Course detail
Studio Practice 1
FaVU-4SP-1Acad. year: 2022/2023
In the course, students pursue their creative practice in a specialized studio of their choice. In the studio, students are provided with material conditions and a welcoming and engaging working environment for their practice. They acquire theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by the specialization of their studio, address creative and critical concerns of contemporary art/design, and gain confidence to negotiate their positions as artists/designers. Students develop and demonstrate complex understanding of what constitutes excellence in contemporary art/design through working on projects that they present and defend at the end of the semester. Working on projects, participation in studio activities, and the schedule of one-to-one tutorials follow the individual studio study plan that is set up by the student and their supervising tutor at the beginning of the semester.
Language of instruction
English
Number of ECTS credits
10
Mode of study
Not applicable.
Guarantor
Department
Learning outcomes of the course unit
Upon completion of the course, students have theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by their studio and an understanding of creative and critical concerns of contemporary art/design at the level appropriate for the stage of the study. Students are able to carry out and defend an original and innovative art/design project.
Prerequisites
Nejsou.
Co-requisites
Not applicable.
Planned learning activities and teaching methods
Working on projects, studio activities, individual tutorials.
Assesment methods and criteria linked to learning outcomes
Credits are awarded on the basis of a successful implementation of an individual study plan. The grade is based on the assessment of the end of semester final project carried out by a panel of internal and external experts.
Course curriculum
The course curriculum is based on the specialization of the studio and student`s individual needs. The study plan is established by the student and their supervising tutor at the beginning of the semester.
Work placements
Not applicable.
Aims
The objective is to provide students with material conditions and a welcoming and engaging working environment so that they can develop into independent individuals with the ability and confidence to articulate their imaginative and critical positions.
Specification of controlled education, way of implementation and compensation for absences
Work is done by appointment/need either directly in the chosen studio or in a shared studio of the Fine Art and Design program. Classes include individual project work, studio activities and individual consultations as defined by the studio curriculum.
Recommended optional programme components
Not applicable.
Prerequisites and corequisites
Not applicable.
Basic literature
Not applicable.
Recommended reading
Adams, Abraham, and Lou Cantor, eds. 2016. Intersubjectivity. Berlin: Sternberg Press. (EN)
Baladrán, Zbyněk, Vít Havránek, and Věra Krejčová, eds. 2009. Atlas of Transformation. Praha: Tranzit. http://monumenttotransformation.org/atlas-of-transformation/ (EN)
Bayrle, Thomas, ed. 2015. Vitamin P: New Perspectives in Painting. London and New York: Phaidon. (EN)
Benjamin, Walter. 2019. Illuminations: Essays and Reflections. Boston and New York: Mariner Books and Houghton Mifflin Harcourt. (EN)
Bilz, Silja, and Robert Klanten. 2004. Type One Discipline and Progress in Typography. Berlin: Die Gestalten Verlag. (EN)
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso Books. (EN)
Blauvelt, Andrew, Ellen Lupton, and Rob Giampietro, eds. 2011. Graphic Design: Now in Production. Minneapolis: Walker Art Center. (EN)
Bourriaud, Nicolas, Jeanine Herman, and Caroline Schneider. 2005. Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg. (EN)
Bradley, Will, and Charles Esche. 2007. Art and Social Change: A Critical Reader. London: Tate Publishing. (EN)
Carr, C. 1993. On Edge: Performance at the End of the Twentieth Century. Middletown: University Press of New England. (EN)
Dempsey, Amy. 2010. Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames & Hudson. (EN)
Dexter, Emma Caroline, and Reena Jana, eds. 2016. Vitamin D: New Perspectives in Drawing. London: Phaidon. (EN)
Fiell, Charlotte, and Peter Fiell. 2001. Designing the 21st Century. Köln: Taschen. (EN)
Fontcuberta, Joan: Pandora's Camera. 2014. London: Mack. (EN)
Frizot, Michael. 1998. New History of Photography. Köln: Könemann. (EN)
Graham, Gordon. 2005. Philosophy of the Arts. London: Routledge. (EN)
Grosenick, Uta, and Burkhard Riemschneider, eds. 2005. Art Now: 81 Artists at the Rise of the New Millennium. Köln: Taschen. (EN)
Grosenick, Uta, and Ilka Becker. 2011. Women Artists in the 20th and 21st Century. Köln: Taschen. (EN)
Haraway, Donna J. 2016. “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century.” In Manifestly Haraway, 3–90. Minneapolis and London: University of the Minnesota Press. (EN)
Hofmann, Armin. 1965. Graphic Design Manual: Principles and Practices. New York: Van Nostrand Reinhold. (EN)
Irwin, ed. 2006. East Art Map: Contemporary Art and Eastern Europe. London: Afterall. (EN)
Juul, Jesper. 2012. A Casual Revolution: Reinventing Video Games and Their Players. Cambridge, Massachusetts: The MIT Press. (EN)
Kholeif, Omar, Basel Abbas, Ruanne Abou-Rahme, Sophia Al-Maria, Sam Ashby, Jeremy Bailey, Stephanie Bailey, et al. 2017. You Are Here: Art After the Internet. Manchester: Home and Space. (EN)
Klanten, Robert, and Bolhöfer Kitty. 2011. Turning Pages: Editorial Design for Print Media: Magazines, Books, Newspapers. Berlin: Gestalten. (EN)
Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October 8: 31–44. https://doi.org/10.2307/778224 (EN)
Kwon, Miwon. 2002. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Massachusetts: The MIT Press. (EN)
Lange-Berndt, Petra. 2015. Materiality. Cambridge, Massachusetts: The MIT Press. (EN)
Laruelle, François. 2011. The Concept of Non-Photography. Cambridge, Massachusetts: The MIT Press. (EN)
Lucie-Smith, Edward. 1984. Movements in Art Since 1945. London: Thames and Hudson. (EN)
Mackenzie, Dorothy. 1997. Green Design. Design for the Environment. London: Laurence King Publishing. (EN)
McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill. (EN)
Mitchell, William John. 1999. City of Bits: Space, Place, and the Infobahn. Cambridge, Massachusetts: The MIT Press. (EN)
Moos, Stanislaus von, and Enrico Castelnuovo. 1991. History of Industrial Design: 1919-1990: The Dominion of Design. Milano: Electa. (EN)
Papanek, Victor. 2019. Design for the Real World. London: Thames & Hudson. (EN)
Pater, Ruben. 2017. The Politics of Design: A (Not So) Global Manual for Visual Communication. Amsterdam: BIS Publishers. (EN)
Piotrowski, Piotr. 2009. In the Shadow of Yalta. Art and the Avant-Garde in Eastern Europe 1945–1989. London: Reaktion Books. (EN)
Rosenblum, Naomi. 2007. A World History of Photography. New York: Abbeville Press Publishers. (EN)
Schechner, Richard. 2015. Performance Theory. London: Routledge. (EN)
Schell, Jesse. 2020. The Art of Game Design: A Book of Lenses. Boca Raton: CRC Press. (EN)
Schreier, Jason, and Ray Chase. 2021. Press Reset: Ruin and Recovery in the Video Game Industry. Ashland: Grand Central Publishing. (EN)
Thackara, John. 1988. Design After Modernism: Beyond the Object. London: Thames and Hudson. (EN)
Vidler, Anthony. 2000. Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, Massachusetts: The MIT Press. (EN)
Walker, John Albert, and Judy Attfield. 2013. Design History and the History of Design. London: Pluto Press. (EN)
Warner Marien, Mary. 2002. Photography: A Cultural History. London: Laurence King Publishing. (EN)
Wood, Paul, and Charles Harrison, eds. 2003. Art in Theory 1900–2000: An Anthology of Changing Ideas. Malden: Blackwell. (EN)
Baladrán, Zbyněk, Vít Havránek, and Věra Krejčová, eds. 2009. Atlas of Transformation. Praha: Tranzit. http://monumenttotransformation.org/atlas-of-transformation/ (EN)
Bayrle, Thomas, ed. 2015. Vitamin P: New Perspectives in Painting. London and New York: Phaidon. (EN)
Benjamin, Walter. 2019. Illuminations: Essays and Reflections. Boston and New York: Mariner Books and Houghton Mifflin Harcourt. (EN)
Bilz, Silja, and Robert Klanten. 2004. Type One Discipline and Progress in Typography. Berlin: Die Gestalten Verlag. (EN)
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso Books. (EN)
Blauvelt, Andrew, Ellen Lupton, and Rob Giampietro, eds. 2011. Graphic Design: Now in Production. Minneapolis: Walker Art Center. (EN)
Bourriaud, Nicolas, Jeanine Herman, and Caroline Schneider. 2005. Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg. (EN)
Bradley, Will, and Charles Esche. 2007. Art and Social Change: A Critical Reader. London: Tate Publishing. (EN)
Carr, C. 1993. On Edge: Performance at the End of the Twentieth Century. Middletown: University Press of New England. (EN)
Dempsey, Amy. 2010. Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames & Hudson. (EN)
Dexter, Emma Caroline, and Reena Jana, eds. 2016. Vitamin D: New Perspectives in Drawing. London: Phaidon. (EN)
Fiell, Charlotte, and Peter Fiell. 2001. Designing the 21st Century. Köln: Taschen. (EN)
Fontcuberta, Joan: Pandora's Camera. 2014. London: Mack. (EN)
Frizot, Michael. 1998. New History of Photography. Köln: Könemann. (EN)
Graham, Gordon. 2005. Philosophy of the Arts. London: Routledge. (EN)
Grosenick, Uta, and Burkhard Riemschneider, eds. 2005. Art Now: 81 Artists at the Rise of the New Millennium. Köln: Taschen. (EN)
Grosenick, Uta, and Ilka Becker. 2011. Women Artists in the 20th and 21st Century. Köln: Taschen. (EN)
Haraway, Donna J. 2016. “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century.” In Manifestly Haraway, 3–90. Minneapolis and London: University of the Minnesota Press. (EN)
Hofmann, Armin. 1965. Graphic Design Manual: Principles and Practices. New York: Van Nostrand Reinhold. (EN)
Irwin, ed. 2006. East Art Map: Contemporary Art and Eastern Europe. London: Afterall. (EN)
Juul, Jesper. 2012. A Casual Revolution: Reinventing Video Games and Their Players. Cambridge, Massachusetts: The MIT Press. (EN)
Kholeif, Omar, Basel Abbas, Ruanne Abou-Rahme, Sophia Al-Maria, Sam Ashby, Jeremy Bailey, Stephanie Bailey, et al. 2017. You Are Here: Art After the Internet. Manchester: Home and Space. (EN)
Klanten, Robert, and Bolhöfer Kitty. 2011. Turning Pages: Editorial Design for Print Media: Magazines, Books, Newspapers. Berlin: Gestalten. (EN)
Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October 8: 31–44. https://doi.org/10.2307/778224 (EN)
Kwon, Miwon. 2002. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Massachusetts: The MIT Press. (EN)
Lange-Berndt, Petra. 2015. Materiality. Cambridge, Massachusetts: The MIT Press. (EN)
Laruelle, François. 2011. The Concept of Non-Photography. Cambridge, Massachusetts: The MIT Press. (EN)
Lucie-Smith, Edward. 1984. Movements in Art Since 1945. London: Thames and Hudson. (EN)
Mackenzie, Dorothy. 1997. Green Design. Design for the Environment. London: Laurence King Publishing. (EN)
McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill. (EN)
Mitchell, William John. 1999. City of Bits: Space, Place, and the Infobahn. Cambridge, Massachusetts: The MIT Press. (EN)
Moos, Stanislaus von, and Enrico Castelnuovo. 1991. History of Industrial Design: 1919-1990: The Dominion of Design. Milano: Electa. (EN)
Papanek, Victor. 2019. Design for the Real World. London: Thames & Hudson. (EN)
Pater, Ruben. 2017. The Politics of Design: A (Not So) Global Manual for Visual Communication. Amsterdam: BIS Publishers. (EN)
Piotrowski, Piotr. 2009. In the Shadow of Yalta. Art and the Avant-Garde in Eastern Europe 1945–1989. London: Reaktion Books. (EN)
Rosenblum, Naomi. 2007. A World History of Photography. New York: Abbeville Press Publishers. (EN)
Schechner, Richard. 2015. Performance Theory. London: Routledge. (EN)
Schell, Jesse. 2020. The Art of Game Design: A Book of Lenses. Boca Raton: CRC Press. (EN)
Schreier, Jason, and Ray Chase. 2021. Press Reset: Ruin and Recovery in the Video Game Industry. Ashland: Grand Central Publishing. (EN)
Thackara, John. 1988. Design After Modernism: Beyond the Object. London: Thames and Hudson. (EN)
Vidler, Anthony. 2000. Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, Massachusetts: The MIT Press. (EN)
Walker, John Albert, and Judy Attfield. 2013. Design History and the History of Design. London: Pluto Press. (EN)
Warner Marien, Mary. 2002. Photography: A Cultural History. London: Laurence King Publishing. (EN)
Wood, Paul, and Charles Harrison, eds. 2003. Art in Theory 1900–2000: An Anthology of Changing Ideas. Malden: Blackwell. (EN)
Classification of course in study plans
- Programme FAAD Master's, 1. year of study, winter semester, compulsory