Studio of Documentary Strategies 8

Předmět není vypsán Nerozvrhuje se

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Katedra

Předmět zajišťuje Katedra fotografie

Obsah

Documentary photography encompasses a wide range of samples and approaches. Beginning with the effort to capture reality, with an emphasis on realism or subordinated to the intentions of a defined concept or ideology. Documentary photography has gone through great development, particularly in the last century and in the Czech tradition, also, depends upon some real distinct milestones. It is essential to include this tradition among the sources, as rare among current starting points. Allan Sekula, 40 years ago, pointed out the relationship to documentary photography or social photography and the failure of the aesthetics of realism, which paradoxically serves the status of the depicted individual in the role of passive victim, influenced by the media for many decades as spectators and receivers of these visual reports and are to which are quite successfully resistant. This perspective needs to be re-opened, revised and find a new starting point and manner of documenting events around us.

Work coming from this studio course should, as a result, pose questions social in character, critically define problematic and minor areas in the state of contemporary society and at the same time investigate new communication channels for presentation (from an exhibition project, artist’s book, publication in the media, online publishing, etc.).

Výsledky učení

The students work under the guidance of the studio leaders through consultation meetings. They learn to define their intention and to find the most appropriate audiovisual means for its presentation, and in the explication they put emphasis on the reflection of their creative process and also on the ability to place their own project in the broader context of the visual arts.

Second year students develop their themes and their ability to work with their chosen media. Emphasis is placed on working within the context of contemporary visual arts and social sciences. In the explication of a project, they are able to situate the project in terms of historical development as well as contemporary trends. If interested, learners proactively seek out ways of possible presentation or engagement with wider platforms themselves, familiarising themselves with gallery operations and contemporary presentation platforms. In the winter semester, they may undertake an Erasmus internship. In the summer semester, they work on their qualifying thesis, which they present in the process at the final exam. They extend their adjustment techniques and other ways of sharing their results. Learners also produce an author's book on which they capitalise on their skills from the book-making process, including craftsmanship and the ability to bring the project to a realisation that is presentable to the public.

Předpoklady a další požadavky

Obecná znalost historie výtvarného umění a fotografie

Obecná znalost teorie současného vizuálního umění

Schopnost analytické reflexe

Kreativní předpoklady

Literatura

Alberro, Alexander - Norvell, Patricia (ed.): Recording Conceptual Art, Berkeley,

Los Angeles a London: University of California Press, 2001

Alberro, Alexander, Sabeth Buchmann: Art After ConceptualArt, MIT Press,

Cambridge and London, 2006

Fried Michael: Why Photography Matters as Art as Never Before, Yale University

Press, New Haven 2008

Bourriaud, Nicolas: Postprodukce, Praha: Tranzit, 2004

Bourriaud, Nicolas: Relational Aesthetics, Dijon: Les presses du réel, 2002

Cotton Charlotte: The Photography as Contemporary Art, London, Thames

Hudson, 2004

Císař, Karel (ed): Co je to fotografie? Herrmann a synové, Praha 2004

Foster, Hal (ed): Postmodern Culture, London: Pluto Press, 1990

Foster, Hal; Krauss, Rosalind; Bois, Yves-Alain; Buchloh, Benjamin H.D.: Art

since 1900, London: Thames & Hudson, 2004

Michel Frizot: Nouvelle Histoire de la Photographie, Larousse-Bordas, Paris,

1996

Grygar Štěpán, Konceptuální umění a fotografie, Praha, AMU, 2004

Petříček Miroslav: Myšlení obrazem, Herrmann a synové, Praha 2009

Silverio, Robert: Postmoderní fotografie, Praha: AMU, 2007

Liz Wells. The Photography Reader, Routledge, London, 2003

Wall, Jeff: Selected Essays and Interviews, New York: The Museum of Modern

Art, 2007

Hodnoticí metody a kritéria

Studenti mohou být hodnoceni na základě docházky 70% a účasti na společných výjezdech. Každé cvičení bude hodnoceno podle předem daných kritérií

Poznámka

Markéta Kinterová

http://marketakinterova.cz

She focuses on a research of visual, informative and social effectiveness of the press in various forms. From issues of the manipulation of text and image, shifting to a more detailed investigation of the dependence on the bearer of information such as a book and public space. The transition from the public to private is accompanied by tension which arises with its connection to a new situations. Aside from her own work as the current creative director for the Fotograf 07 z.s., which publishes the Fotograf Magazine, organizes Fotograf Festival and manages the Fotograf Gallery.

Další informace

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• Fotografie EN - magistr - 2022 (Povinně volitelné předměty)