Technical Images:Texts and Contexts 1

Display Schedule

Subject guarantor:

Tomáš DVOŘÁK, Václav JANOŠČÍK, Josef LEDVINA

Name of lecturer(s):

Tomáš DVOŘÁK, Václav JANOŠČÍK, Josef LEDVINA

Learning outcomes of the course unit:

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

Mode of study:

lecture/seminar

Prerequisites and co-requisites:

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

Course contents:

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.

Recommended or required reading:

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.

Assessment methods and criteria:

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

Course web page:

Note:

bude upřesněno

Schedule for winter semester 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
Mon	místnost 112 Učebna KF 112 (Lažanský palác) DVOŘÁK T. 10:40–12:25 (přednášková par. 1)
Tue
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Mon	10:40–12:25	Tomáš DVOŘÁK	Učebna KF 112 Lažanský palác		přednášková par. 1

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Photography EN - Master (qualification subject)