Studio of Documentary Photography 2

Display Schedule

Subject guarantor:

Markéta KINTEROVÁ

Name of lecturer(s):

Markéta KINTEROVÁ

Learning outcomes of the course unit:

Form and expressive tools are very broad: From a traditional concept of a documentary, in part bound to the social or societally corresponding topics, through to documentary changes and shifts in society, lifestyle, ecology, topography of a location to the subjective expression of relations to the immediate surroundings or the world in general and one's feelings and experience.

Mode of study:

Analýza konkrétních cvičení, promítání prací, jež mají souvislost s tématem,

samostatná tvůrčí práce

Prerequisites and co-requisites:

General knowledge of visual art and photography

General knowledge of modern visual arts theory

Analytical abilities

Creativity

Course contents:

Documentary photography encompasses a wide range of samples and approaches. Beginning with the effort to capture reality, with an emphasis on realism or subordinated to the intentions of a defined concept or ideology. Documentary photography has gone through great development, particularly in the last century and in the Czech tradition, also, depends upon some real distinct milestones. It is essential to include this tradition among the sources, as rare among current starting points. Allan Sekula, 40 years ago, pointed out the relationship to documentary photography or social photography and the failure of the aesthetics of realism, which paradoxically serves the status of the depicted individual in the role of passive victim, influenced by the media for many decades as spectators and receivers of these visual reports and are to which are quite successfully resistant. This perspective needs to be re-opened, revised and find a new starting point and manner of documenting events around us.

Work coming from this studio course should, as a result, pose questions social in character, critically define problematic and minor areas in the state of contemporary society and at the same time investigate new communication channels for presentation (from an exhibition project, artist’s book, publication in the media, online publishing, etc.).

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

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.

Course web page:

Note:

Markéta Kinterová

http://marketakinterova.cz

She focuses on a research of visual, informative and social effectiveness of the press in various forms. From issues of the manipulation of text and image, shifting to a more detailed investigation of the dependence on the bearer of information such as a book and public space. The transition from the public to private is accompanied by tension which arises with its connection to a new situations. Aside from her own work as the current creative director for the Fotograf 07 z.s., which publishes the Fotograf Magazine, organizes Fotograf Festival and manages the Fotograf Gallery.

Schedule for winter semester 2016/2017:

The schedule has not yet been prepared

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans: