Studio of Postconceptual Photography 3
Subject is not scheduled Not scheduled
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 307AP3 | ZK | 4 | 24S | Czech | winter |
Subject guarantor
Name of lecturer(s)
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.
Note
none
Further information
No schedule has been prepared for this course