Studio of Documentary Photography 5
|307EAD5||ZK||4||24 hours (45 min) of instruction per semester, 82 to 102 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
Forms and expression tools are very broad: From the traditional concept of the documentary, often bound with a social or societal topic, through documentation of changes and shifts in society, lifestyle, ecology, topography of individual locations to subjective expression of the relationship of the immediate surroundings or the world in general and one feelings and experience.
Mode of study
Exercise analysis, projection work in relation to the topic, independent creative work.
Prerequisites and co-requisites
General knowledge of visual art and photography
General knowledge of modern visual arts theory
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.).
Recommended or required reading
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
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,
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
Assessment methods and criteria
Students may be graded based on attendance 70% and participation in group excursions. Each exercise will be graded according to the criteria given.
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.
Schedule for winter semester 2022/2023:
Tržiště - st. document
(Tržiště 20, Praha 1 (vchod z Rektorátu AMU, Malostranské nám. 12))
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Tue||09:00–21:25||Markéta KINTEROVÁ||Tržiště - st. document
Tržiště 20, Praha 1 (vchod z Rektorátu AMU, Malostranské nám. 12)
|hybrid teaching||lecture parallel1|
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Photography EN - Bachelor-1920 (required optional subject)