Studio of Imagitative Photography 3

Display Schedule

Subject guarantor

Rudolf PREKOP

Name of lecturer(s)

Rudolf PREKOP

Learning outcomes of the course unit

1. Introduction to the problematics of composition of an image presented in the form of a book, zine, magazine, web, interactive PDF etc.
2. Creating links and connections between the visual and textual elements, between the static and moving segments.
3. Integration of photographic, graphic, typographic elements as well as videos.

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

This studio is built on two starting places: student exprience with depicting figures and portraits, and the spontaneous use of free creative experiment. This is the foundation, on which at the bachelor level, contact and continued dialog between the student and the studio lead is built. In master's study, the studio provides creative space for those working across genres creating an overall photographically expressive spectrum. Here the borders between graphic, documentary, multi-media and other forms of image communication are removed. Therefore the accent is on the communication itself.

In this „autonomous studio“ a single semester exercise is implemented according to assignment by the studio lead. That exercise is not immutable but is to react to the „spirit of the period.“ Emphasis is placed on the thought basis, sensibilities and individual creative attitude of each student which in an interactive dialog with the instructor leads to a creative approach.

The studio lead invites workshop lecturers, figures from photography, film and graphic arts as desired. This workshop is either in a semester or over an entire year according to the schedule determined by the lecturer. The purpose is to confront the student with a wide spectrum of people who present their creative practice experience, their viewpoint, attitude and spirit to the 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 2021/2022:

• Week view
• List

Schedule for summer semester 2021/2022:

The schedule has not yet been prepared

The subject is a part of the following study plans

• Photography EN - Bachelor-1920 (required optional subject)