Studio of Intermedia 8

Display Schedule

Subject guarantor:

Štěpánka ŠIMLOVÁ

Name of lecturer(s):

Štěpánka ŠIMLOVÁ

Learning outcomes of the course unit:

This studio is intended for student who begin with a technical image and work on its transfer to other media. This freely moves between installation, object and site-specific projects. Emphasis is place on the use and form of material as the bearer of idea.

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:

People who are interested in freedom, true freedom, not only to be able to speak vulgarly in public, must first with the help of style, change content. If the style is masterful, fluent and developed, if changeable and the summit as well, may be raised above the content created by snatches of color, electricity and light. Content is that which man keeps in his thoughts and is not flaunted.

This studio is intended for students whoch begin with a technical image and work on its transfer to other media. This freely moves among installation, object and site-specific projects. Emphasis is placed on the use of form and material as the bearer of idea.

The studio is designed as an open platform which the students bring their topics and inspirational sources, define the topic, are critiqued and learn to work with boundaries and limits such as a vital part. The take part on constructive criticism and implement their work with an awareness of its cultural and historical context.

A vital part of this is work on small assignments which startle students from their own thought patterns and offer them new approaches and expand the selected use of media.

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:

none

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: