Studio of Imagitative Photography 4
Register Display Schedule
|307EAIP4||exam||4||28 hours (45 min) of instruction per semester, 79 to 99 hours of self-study||English||summer|
Name of lecturer(s)
Learning outcomes of the course unit
- Introduction to the problematics of composition of an image presented in the form of a book, zine, magazine, web, interactive PDF, etc.
- Creating links and connections between the visual and textual elements, between the static and moving segments.
- Integration of photographic, graphic, typographic elements as well as videos.
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
Syllabus: Imaginative photograpy studio
This studio works across genres and the expression spectrum. It is a synthesis of the visual and conceptual ideas; graphic, documentary, multi-medial or other approaches. The borders between individual types of communication are broken down in order to accent the communication itself.
The Imaginative Studio forms a creative space for students working across the entire photography spectrum. Knowledge of the photography trade creates a solid foundation for the building of autonomous self-expression through images.
The Studio lead assigns topical semestral tasks. In relationship to the assigned topic there are questions where answers are investigated together. The result of this research in interaction and discussion with the instructor is the result of the creative image. Emphasis here is on the thought foundation, sensibility and authentic individual creative attitude of each student.
Key words of the Imaginative photography studio are:
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:
The schedule has not yet been prepared
Schedule for summer semester 2022/2023:
Studio No. 113
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Tue||09:00–17:15||Rudolf PREKOP||Studio No. 113
The subject is a part of the following study plans
- Photography EN - Bachelor-1920 (required optional subject)