Studio of Imagitative Photography 6

Display Schedule

Subject guarantor:

Rudolf PREKOP

Name of lecturer(s):

Rudolf PREKOP

Learning outcomes of the course unit:

Managing issues of shootiing portraits and figures in the studio.

Mode of study:

Prerequisites and co-requisites:

General knowledge of visual art and photography

General knowledge of modern visual arts theory

Analytical abilities

Creativity

Course contents:

Syllabus: Imaginative photograpy studio

This studio works across genres and the expression spectrum. It is a synthesis of the visual and conceptual ideas; graphic, documentary, multi-medial or other approaches. The borders between individual types of communication are broken down in order to accent the communication itself.

The Imaginative Studio forms a creative space for students working across the entire photography spectrum. Knowledge of the photography trade creates a solid foundation for the building of autonomous self-expression through images.

The Studio lead assigns topical semestral tasks. In relationship to the assigned topic there are questions where answers are investigated together. The result of this research in interaction and discussion with the instructor is the result of the creative image. Emphasis here is on the thought foundation, sensibility and authentic individual creative attitude of each student.

Key words of the Imaginative photography studio are:

- authenticity

- individuality

- character

- synthesis

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 2017/2018:

The schedule has not yet been prepared

Schedule for summer semester 2017/2018:

	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
Tue	room 113 Studio No. 113 (Lažanský palác) PREKOP R. 09:00–21:00 (přednášková par. 1)
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Tue	09:00–21:00	Rudolf PREKOP	Studio No. 113 Lažanský palác		přednášková par. 1

The subject is a part of the following study plans: