Atelier with Štěpán Grygar 1

Subject guarantor:

Štěpán GRYGAR

Name of lecturer(s):

Štěpán GRYGAR

Learning outcomes of the course unit:

The aim of the photography studio is to maximally support the creative abilities of the students with a focus on conceptual work. Presumed is working in the context of modern art without limiting factors.

Mode of study:

Analysis of exercises, screening work related 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

Creativity

Recommended optional programme components:

Žádné další nepovinné vzdělávací složky.

Course contents:

3. STUDIO OF CREATIVE PHOTOGRAPHY

Lecturer: Štěpán Grygar

Contact: 732 661 938, grygar@famu.cz

Course Description:

I stress the importance of a critical distance from one's own work that results in its classification within a wider context. The Studio consists of theoretical seminars, consultations of final exhibition, bachelor's, and master's studies.

Assignment: (4P1, 5P1)

Description: This mandatory assignment is practical and students have to submit at least eight photographs. Emphasis is put on the ability to come up with an innovative solution to the given assignment. Conceptual work is recommended. A written explanation must be handed in prior to starting with the assignment.

Assignment: To create a series of photographs as an individual interpretation of specific theme (not mere illustration). Two themes will be announced in the beginning of semester.

Time schedule: WS: Brief, written explanation and consultations within winter semester. One series must be finished by the end of the winter semester.

SS: Brief, written explanation and consultations within summer semester. The series must be finished by the end of the summer semester.

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,

1996

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

Planned learning activities and teaching methods:

Assessment methods and criteria:

Grading:

Graded credit: granted on the basis of submission of all prescribed assignments and evaluation of submitted photographs. The basic pre-requisites for grading are the student's participation within at least 60% of the lectures, participation in posted mandatory joint consultations specified in the beginning of the course, as well as the submission of agreed on photographs in digital form - resolution 300 dpi with the length of the longer side of the format being 210mm.

Course web page:

Note:

Schedule for winter semester 2013/2014:

The schedule has not yet been prepared

Schedule for summer semester 2013/2014:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Photography EN - Bachelor (qualification subject)