Studio of Postconceptual Photography 9

Display Schedule

Subject guarantor:

Jiří THÝN

Name of lecturer(s):

Jiří THÝN

Learning outcomes of the course unit:

The aim of the Post-conceptual Photography Studio is to create a flexible platform where works linked to the context of contemporary art may arise.

Mode of study:

Exercise analysis, projection work in relation 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

Course contents:

The aim of the Post-conceptual Photography Studio is to create a flexible platform in which works linked to the context of contemporary art may arise.

The studio is a dynamic structure developing personal approaches. Students are to be able to review current tendencies in contemporary art and be able to take an educated stance based on a knowledge of the history of photography and contemporary art. Characteristic for contemporary art is the interweaving of the borders of individual genres and media.

It is impossible to talk only about photography, but about the entire context of art.

The foundation of teacher - student communication is regular studio meetings and personal consultations at which current topics are discussed which are presented by the student and the instructor.

Student should be able to think about the wider framework of not only their work but also to find adequate forms for their sources. The should be able to consider „dramaturgy“ of an exhibition, manner of installation, etc. An inseparable part of this work with form is - the thought about appropriate technology and management of the trade - along with the initial phase of the creative process

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: