moving forward. This has also aided me in figuring out or regulating my emotions in the relationships I have to date with people close to me in my life today.

 screen-shot-2018-04-04-at-2-48-35-pm-1

In your thesis you combine photography and text, and handwritten text as well. What is your process of deciding how to incorporate text into/ on to your images?

 

Since the text is taken out of my father’s journal, the process takes a lot of time and energy to go through and read his passages, which are filled with introspective thoughts on disappointment, self-doubt, anger, and shame. There are sections that tend to speak to me more on a very conscious metaphysical level; where I see so much of myself and my own struggles in who he was and who he is. Like being confronted with a version of me who is not me but I can relate, I understand. It is in that sense of awareness that I find the words to tell my story of events in relation to whom I associate them with.

 


What is your process from when you get an idea, to shooting (or making), and presenting the work to peers? 

 

Once I find the entries or the stories to de-construct I begin a lengthily process of assimilation and profound recollection. I sometimes look back at some personal writings and notes I’ve taken to assist or jog a memory and the story telling begins. Its like putting together a thousand piece puzzle without a preview of what it will look like at the end. It is very time consuming and I can have an idea of what the story will read but it is what it is and I can come up with a lot of other telling’s of the same stories but its about “accept[ing] the things I cannot change, courage to change the things I can, and wisdom to know the difference” (The Serenity Prayer).

screen-shot-2018-04-04-at-2-50-01-pm

Is research part of your process (research can also be personal/lived experience)?

 

90% of it is research and formulating a sense of direction and 10% is actually making it happen. My creation process tends to be spontaneous in that its not forced, it can’t be forced. Sometimes it takes allowing myself to feel threatened by my own work to really get a stripped idea of what I’m looking at putting together.

 

Research for me involves, reading, watching videos, questioning myself every minute and usually ends with my father giving me his “biggest critic/tough love/ get out of your little comfortable box” kind of inspiration talk to get me to shift from thinking and overthinking to just experimenting and take ACTION.

 

How do you think the critique process of thesis has aided or changed your practice?

 

Because of the very personal subject matter of my thesis I believe the critique process has allowed me to build the confidence I needed to speak about this topic comfortably enough in comparison to the beginning in September. It has helped me separate myself from the work enough to view it as my viewers would which allows me to figure out better ways to involve my viewers in a very personal body of work.

 

How can I condense or narrow in on a certain detail to convey a larger story? At the very beginning my work began as something very dense, very broad and it was too overwhelming to grasp my viewers interest in the way I had wanted.

 

One of the main issues I dealt with in my work was where to position myself within it. I got really wrapped up in telling someone else’s story, my fathers story rather than my own. It was during the critiques that I was asked to take my position in the work into consideration and i found a hard time accepting that my voice or my side of the story mattered. It took a lot of self-search and putting myself through intense mental states to manifest those memories back into a conscious awareness.

 screen-shot-2018-04-04-at-3-11-59-pm

Is there anyone who you would like to work with in the future?

 

I haven’t been able to predict how my work could or will evolve up to this point. I guess at this moment I would say Dr. Gabor Maté, as much as he is not a visual artist or creator of any sorts, he is an addiction expert and a specialist in behaviour. I have been very moved by his theories and concepts of development. My inspiration has been coming more from intellect/knowledge rather than from a fine art or design basis.

 

Are their any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

 

I would have to thank Kate Schneider, Lee Henderson and Simon Glass who have been my main influencers in getting me to think about aspects of my work in constructive ways. This is vital because it has allowed me to look at my own work and my concepts with a different lens other than my own. Their insights and questions really get me to see the pros in the difficulties that I find in my own work and they point out the strengths in my own flaws I tend to over look.

 

There have been few faculty that I have been able to share my work with who I believe really listen and take my initial vision into consideration when giving their constructive feedback. These are the few I feel really recognized the amount of potential I had in my work when I couldn’t even see it for myself. They have been there when I needed a push of encouragement, someone to just share my frustrations or difficulties about my work with, and to give me some helpful tips and pointers to just get me started when I didn’t know where to begin.

 

What is one piece of advice you would give to someone starting out in photography?

 

A piece of advice I would give is be comfortable with your process, as chaotic, confusing and consuming it may be, the self doubt means your thinking about your work and that’s progress. Be open to transformation; explore YOURSELF on a creative level. Don’t think too much, just do it

 

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

« Older posts

Use of this service is governed by the IT Acceptable Use and Web Technologies policies.
Privacy Notice: It is possible for your name, e-mail address, and/or student/staff/faculty UserID to be publicly revealed if you choose to use OCAD University Blogs.