Studio of Intermedia 5
Subject is not scheduled Display Schedule
|307EAI5||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
This studio is intended for student who begin with a technical image and work on its transfer to other media. This freely moves between installation, object and site-specific projects. Emphasis is place on the use and form of material as the bearer of idea.
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
People who are interested in freedom, true freedom, not only to be able to speak vulgarly in public, must first with the help of style, change content. If the style is masterful, fluent and developed, if changeable and the summit as well, may be raised above the content created by snatches of color, electricity and light. Content is that which man keeps in his thoughts and is not flaunted.
This studio is intended for students whoch begin with a technical image and work on its transfer to other media. This freely moves among installation, object and site-specific projects. Emphasis is placed on the use of form and material as the bearer of idea.
The studio is designed as an open platform which the students bring their topics and inspirational sources, define the topic, are critiqued and learn to work with boundaries and limits such as a vital part. The take part on constructive criticism and implement their work with an awareness of its cultural and historical context.
A vital part of this is work on small assignments which startle students from their own thought patterns and offer them new approaches and expand the selected use of media.
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.
Schedule for winter semester 2022/2023:
room TR 304
Tržiště -st. intermedia
(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||Štěpánka ŠIMLOVÁ||Tržiště -st. intermedia
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)