Technical Images:Texts and Contexts 1

Zobrazit rozvrh

Garant předmětu:

Tomáš DVOŘÁK, Václav JANOŠČÍK, Josef LEDVINA

Jméno vyučujícího (jména vyučujících):

Tomáš DVOŘÁK, Václav JANOŠČÍK, Josef LEDVINA

Výsledky učení dané vzdělávací složky:

The course supplements master projects and introduces students to relevant scholarly literature and approaches to the given themes.

Forma studia:

lecture/seminar

Předpoklady a další požadavky:

The course is mandatory for 1st-year master students.

Obsah kurzu:

This course introduces the basic historical and theoretical issues related to projects undertaken within the first year of master's degree study (photography and sculpture; coincidence and unintention). The course combines lectures with classes and consultations on written results. In this course each student presents 2 papers on priorly assigned topics and submits 2 essays.

Doporučená nebo povinná literatura:

photography & sculpture

https://drive.google.com/open?id=0B36pcjuZK5yyZkItWEIxTTZ0TFk

Geoffrey Batchen, Photography’s Objects. Albuquerque: University of New Mexico Art Museum 1997.

Mary Bergstein, “On the Documentary Photography of Sculpture.” The Art Bulletin, Vol. 74, 1992, No. 3, pp. 475–498.

Geraldine A. Johnson, “An Almost Immaterial Substance: Photography and the Dematerialisation of Sculpture.” In: S. Barassi – M. Harrison (eds.), Immaterial: Brancusi, Gabo, Moholy-Nagy, Kettle’s Yard Gallery 2004, pp. 70–87.

Rosalind Krauss, “The Originality of the Avant-Garde.” The Originality of the Avant-Garde and Other Modernist Myths. Cambridge – London: The MIT Press 1985, pp. 151–170.

Rosalind Krauss, “Sculpture in the Expanded Field.” October, 1979, No. 8, pp. 30–44.

Rosalind Krauss, “Sochařství v rozšířeném poli.” Konserva / Na hudbu, roč. 1, 1991, č. 3, s. 7–13.

Roxana Marcoci, “The Original Copy: Photography of Sculpture, 1839 to Today.” In: Roxana Marcoci (ed.), The Original Copy: Photography of Sculpture, 1839 to Today, New York: MoMA 2010, pp. 12–19.

(see also: https://www.moma.org/interactives/exhibitions/2010/originalcopy/)

John Plunkett, “Feeling Seeing: Touch, Vision and the Stereoscope.” History of Photography, Vol. 37, 2013, No. 4, pp. 389–396.

Rachel Wells, “Fischli and Weiss’s Equilibre/Quiet Afternoon (1984–5).” Art History, Vol. 36, 2013, No. 3, pp. 626–639.

Hodnoticí metody a kritéria:

The requirement for completing the course is 1) attendance, 2) submission of all required assignments within the deadlines.

1st essay

deadline: 20 november 2016

format: at least three pages (spacing 1,5) or c. 1500 words (send as an attachment in doc, odt or pdf to tomdvorak@famu.cz)

you may choose the topic from the following: critical interpretation (not summary) of one of the texts from the list of literature, description and analysis of one of the objects from the Persona exhibition, analysis of a chosen photographer working with sculpture

for your essays, you should try to research and use scholarly literature

2nd essay

deadline: 5 january 2017

format: at least three pages (spacing 1,5) or c. 1500 words (send as an attachment in doc, odt or pdf to tomdvorak@famu.cz)

write a critical essay on chance, accident, unintentionallity in arts/photography while drawing on scholarly literature discussed within the course

Webová stránka předmětu:

Poznámka:

bude upřesněno

Rozvrh na zimní semestr 2016/2017:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Po	místnost 112 Učebna KF 112 (Lažanský palác) DVOŘÁK T. 10:40–12:25 (přednášková par. 1)
Út
St
Čt
Pá

Datum	Den	Čas	Vyučující	Místo	Poznámky	Č. paralelky
	Po	10:40–12:25	Tomáš DVOŘÁK	Učebna KF 112 Lažanský palác		přednášková par. 1

Rozvrh na letní semestr 2016/2017:

Rozvrh zatím není připraven

Předmět je součástí následujících studijních plánů:

• Fotografie EN - magistr (oborový předmět)