Studio of Classic Photography 10

Display Schedule

Code Completion Credits Range Language Instruction Semester
307EAC10 ZK 4 28S English summer

Subject guarantor

Martin STECKER

Name of lecturer(s)

Martin STECKER

Learning outcomes of the course unit

The classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.

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 classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.

The first pillar of this studio is working with large-format photography. Students have the opportunity to work with negatives up to 18x26cm and to subsequently produce a traditional gelatine silver print up to a meter in dimension. Students, in the studio, are acquainted with classical color photography and selected color inversion materials.

Part of the studio is a workshop focused on historical photography techniques such as flexography, cyanotype, bromoil print or working with gelatine and its transfer to non-standard materials.

The second pillar of the studio is dedicated to technological innovations. This is research into and a judging of the potential of digital photography and other technologies which take part in the recording of an optical image. Also part of the studio are light sources, potential directed camera movement using a robotic head, recording from above with the use of possible managing the image using WIFI connections.

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 2019/2020:

The schedule has not yet been prepared

Schedule for summer semester 2019/2020:

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 112
Room No. 112
(Lažanský palác)
STECKER M.
09:00–17:15
(parallel1)
Wed
Thu
room 112
Room No. 112
(Lažanský palác)
STECKER M.
14:00–18:55
(parallel1)
Fri
Date Day Time Tutor Location Notes No. of paralel
Tue 09:00–17:15 Martin STECKER Room No. 112
Lažanský palác 		parallel1
Thu 14:00–18:55 Martin STECKER Room No. 112
Lažanský palác 		parallel1

The subject is a part of the following study plans