Studio of Imagitative Photography 6

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Code Completion Credits Range Language Instruction Semester
307EAIP6 exam 4 28 hours (45 min) of instruction per semester, 79 to 99 hours of self-study English summer

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

  1. Introduction to the problematics of composition of an image presented in the form of a book, zine, magazine, web, interactive PDF etc.
  2. Creating links and connections between the visual and textual elements, between the static and moving segments.
  3. 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

Analytical abilities


Course contents

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

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,


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

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:

room 113
Studio No. 113

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Tue 09:00–17:15 Rudolf PREKOP Studio No. 113
Lažanský palác
lecture parallel1

The subject is a part of the following study plans