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. Visual Culture: on popular visual culture and how it is reflected in theory and inartistic practice; mass-media and art; images in the science and in the arts; images, visuality, and power.
2. Art and critique of ideology: the notion of ideology and Marxist tradition of thought (Eagleton); art in terms of the dialectic of base and superstructure (the theory of reflection, Lukács, Gramsci); “affirmative culture” (Marcuse) and “the society of spectacle” (Debord); political commitment and autonomy of art (Brecht, Benjamin, Adorno); recent debate (Rancière, Badiou).
3. Global art world and identity politics. Art's role in constructing and criticizing identity; concept of orientalism (E. Said); the Other and feminism (A. Piper, C. Sherman), queer art (R. Mapplethorpe, AA Bronson), ethnicity and otherness (D. Hammons, F. Wilson); art and identity in a postcollonial situtation - important events and artists who represent this field
4. Art and psychoanalysis: the main tendencies of psychoanalysis and their basic concepts (Freud, Jung, Lacan); the philosophical and political implications of psychoanalysis (Deleuze/Guattari, Žižek, feminism); psychoanalysis as a source of inspiration (surrealism, feminist art) and as an interpretative method of art criticism (Krauss, Foster).
5. Representations of body in the art of the 2nd half of the 20th century. Artist's own body. Body and its meaning in the activist art (Women Artists in Revolution – Lippard, Women House, Judy Chicago, Judith Buttler, Julia Kristeva…), sexual minorities movement (queer art, ACT UP, Robert Mapplethorpe), social body (body and handicap, body and pain - Bob Flanagan, Alison Lapper…). Overalping between art, medicine, biology and humanities.
6. Postmodernism in thinking and in art: a survey of main theories of postmodernism – in architecture (Venturi, Jencks), philosophy (Lyotard, Foucault, Deleuze/Guattari, Derrida), sociology (Baudrillard, Baumann) and theory of art (Jameson, Krauss, Crimp, Foster); postmodernism in art – appropriation and post-conceptual tendencies (Sherman, Levine, Salle, Prince); American painting of 80s (Schnabel, Basquiat, Haring); trans-avantgarde, Neue Wilde, Sost-art and Moscow Conceptual School.
7. Art beyond the gallery walls: land art (Robert Smithson, Michael Heizer), site-specific art (Richard Serra, Gordon Matta-Clark), public art.
8. Institutional Theory of Art: approach to the question of definition of art in Anglo-American analytical aesthetics; antiesentialism (Weitz, Kennick, Ziff); Arthur C. Danto – his concepts of the artworld and of the end of art; George Dickie – institutional definition of art; criticism of the institutional approach (Wollheim, Cohen, Diffey).
9. Curating and the gallery business: a typology od institutions (a museum of art, Kunsthalle, foundations, commercial venues, fairs, biennials); changes in the concept of curating during a history (from collection keepers to authorial figures); a brief history of curating (Harald Szeeman, Lucy Lippard, Pontus Hulten, Nicolas Bourriaud, Maria Lind…).
10. Installation as an artistic strategy / installation as medium. Ready-made and de-skilling as the starting points of the installation art (Marcel Duchamp, Kurt Switters, dada and surrealist exhibitions); developments and forms of installation in the art of the 20th and 21st century (videoinstallation – Doug Aitken; hybrid “monuments” – Thomas Hirschhorn; a spectacle of perception – Olafur Eliasson; gallery as a misancene – Christoph Büchel, Thomas Zipp).

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.

Marita STURKEN – Lisa CARTWRIGHT, Studia vizuální kultury, Praha: Portál, 2009. (CS)
Yve-Alain BOIS – Benjamin Buchloh – Hal FOSTER – Rosalind KRAUSSOVÁ, Umění po roce 1900, Praha: Slovart, 2007. (CS)

Anour ABDEL–MALEK – Chinua ACHEBE – Aimé CÉSAIRE – Achille MBEMBE – Edward W. SAID – Ngũgĩ WA THIONGʼO, Postkoloniální myšlení II, Praha: tranzit.cz, 2011. (CS)
Bojana PEJIĆ (ed.), Gender check: A reader. Art and Theory in Eastern Europe. Kolín nad Rýnem: Verlag der Buchhandlung Walther König, 2010. (EN)
Claire BISHOP, Installation Art, London: Tate Publishing, 2011. (EN)
David KORECKÝ (ed.), Médium kurátor: role kurátora v současném českém umění, Praha: Agite/Fra, 2009. (CS)
Hans Ulrich OBRIST, Stručná historie kurátorství, Kutná Hora: Galerie Středočeského kraje, 2012. (CS)
Jakub STEJSKAL, „Umění, ideologie a estetika“, in: Pavel ZAHRÁDKA (ed.), Estetika na přelomu milénia, Brno: Barrister & Principal, 2010. (CS)
Josef FULKA, Psychoanalýza a francouzské myšlení, Praha: Herrmann & synové, 2008 (část I). (CS)
Karel CÍSAŘ (ed.), Sochy v ulicích III. Stav věcí, Brno: Dům umění města Brna, 2012. (CS)
Karsten SCHUBERT, The Curator’s Egg, Londýn: Ridinghouse, 2009. (EN)
Marta FILIPOVÁ – Matthew RAMPLEY (eds.), Možnosti vizuálních studií: obrazy, texty, interpretace, Brno: Masarykova univerzita, Filozofická fakulta, Seminář dějin umění, 2007. (CS)
Nicolas MIRZOEFF, Úvod do vizuální kultury, Praha: Academia, 2012. (CS)
Rosalind KRAUSS, „Sochařství v rozšířeném poli“, in: Karel CÍSAŘ (ed.), Sochy v ulicích III. Sochy v ulicích, Brno: Dům umění města Brna, 2012, s. 130–143. (CS)
Wolfgang WELSCH, Naše postmoderní moderna, Praha: Zvon, 1994. (CS)