Studio of Imagitative Photography 9
|307EAIP9||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
- 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
This studio is built on two starting places: student exprience with depicting figures and portraits, and the spontaneous use of free creative experiment. This is the foundation, on which at the bachelor level, contact and continued dialog between the student and the studio lead is built. In master's study, the studio provides creative space for those working across genres creating an overall photographically expressive spectrum. Here the borders between graphic, documentary, multi-media and other forms of image communication are removed. Therefore the accent is on the communication itself.
In this „autonomous studio“ a single semester exercise is implemented according to assignment by the studio lead. That exercise is not immutable but is to react to the „spirit of the period.“ Emphasis is placed on the thought basis, sensibilities and individual creative attitude of each student which in an interactive dialog with the instructor leads to a creative approach.
The studio lead invites workshop lecturers, figures from photography, film and graphic arts as desired. This workshop is either in a semester or over an entire year according to the schedule determined by the lecturer. The purpose is to confront the student with a wide spectrum of people who present their creative practice experience, their viewpoint, attitude and spirit to the students.
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:
Studio No. 113
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Tue||09:00–21:25||Rudolf PREKOP||Studio No. 113
|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 - Master-1920 (required optional subject)