Studios of Department of Photography 4

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
307ESTD4 exam 4 28 seminar 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

The student is able to independently elaborate the intention of his/her author's work and to realize an exhibition project with all the requirements that go with it. The student can confidently enter into collective art projects, is able to collaborate on larger art projects or initiate such projects.

Mode of study


Prerequisites and co-requisites


Course contents

The studio teaching is designed to cover all branches of contemporary photography and technical image use in specialized studios, with possible overlap into other fields of visual arts and use in related industries. The student is admitted to the specialised studio on the basis of his/her Master's project, which is part of the admission procedure and in which the student formulates his/her intentions for his/her original work within the Master's programme. On the basis of joint and individual consultations, he/she refines and develops his/her intentions. The studio lessons are usually prepared by the studio manager in semester cycles and include work on a common theme, which is covered in the joint part of the consultation, and which is supplemented by visits from guests who deal with the theme in their work. It is usually supplemented by one or two special workshops to deepen knowledge and insight into the subject or to broaden the overall overview. The second task of the work in the studio is the preparation and realization of an exhibition project, which is presented in the semester-long classes. In the exhibition project, the student concentrates on the realization of his/her own authorial intentions, and to improve the quality of the project, he/she uses all the means that the studio teaching allows - a large amount of time, regular consultations, a combination of individual and joint consultations, additional activities, individual suggestions for development - historical and contemporary overview, technical advice and references, which he/she uses not only in the realization of the work, but also in the explication, technical execution, innovation of adjustment and presentation and further application of his/her projects.

The teaching is complemented by joint activities in field trips, plein air workshops, visits to exhibitions or cultural institutions. Studio meetings and joint consultations are an integral part of the acceleration of learning, where experiences are exchanged and inspirational resources and suggestions are shared across the years, linking the Czech and English programmes.

Individual consultations are used to gain a deeper understanding and insight into one's own creative process, to formulate and refine goals and direction, to develop personally through involvement in the exhibition and cultural process within the school, other institutions working with young artists, and to create one's own projects and cultural platforms.

After the end of the semester, the student can change the specialised studio at his/her discretion. This is usually done by agreement or on the recommendation of the studio head.

The student has a choice of five studios in each semester, and always chooses one studio for that semester. These are the following studios: the Classical Photography Studio (headed by doc. Mgr. Martin Stecker), the Intermedia Studio (headed by doc. Mgr. Štěpánka Šimlová), the Documentary Photography Studio (headed by MgA. Markéta Kinterová, Ph.D.), the New Aesthetics Studio (headed by doc. MgA. Hynek Alt) and the Imaginative Photography Studio (headed by prof. Mgr. Rudolf Prekop).

Recommended or required reading


Alberro, Alexander - Norvell, Patricia (ed.): Recording Conceptual Art, Berkeley, Los Angeles and London: University of California Press, 2001

Alberro, Alexander, Sabeth Buchmann: Art After Conceptual Art, MIT Press, Cambridge and London, 2006 Fried Michael: Why Photography Matters as Art as Never Before, Yale University Press, New Haven 2008 Bourriaud, Nicolas: Postproduction, Prague: Tranzit, 2004

Bourriaud, Nicolas: Relational Aesthetics, Dijon: Les presses du réel, 2002

Cotton, Charlotte: The Photograph as Contemporary Art, London, Thames Hudson, 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, 1996

Wall, Jeff: Selected Essays and Interviews, New York: The Museum of Modern Art, 2007

Wells, Liz. The Photography Reader, Routledge, London, 2003

Recommended reading:

Always depending on the studio and semester topic.

Assessment methods and criteria

At the end of each semester, the student takes an examination, the form of which is determined by the head of the studio. Usually it is an assessment in the framework of a joint presentation. The evaluation takes into account intensive personal development within the artistic practice, the use and evaluation of all complementary activities, an active approach to studying, and the ability to reflect on one's own work.



Further information

No schedule has been prepared for this course

The subject is a part of the following study plans