Studio of Imagitative Photography 5
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 307AIF5 | ZK | 4 | 24S | Czech | winter |
Subject guarantor
Name of lecturer(s)
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
This studio is built on two elements: the experience of the students with depicting figures and portraits and on the spontaneous need for free creative experimentation. This the the foundation on which contact and the link to a discussions among students and the studio lead will be built. At the master's study level the studio provides artistic space for student working across genres and creating a comprehensive photographic expression spectrum. This removes the boundaries between graphic, documentary, multi-media and other forms of image communications. Therefore communication itself will be accentuated.
In this „Autonomous Studio“ individual semester exercises are completed according to the studio lead. These exercises are not unchangeable but, however, react to the „spiritof the particular time“. Emphasis is placed on the thought basis, sensibility and individual creative stance of each student which in interaction and discussion with the instructor, flows into a creative output.
The studio lead invites workshop instructors, photography, film and graphic arts figures according to studio lead's choice. This a semester or year workshop according to the instructor's schedule. The purose is a confronting of students with the wide spectrum of individuals who present their creative experience, perspective, stance, espirit, to the participating students.
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.
Note
none
Schedule for winter semester 2018/2019:
|
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 |
|
| Wed |
|
| Thu |
|
| Fri |
|
| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
|---|---|---|---|---|---|---|
| Tue | 09:00–18:00 | Rudolf PREKOP | Studio No. 113 Lažanský palác |
lecture parallel1 |
Schedule for summer semester 2018/2019:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Photography CZ - Bachelor - 1819 (required optional subject)