Czech

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. Phenomenology and existentialism and their reflection in art praxis: basic figures and concepts of phenomenology (Husserl, Patočka, Rezek), fundamental ontology (Heidegger), hermeneutics (Gadamer) and existentialism (Camus, Sartre); absurdity (Camus, Beckett, Ionescu); existentialist approach to art of 50s and 60s (late surrealism, expressionism, action painting); an impact of phenomenology on the origin of performance art and body art.
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. A global art world: an expansion of the Biennial (a history of the biennial format, selected examples – Venice, Kassel, Havana, migrating biennial Manifesta); “exotic regions” on a map of the art world (Former East, Latin America, Asia) and important institutions and artists that represent these regions.

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)

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