Czech

2

Not applicable.

Students know the structure of areas of the Master's State Examinations. They know individual themes, they are aware of their scope and they know a core and suplementary literature and further resources that can be used for the individual study of the MSE areas.

None.

Not applicable.

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Credit.

1. Text on the verge of fine arts and literature. Visual aspects in the avant-garde poetry (Apollinaire, futurism, dada); phonical poetry; lettrism; concrete poetry; information aesthetics and experimental poetry of the 1960s (Bense, Hiršal and Grögerová); parrallels and afinities between post-war poetry and neo-avant-garde movements (Fluxus, conceptual art); contemporary developments of conceptual tendencies in literature under the influence of internet - "digital conceptualism" or "conceptual writing" (Dworkin, Goldsmith, Place).
2. A relationship between art and architecture. Early avant-gardes (constructivism, de Stijl). Independent Group. Minimalism, site-specific art and their influence on architecture. Socialist Gesamtkunstwerk – a connection between art and architecture in the socialist era. Architecture as a motif in contemporary art (Olafur Eliasson, Anish Kapoor; Dominik Lang, Tomáš Džadoň ad.).
3. The art of action – performative approaches in art of the 2nd half of the 20th century. Anti-Art (Duchamp / Sturtevant), Intermedia (Fluxus – Higgins), Art-Life (Cage / Kaprow), Art as Performance (Barney / Hirst), social utopias (Beuys / FIU), dekonstrukce (Nitsch / OMT), Body-Media (Orlan / Stelarc) subversive performance (Gómez-Peňa / Border Art).
4. Technical image – art and theory of the new media: new media art since the early experiments (Experiments in Art and Technology, The Kitchen) up to the Web 2.0; theory of new media art (Vilém Flusser, Lev Manovich, David Bolter – Richard Grusin).
5. Avant-garde and neo-avant-garde: origin and transformations of the notion of avant-garde (from Saint-Simon to Greenberg); avant-garde and modernism (Adorno, Greenberg, Fried, Krauss); pre-war avant-garde tendencies and their basic ideas (futurism, constructivism, dada, surrealism); post-war neo-avant-gardes (neo-dada, Fluxus, happening, situationism, arte povera, pop-art, minimalism, conceptualism); the critical discussion of the relationship between avant-garde and neo-avant-garde (Bürger, Buchloh, Foster).
6. Conceptual Art / conceptualism: forming the notion and its establishing figures (LeWitt, Kosuth, Art & Language, Piper); dematerialization (Lippard) and deskilling (Baldessari); “orthodox” Anglo-American conceptual art of the end of 60s and beginning of 70s; widening of conceptual approach; institutional critique; conceptualism in Latin America and in East and Middle Europe; post- and/or neo-conceptualism.
7. Participatory art (Stephen Willats, Kateřina Šedá), New Genre Public Art (Mary Jane Jacob, Suzanne Lacy, Suzi Gablik), relational aesthetics (Nicolas Bourriaud), collaborative art: early participatory art (happenings, Fluxus), collective (artistic) identity and engaged art (Yes Men, Guma Guar…).
8. Photography as art: basic insights in theory of photography (Benjamin, Sontag, Barthes); pictorialism and efforts of photography to get close to painting; avant-garde and exploring of the specific artistic possibilities of the medium of photography (Rodchenko, Moholy-Nagy); humanist documentary and reportage photography; use of the documentary character of photography in conceptual and action art; Düssledorf school (Bechers and their pupils – Struth, Gursky); Jeff Wall.
9. Traditional media in the contemporary art: contemporary painting, sculpture or drawing in the international and Czech art; re-mediation of traditional media: new media and sculpture or painting; “innocent” hand, or the revival of handcraft?
10. Contemporary art in the post-socialist countries of the former Eastern Bloc. Key figures of the Polish (Libera, Althamer, Kwiekulik, Olowska), Slovak (Koller, Filko, Ondád), Slovenian (OHO, Irwin), Croatian (Iveković, Stilinović), Hungarian (Little Warsaw), Russian (Kabakovs, Osmolovskij, Chto delat?) art. Archival impulse and ostalgia.

Not applicable.

The aim of the course is to introduce students to areas of the Master's State Examination (MSE). Indiidual areas are introduced in their thematic scope; the interconnections among various aspects of the area (all areas contain both the aspect of art history / visual culture studies, and the art theory / philosophy of art). Students are also introduced to the core literature and further resources that can be used within an individual preparation for the MSE.

Compulsory attendance (2 absences accepted).

Not applicable.

Not applicable.

Yve-Alain BOIS – Benjamin Buchloh – Hal FOSTER – Rosalind KRAUSSOVÁ, Umění po roce 1900, Praha: Slovart, 2007. (CS)

Ladislav KESNER (ed.), Vizuální teorie: současné angloamerické myšlení o výtvarných dílech, Jinočany: H&H, 2005. (CS)
Tomáš DVOŘÁK (ed.), Kapitoly z dějin a teorie médií, Praha: VVP AVU, 2011. (CS)
Jan ZÁLEŠÁK, Umění spolupráce, Praha: VVP AVU, 2011. (CS)
Sešit pro umění, teorii a příbuzné zóny, Praha: VVP AVU, 2007, č. 1–2. (celé číslo) (CS)
Wolfgang Ullrich, „Nevinná ruka“, Labyrint revue, 2010, č. 27/28, s. 101–103. (CS)
Hans BELTING – Andrea BUDDENSIEG (eds), Global Art World, Hatje Cantz, 2009. (EN)
Martin HEIDEGGER, „Zrození uměleckého díla“, Orientace, 1968, č. 3, s. 53–62; č. 4, s. 75–83; č. 5, s. 84–94. (CS)
Hans-Georg GADAMER, Aktualita krásného. Umění jako hra, symbol a slavnost, Praha: Triáda 2003. (CS)
Petr REZEK, „Setkání s akčními umělci“, Výtvarné umění, 1991, č. 3, s.78–80. (CS)
Hal FOSTER, „Co je nového na neoavantgardě?“, Sešit pro umění, teorii a příbuzné zóny, 2010, č. 8, s. 58–85. (CS)
Boris GROYS, Gesamtkunstwerk Stalin; Postkomunistické postskriptum, Praha: AVU, 2010. (CS)
Alexander ALBERRO – Blake STIMSON (eds.), Conceptual Art. A Critical Anthology, Cambridge, MA: MIT Press, 1999. (EN)
Jeff WALL, „ ‚Známky lhostejnosti‘. Aspekty fotografie (jako) konceptuálního umění“, Sešit pro umění, teorii a příbuzné zóny, 2012, č. 12, s. 58–86. (CS)
Hal FOSTER, The Art-architecture complex, London – New York: Verso, 2011. (EN)
Marvin CARLSON, Performance. A critical introduction, London: Routledge, 2006. (EN)
Allan KAPROW, Essays on Blurring of Art and Life, Berkeley, CA: University of California Press, 1996. (EN)

26 hours, optionally