Course detail
Key issues in 20th Century Art
FaVU-1KTUAcad. year: 2019/2020
The lecture focus on topics crucial for the development of art in the course of the 20th century. Differences between early and late articulation of various topics and their reinterpretation are traced (1910s - 1930s vs. 1950s and after. Art topics of the period are related to chief idea paradigms of that time (marxism, psychoanalysis, structuralism and semiotics, feminism, post-colonial studies, etc...).
Language of instruction
Number of ECTS credits
Guarantor
Learning outcomes of the course unit
Prerequisites
Co-requisites
Planned learning activities and teaching methods
Assesment methods and criteria linked to learning outcomes
Course curriculum
postcolonialism and art.
2. Highbrow and lowbrow: the relationship of fine art and culture industry, Frankfurt school, avantgarde and kitch, The Independent Group, pop art, merging of values - digitalization, globalization.
3. Original or copy? Appropriation as an art method: from Duchamp to Youtube, the move from artistic strategies to user tactics, art in the age of mechanical reproduction, digitalization and its consequences for art
4. Autonomy or propaganda? (avantgarde attacs against the social autonomy of art and the museum, leftist avantgardes and the desire for the change of social arder, historical avantgardes and neoavantgardes; a survey of tendencies, artists and particular critical art projects concerned with social, political, and especially economical reality (street art, media interventions): reality hacking, tactical media – RTMark, Yes Men, Steve Lambert...)
5. De-skilling: from craft to medim, from medium to practise - the turn from the craft basis of artistic practices and the shift to practices which do not demand specific "artistic skills"; the artist as a manager; life is art; conceptualism, hybrid forms in which art overlaps everyday practices.
6. The subject - identity - the body: Duchamp's alter ego, surrealits games with the unconscious, gender, queer issues; new models of subjectivity, new insight into the body, postmodern subjectivity, the body and technology.
Work placements
Aims
Specification of controlled education, way of implementation and compensation for absences
Recommended optional programme components
Prerequisites and corequisites
Basic literature
Recommended reading
Nicolas BOURRIAUD, Postprodukce. Praha: Tranzit, 2004.
Martha BUSKIRK, The Contingent Object of Contemporary Art. Cambridge, MA – Londýn: MIT Press, 2003.
Lisa CARTWRIGHT – Marita STURKEN, Studia vizuální kultury. Praha: Portál, 2009.
Suzi GABLIKOVÁ, Selhala moderna? Olomouc: Votobia, 1995
Martina PACHMANOVÁ (ed.), Neviditelná žena. Praha: One woman press, 2002.
Tomáš POSPISZYL, Srovnávací studie. Praha, Agite Fra, 2005.
Tomáš POSPISZYL (ed.), Před obrazem. Praha: OSVU, 1998
Walter BENJAMIN, Umělecké dílo ve věku své technické reprodukovatelnosti. In: Dílo a jeho zdroj. Praha: Odeon, 1979, s. 17–43.
Peter BÜRGER, „Negace autonomie umění v avantgardě“. Sešit pro umění, teorii a příbuzné zóny, 2007, č. 1 – 2, s. 168–175.
Clement GREENBERG, „Avantgarda a kýč.“ Revue Labyrint, 2000, č. 7–8, s. 69–74.
Thierry DE DUVE, „When form has become attitude – and beyond“. In Simon LEUNG – Zoya KOCUR (eds.), Theory in Contemporary Art: From 1985 to the Present. Blackwell Publishing, 2004, s. 19–31
Hal FOSTER, „Co je nového na neoavantgardě?“ Sešit pro umění, teorii a příbuzné zóny, 2010, č. 8, s. 58 – 84
Anour ABDEL–MALEK – Chinua ACHEBE – Aimé CÉSAIRE – Achille MBEMBE – Edward W. SAID – Ngũgĩ WA THIONGʼO, Postkoloniální myšlení II, Praha: tranzit.cz, 2011.
Frantz FANON, Černá kůže, bílé masky. Praha: tranzit, 2011. (CS)