Fine Arts 2

Display Schedule

Code Completion Credits Range Language Instruction Semester
373VU2 ZK 2 2T Czech summer

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

The aim of the course is to acquaint students with the development of the widely defined fine arts from the beginning of the 20th century to the present. The presentation will not be limited merely to a list or comparison of individual artists for artistic directions, but will focus on a wider social-historical context in the development of modern art including relations to related arts disciplines, primarily; film. Indiviudally, chronologically covering topics representing social changes in the the audience and artists, marking the relationship beteween technological development and artistic media and coming up to the contemporary arts scen of the globalizing world. Attention will be devoted to modernism theory and possible methodological approaches to culture of the 20th century. Individual blocks will be devoted to important figures in art of the last 100 years but also to topics from the world of mass culture which the dynamic of cultural production in our civilization will be explicated.

Mode of study

Lecture and presentation of image material, moderated discussion.

Prerequisites and co-requisites


Course contents

Lecture in the history of art divided into a two-semester block will focus on the creation of the knowledge of key debates of art, in particular from the rise of modernism to the present influencing contemporary art, film and visual culture. Instruction focuses on a wider social-historic context in the rise of modern art including relations to other arts, humanities and scientific disciplines and reflecting beyond visual studies and theories of influence, post-colonialism and feminism with an emphasis on changes in the relationships between „high“ and „low“culture and overlapping traditional areas of fine arts with photography, film, mass media and new technology. Individual topics are representated by socal changes in audiences, institutions such as museums and artists marking the relations between technological development and arts media and approaching the contemporary arts scene of the globalizing world. The course will emphasize influencing approaches.

Week 1

Spectacle company, Guy Debord and Situationists. European post-war art

Fluxus and intermedia

Week 2

Discussion class. I want to go (art): Provincialism

In this discussion class we cover together short and interesting texts of two young historians of art; David Hodge and Hamed Yousef. Freely linked to topics from the Winter semester. This is the first of classes representing several of the most important contemporary debates in the history of art. Read the texts and come to class.

Week 3

Conceptual art, minimalism and land art. Robert Smithson, Eva Hesse, Donald Judd

Art Povera. Extra-European perspectives, Lygia Clark

Week 4

Performance, action art, happenings of the 1960s and 70s.

Jiri Kovanda, Lumir Hladik, Lynda Benglis, Sanja Ivankovic,

New York of the 1960s; Yvonne Rainer, Judson Dance Theatre, Kitchen

Week 5

Discussion class. It's a man's world

Carol Duncan, Civilizing Rituals

Week 6

Art as Communication: Dialog art. Josef Beyus, APG, Jonas Stahl

Week 7

Pop Art and Andy Warhol, Robert Rauscheberg, Yayi Kusama

Week 8

Discussion class

Pop and the end of Art? Ronald Barthes

Week 7

Post-modernism, art of the 1980s. Style plurality, Sherrie Levine, Cindy Sherman, Jeff Koons

Suzi Gablik, Has the modern failed? Votobia 1995

Week 8

Performance and documentation

Thanks to technological possibilities and the internet there are more arts forms and projects containing forms of performance whether a real live aspect of a piece or a recording on social media. What does the concept of so called perfomativity means in the context of today's art and arts institutions and for the future of art? Anna Imhof, Trajal Harrel, Lukas Hofman, Zadie Xa and others.

Week 9

Social unrest and participation

Intervention of art in everyday life - rights and responsibility of the artist to the public and the audience

Working with archive material and audiences, Observation modes and participation, re-staging.

Barbora Klimova, Jeremy Deller, Omer Fast

Week 10

Art and Feminism

Feminism is a political movement but how does it function and why is its connection to art? What is feminist art?

Carol Scheeman, Guerilla Girls, Martha Rosler, Xenofeminism

Week 11

Skins, screens and Circuits. How technology has altered the body.

How pornography, klinical technology, gender and selfies are interdependent? This lecture will focus on the body in the age of technological mediation. Amalia Ulman, Ann Hirsch, ASMR video, Anna Daucikova

Week 12

Art After the Internet

From the idealism of net art of the 1990s. Hyper-performance of Ryan Trecartin. The phenomenon of the post-internet to the present. Collective arts projects such as Jogging, walled gardens, Jeremy Bailey, Hito Steyerl, Marina Olson, Camille Henrot, Martin Kohout.

Omar Kholeif: Art after the Internet

A2, No.# 24/2014, post-internet art

Week 13

We don't need another hero. Art and post-colonialism

Post-colonial museum. Inherited archives and narratives

Mozireen,, Rama Hamadesh, Wu Tsang, Fannie Sosa, Tabita Rezaire, Jon Akomfrah,

David Blandy and Larry Apiamchong

Week 14

What is modern art?

The term contemporary art is its own category. What does that „contemporary“ mean? Ai Weiwei as a global artist. Art as diplomacy. Art as change?

Recommended or required reading


Dumbadze, A., Hudson S. Contemporary Art: 1989 to the Present, Chichester 2013

David Hodge, Hamed Yousefi Provincialism Perfected: Global Contemporary Art and Uneven Development eflux Journal no. 65 May-August

Carol Duncan, Civilising Rituals: Inside Public Art Museums (London: Routledge, 1995) pp.102 – 132

Roland Barthes, 'That Old Thing Art' in Paul Taylor, Post-Pop Art, MIT Press, 1989 pp.21-31


Balsom, Erika, After Uniqueness: A History of Film and Video Art in Circulation (Columbia University Press, 2017)

Benjamin, Walter, The Work of Art in the Age of Mechanical Reproduction

Bishop, Claire, Artificial Hells: Participatory Art and the Politics of Spectatorship (London ; New York: Verso Books, 2012)

Terezie Nekvindová DVD České akční umění <

Stuart Comer, Film and Video as Art. Tate publishing, London .

Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Umění po roce 1900, Slovart 2007

Richard Osborne, Dan Strugis, Natalie Turner, Teorie umění, Portál, Praha 2008

Akce, slovo, pohyb, prostor, Galerie hlavního města Prahy, 1999

Guy Debord, Zpráva o konstrukci situací a o podmínkách organizace a působení mezinárodní situacionistické tendence. In: Sešit pro umění, teorii a příbuzné zóny, 4-5/2008, str. 7 – 30.

Assessment methods and criteria

Lecture attendance and class participation: 50%

Essay 1000 - 1200 words - Summer semester: 50%



Further information

This course is an elective for all AMU students

Schedule for winter semester 2019/2020:

The schedule has not yet been prepared

Schedule for summer semester 2019/2020:

room 207
Room No. 2

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Thu 12:20–13:55 Hana JANEČKOVÁ Room No. 2
Lažanský palác
lecture parallel1

The subject is a part of the following study plans