Contemporary Photography and Art 1

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Garant předmětu

Tomáš DVOŘÁK

Jméno vyučujícího (jména vyučujících)

Josef LEDVINA, Noemi PURKRÁBKOVÁ

Katedra

Předmět zajišťuje Katedra fotografie

Obsah

To complete the course, students must submit two written assignments – one short (2–3 pages) in the middle of the semester and another final paper (5–10 pages) at the end of the semester (standard page = 1,800 characters including spaces). An oral exam consisting of a discussion of the two submitted texts follows.

For the shorter written assignment (due November 9), students will prepare a reflection of an exhibition, which they will analyze and/or critique.

The final seminar paper (due January 4) may relate directly to the topic of the future bachelor's thesis and/or to one of the topics or readings covered. The use of relevant academic sources and literature is required, as well as formatting that meets the standards of a bachelor's thesis. We recommend consulting the theme of the paper with one of the instructors before writing the text.

6.10. (Noemi Purkrábková)

*Artwork between the gallery and the online space: documentation, circulation, post-production*

Reading:

– Steyerl, Hito. 2013. “Too Much World: Is the Internet Dead?” e-flux journal, no. 49. https://www.e-flux.com/journal/49/60004/too-much-world-is-the-internet-dead/.

Suggested reading:

– Abrams, Loney. 2013. „Flatland.“ The New Inquiry. Přístupné online: https://thenewinquiry.com/flatland/

– Bourriaud, Nicolas. 2002. Postproduction: Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg.

– Kholeif, Omar. 2018. Goodbye, World! Looking at Art in the Digital Age. Berlin: Sternberg Press, 97–119.

13.10. (Josef Ledvina)

*The Image as a Tool and the Image as a Work of Art*

Reading:

– Noë, Alva. 2016. Strange Tools: Art and Human Nature. New York: Hill and Wang.

(read especially part III).

20. 10. (Josef Ledvina)

*Cute pictures in a gallery and on social networks*

Reading:

– May, Simon. 2019. The Power of Cute. Princeton: Princeton University Press.

27. 10 X – rektorské volno

3.11. (Noemi Purkrábková)

*Poetics and Politics of Infrastructures*

Reading:

– Zylinska, Joanna. 2017. Nonhuman Photography. Cambridge, MA: MIT Press. (especially chapter 2)

Suggested reading:

– Weizman, Eyal. 2017. Forensic Architecture: Violence at the Threshold of Detectability. New York: Zone Books.

– Easterling, Keller. 2014. Extrastatecraft: The Power of Infrastructure Space. London: Verso.

– Gabrys, Jennifer. 2016. Program Earth: Environmental Sensing Technology and the Making of a Computational Planet. Minneapolis: University of Minnesota Press.

10.11. X – catch up week - volno

24.11 (Josef Ledvina)

*Institutional Critique and Institutionalization of Photography*

Reading:

– Krauss, R. (1982). “Photography’s Discursive Spaces: Landscape/View”. Art Journal, 42(4), 311–319.

https://monoskop.org/images/6/6b/Krauss_Rosalind_1982_Photographys_Discursive_Spaces_Landscape_View.pdf

1.12. (Noemi Purkrábková)

*Decolonization and Postcolonial Thought in Contemporary Art*

Reading:

– Demos, T. J. 2013. Return to the Postcolony: Specters of Colonialism in Contemporary Art. Berlin: Sternberg Press. (Introduction, pp. 7–18; “The Haunting: Renzo Martens’ Enjoy Poverty,” pp. 97–123.)

Suggested reading:

– Fanon, Frantz. 2021. The Wretched of the Earth. New York: Grove Press.

– Said, Edward. 2007. Orientalism. London: Penguin Books.

8.12. (Josef Ledvina)

*Authentic, Superficial and Authentically Superficial: Strategies of Contemporary Performance*

Reading:

Claire Bishop, “Outsourcing Authenticity? Delegated Performance in Contemporary Art”, in Double Agent, eds. Claire Bishop and Silvia Tramontana, London: ICA, 2008, pp 110-125.

https://monoskop.org/images/1/19/Bishop_Claire_2008_Outsourcing_Authenticity_Delegated_Performance_in_Contemporary_Art.pdf

15.12. (Noemi Purkrábková)

*Technology – art – gender: Feminism and (new) media*

Reading

– Haraway, Donna. 1985. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” Socialist Review 80: 65–105.

Suggested reading

– Plant, Sadie. 1995. “The Future Looms: Weaving Women and Cybernetics.” Body & Society 1 (3–4): 45–64. /or/ Plant, Sadie. 1997. Zeros + Ones: Digital Women + the New Technoculture. London: Fourth Estate.

– Laboria Cuboniks. 2018. The Xenofeminist Manifesto: A Politics for Alienation. London and New York: Verso.

– Russel, Legacy. 2020. Glitch Feminism: A Manifesto. London and New York: Verso.

(22.12) - consultations

Výsledky učení

The student is oriented in contemporary art, understands contemporary theories of art and photography, is able to think about photography in the context of current discussions about technical images and is able to reflect on some of the topics discussed in his/her own creative work.

Předpoklady a další požadavky

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Literatura

Hodnoticí metody a kritéria

To complete the course, two written papers must be submitted – one short (2-3 standard pages) in the middle of the semester and the second in the form of a final seminar paper (5-10 standard pages) at the end of the semester (standard page = 1800 characters including spaces). This is followed by an oral examination in the form of a discussion of both submitted texts.

For the “shorter written assignment”, students choose one contemporary artwork, exhibition, photograph, or other alternative art format to which they relate analytically and/or critically.

The “final term paper” may connect directly to the topic of the student’s future undergraduate thesis and/or to topics and readings discussed during the course. The use of scholarly literature and relevant sources is required, as well as the formal editing appropriate to the standards of a bachelor's thesis. It is recommended to consult the topic with one of your teachers before writing the assignment.

Poznámka

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Rozvrh na zimní semestr 2025/2026:

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Předmět je součástí následujících studijních plánů

• Fotografie EN - bakalář - 2022 (Povinné předměty)