Cílem této disertační práce je prozkoumat kulturní, historické a sociopolitické pozadí tvorby ženských umělkyň působících v Evropě, USA a na Středním východě, které ve svém umění používají strategii inscenované fotografie, a to především se zaměřením na současnou situaci, vlivy a praktiky ženské umělecké scény v Iránu a na Středním východě.
Disertační práce se zároveň zaměřuje na nebezpečí, se kterým se potýkají mnohé iránské a arabské umělkyně a které vyplývá z pokušení učinit své umění self-exotické nebo self-orientální, aby získalo proslulost na Západě. Trh s uměním v bohatých zemích v Perském zálivu trpí tendencí ideologicky kontaminovat obsah mnoha originálních uměleckých výkonů a přimět umělkyně, aby vytvořily práci definovanou převážně jejich islámskou identitou, a maximalizovaly tak možnosti prodávat a usadit se v zahraničí.
Anotace v angličtině
The purpose of this dissertation is to explore the cultural, historical and sociopolitical background of female artists in Europe, the USA and the Middle East who use staged photography in their art, with a focus on the current situation, influences and practices of female Iranian and Middle-Eastern staged photographers.
Beyond this, I investigate a trap faced by many Iranian and Arab artists: the temptation to make their art self-exotic or self-Orientalist in order to gain renown in the West. The art market in wealthy Gulf countries suffers from the tendency to reduce the purity of many original aesthetics, pushing artists to produce work defined by their Middle-Eastern 'identity' so as to maximize opportunities to sell and establish themselves abroad.
Klíčová slova
inscenovaná fotografie, autoportrét, ženy fotografky, ženské tělo, feminismus, osobní prezentace, sebeposilování, západní společnosti, orientalismus, islámské společnosti, Írán, Střední východ
Klíčová slova v angličtině
staged photography, self-portrait, female photographers, female body, feminism, self-representation, self-empowerment, Western societies, Orientalism, Islamic societies, Iran, Middle East
Rozsah průvodní práce
199872
Jazyk
CZ
Anotace
Cílem této disertační práce je prozkoumat kulturní, historické a sociopolitické pozadí tvorby ženských umělkyň působících v Evropě, USA a na Středním východě, které ve svém umění používají strategii inscenované fotografie, a to především se zaměřením na současnou situaci, vlivy a praktiky ženské umělecké scény v Iránu a na Středním východě.
Disertační práce se zároveň zaměřuje na nebezpečí, se kterým se potýkají mnohé iránské a arabské umělkyně a které vyplývá z pokušení učinit své umění self-exotické nebo self-orientální, aby získalo proslulost na Západě. Trh s uměním v bohatých zemích v Perském zálivu trpí tendencí ideologicky kontaminovat obsah mnoha originálních uměleckých výkonů a přimět umělkyně, aby vytvořily práci definovanou převážně jejich islámskou identitou, a maximalizovaly tak možnosti prodávat a usadit se v zahraničí.
Anotace v angličtině
The purpose of this dissertation is to explore the cultural, historical and sociopolitical background of female artists in Europe, the USA and the Middle East who use staged photography in their art, with a focus on the current situation, influences and practices of female Iranian and Middle-Eastern staged photographers.
Beyond this, I investigate a trap faced by many Iranian and Arab artists: the temptation to make their art self-exotic or self-Orientalist in order to gain renown in the West. The art market in wealthy Gulf countries suffers from the tendency to reduce the purity of many original aesthetics, pushing artists to produce work defined by their Middle-Eastern 'identity' so as to maximize opportunities to sell and establish themselves abroad.
Klíčová slova
inscenovaná fotografie, autoportrét, ženy fotografky, ženské tělo, feminismus, osobní prezentace, sebeposilování, západní společnosti, orientalismus, islámské společnosti, Írán, Střední východ
Klíčová slova v angličtině
staged photography, self-portrait, female photographers, female body, feminism, self-representation, self-empowerment, Western societies, Orientalism, Islamic societies, Iran, Middle East
Zásady pro vypracování
Theoretical background of thesis
The thesis follows the theory of feminism and art history, especially in the period of the 1960s and 1970s. The work focus at the question, how the ideas of the feminism movement in this time changed as well visual art production and reception, especially in the field of contemporary photography
Female artists engaged to the feministic visual art as activists and art producers. They used the photography medium according to the questions of self-presentation and representation as a part of the theory of visual culture. The thesis concentrates on the artistic methods of self-portrait and staged photography, which are used in many feministic art projects till today. The text analyzes the different artworks of different female staged photographers in different societies according to the different visual cultural perspective of the artists. For this, the text is setting up on the theories of intercultural communication and cultural studies
Methodological tools for processing of the thesis
- Interdisciplinary literature research in the different scientific fields of theories, which have been mentioned before
- Interpretation of the visual art products, which have been realized in different periods of feminism movements in different cultures from different regions and different social and political situations
Practical part methodology
- Researches about individual biographies of eleven women, who are belonging to different cultural and social regions. For this I will use the method of narrative interviews
- Visualisation of some parts of the biographies of the interviewed women, using the method of staged photography
- Self-reflection about the function as photographer and sujet in front of the camera
Basic structure of the thesis
1st chapter: Reflecting the conditions of a patriarchy society, its effects to art production and art perception and the feministic reaction against the less important role of women art. 2nd chapter: Concentrating to the special methodology of self-portraits according to the feministic meaning for the changing of the representation and interpretation of women visual culture. 3rd chapter: Especially in actual intercultural contexts of the Western societies and strong patriarchy systems, there are limitations of understanding and conflictive interpretations of feministic photography. It can be used as a protest against existing limitations of women but as well as a reproduction of cultural stereotypes. 4th chapter: practical work
Zásady pro vypracování
Theoretical background of thesis
The thesis follows the theory of feminism and art history, especially in the period of the 1960s and 1970s. The work focus at the question, how the ideas of the feminism movement in this time changed as well visual art production and reception, especially in the field of contemporary photography
Female artists engaged to the feministic visual art as activists and art producers. They used the photography medium according to the questions of self-presentation and representation as a part of the theory of visual culture. The thesis concentrates on the artistic methods of self-portrait and staged photography, which are used in many feministic art projects till today. The text analyzes the different artworks of different female staged photographers in different societies according to the different visual cultural perspective of the artists. For this, the text is setting up on the theories of intercultural communication and cultural studies
Methodological tools for processing of the thesis
- Interdisciplinary literature research in the different scientific fields of theories, which have been mentioned before
- Interpretation of the visual art products, which have been realized in different periods of feminism movements in different cultures from different regions and different social and political situations
Practical part methodology
- Researches about individual biographies of eleven women, who are belonging to different cultural and social regions. For this I will use the method of narrative interviews
- Visualisation of some parts of the biographies of the interviewed women, using the method of staged photography
- Self-reflection about the function as photographer and sujet in front of the camera
Basic structure of the thesis
1st chapter: Reflecting the conditions of a patriarchy society, its effects to art production and art perception and the feministic reaction against the less important role of women art. 2nd chapter: Concentrating to the special methodology of self-portraits according to the feministic meaning for the changing of the representation and interpretation of women visual culture. 3rd chapter: Especially in actual intercultural contexts of the Western societies and strong patriarchy systems, there are limitations of understanding and conflictive interpretations of feministic photography. It can be used as a protest against existing limitations of women but as well as a reproduction of cultural stereotypes. 4th chapter: practical work
Seznam doporučené literatury
ARAKI, Nobuyoshi (1998). Tokyo Nostalgia. Milano: Photology. (ISBN: 97888883539564)
BEAUVOIR, Simone de (2011). The second sex [1949]. London: Vintage Books. (ISBN: 9780099499381)
BERGER, John (2009). About Looking [1980]. London: Bloomsbury. (ISBN: 9780747599579)
BERGER, John (2013): Understanding a Photograph [1967]. London: Penguin Books. (ISBN: 9780141392028)
BERGER, John et al. (1990): Ways of Seeing [1972]. London: BBC and Penguin Books. (ISBN: 0140135154)
BOURRIAUD, Nicolas (2007): Postproduction. New York: Lukas & Sternberg. (ISBN: 9780974568898)
CHADWICK, Whitney (4th: 2007). Women, Art, and Society [1990]. London: Thames & Hudson (ISBN: 0500203938)
COTTON, Charlotte (2nd: 2006). The Photograph as Contemporary Art [2004]. London: Thames & Hudson. (ISBN: 0500203806)
CRUZ, Amada; and Smith, Elisabeth A.T.; and Jones, Amelia (2013). Cindy Sherman: Retrospective [1997]. London: Thames & Hudson. (ISBN: 050027987X)
DENNETT, Daniel C. (1996): Kind of minds: Toward an Understanding of Consciousness. New York: Basic Books. (ISBN: 0465073514)
DOWNIE, Louise, ed. (2006). Don´t kiss me: The Art of Claude Cahun and Marcel Moore. London: Tate Publishing. (ISBN: 1854376799)
EIBLMAYR, Silvia (1993). Die Frau als Bild: Der weibliche Körper in der Kunst des 20. Jahrhunderts. Berlin: Reimer. (ISBN: 3496011041)
FLUSSER, Vilém (2007). Towards a Philosophy of Photography [1983]. London: Reaktion Books. (ISBN: 9781861890764)
GROSENICK, Uta, ed. (2005). Women Artists in the 20th and 21st Century. Köln: Taschen. (ISBN: 3822841226)
GRŽINIĆ, Marina; and Reitsamer, Rosa, eds. (2008). New Feminism: Worlds of Feminism, Queer and Networking Conditions. Wien: Löcker. (ISBN: 978385409472)
HEARTNEY, Eleanor; and Posner, Helaine, and Princenthal, Nancy, and Scott, Sue (2007). After the Revolution: Women Who Transformed Contemporary Art. Munich; Berlin; London; New York: Prestel. (ISBN: 9783791337326)
INGELMANN, Inka Graeve, ed. (2008). Female Trouble: Die Kamera als Spiegel und Bühne weiblicher Inszenierungen. Ostfildern: Hatje Cantz Verlag. (ISBN: 9783775722032)
JONES, Amelia (2002, Summer). "The 'Eternal Return': Self Portrait Photography as a Technology of Embodiment." Signs Vol. 27, No. 4: pp. 947-978. (ISSN: 15456943)
JONES, Amelia, ed. (2nd: 2010). The Feminism and Visual Culture Reader [2003]. London and New York: Routledge. (ISBN: 9780415543705)
JULIUS, Anthony (2002). Transgressions: The Offences of Art. London: Thames & Hudson. (ISBN: 0500237999)
KARABELNIK, Marianne, ed. (2004). Stripped Bare: The Body Revealed in Contemporary Art. London and New York: Merrell (ISBN: 185894256X)
KHOSRAVI, Mojgan (2011, June, 5th). "Shirin Neshat: A Contemporary Orientalist". Master George State University. [Online] http://scholarworks.gsu.edu/art_design_theses/73)
KÖHLER, Michael, ed. (1995). Constructed Realities: The Art of Staged Photography [1989]. Zürich: Edition Stemmle. (ISBN: 3905514540)
KUL-WANT, Christopher, ed. (2010). Philosophers on Art from Kant to the Postmodernists: A Critical Reader. New York: Columbia UP. (ISBN: 9780231140959)
KUNSTHALLE Wien; and Matt, Gerald; and Weiermair, Peter, eds. (2nd: 2010). Das Portrait: Fotografie als Bühne [2009]. Nürnberg: Verlag für modern Kunst. (ISBN: 9783941185609)
LOVEJOY, Margot (2nd: 1997): Postmodern Currents: Art and Artists in the Age of Electronic Media [1989]. Upper Sadle River: Prentice Hall. (ISBN: 0131587595)
MARK, Lisa Gabrielle, ed. (2007). WACK! Art and the Feminist Revolution. Cambridge and London: The MIT Press. (ISBN: 0914357999)
MORRIS, Catherine (1999): The Essential Cindy Sherman. New York: The Wonderland Press. (ISBN: 0810958082)
MUELLER, Roswitha (1994). Valie Export: Fragments of the Imagination. Bloomington and Indianapolis:
Seznam doporučené literatury
ARAKI, Nobuyoshi (1998). Tokyo Nostalgia. Milano: Photology. (ISBN: 97888883539564)
BEAUVOIR, Simone de (2011). The second sex [1949]. London: Vintage Books. (ISBN: 9780099499381)
BERGER, John (2009). About Looking [1980]. London: Bloomsbury. (ISBN: 9780747599579)
BERGER, John (2013): Understanding a Photograph [1967]. London: Penguin Books. (ISBN: 9780141392028)
BERGER, John et al. (1990): Ways of Seeing [1972]. London: BBC and Penguin Books. (ISBN: 0140135154)
BOURRIAUD, Nicolas (2007): Postproduction. New York: Lukas & Sternberg. (ISBN: 9780974568898)
CHADWICK, Whitney (4th: 2007). Women, Art, and Society [1990]. London: Thames & Hudson (ISBN: 0500203938)
COTTON, Charlotte (2nd: 2006). The Photograph as Contemporary Art [2004]. London: Thames & Hudson. (ISBN: 0500203806)
CRUZ, Amada; and Smith, Elisabeth A.T.; and Jones, Amelia (2013). Cindy Sherman: Retrospective [1997]. London: Thames & Hudson. (ISBN: 050027987X)
DENNETT, Daniel C. (1996): Kind of minds: Toward an Understanding of Consciousness. New York: Basic Books. (ISBN: 0465073514)
DOWNIE, Louise, ed. (2006). Don´t kiss me: The Art of Claude Cahun and Marcel Moore. London: Tate Publishing. (ISBN: 1854376799)
EIBLMAYR, Silvia (1993). Die Frau als Bild: Der weibliche Körper in der Kunst des 20. Jahrhunderts. Berlin: Reimer. (ISBN: 3496011041)
FLUSSER, Vilém (2007). Towards a Philosophy of Photography [1983]. London: Reaktion Books. (ISBN: 9781861890764)
GROSENICK, Uta, ed. (2005). Women Artists in the 20th and 21st Century. Köln: Taschen. (ISBN: 3822841226)
GRŽINIĆ, Marina; and Reitsamer, Rosa, eds. (2008). New Feminism: Worlds of Feminism, Queer and Networking Conditions. Wien: Löcker. (ISBN: 978385409472)
HEARTNEY, Eleanor; and Posner, Helaine, and Princenthal, Nancy, and Scott, Sue (2007). After the Revolution: Women Who Transformed Contemporary Art. Munich; Berlin; London; New York: Prestel. (ISBN: 9783791337326)
INGELMANN, Inka Graeve, ed. (2008). Female Trouble: Die Kamera als Spiegel und Bühne weiblicher Inszenierungen. Ostfildern: Hatje Cantz Verlag. (ISBN: 9783775722032)
JONES, Amelia (2002, Summer). "The 'Eternal Return': Self Portrait Photography as a Technology of Embodiment." Signs Vol. 27, No. 4: pp. 947-978. (ISSN: 15456943)
JONES, Amelia, ed. (2nd: 2010). The Feminism and Visual Culture Reader [2003]. London and New York: Routledge. (ISBN: 9780415543705)
JULIUS, Anthony (2002). Transgressions: The Offences of Art. London: Thames & Hudson. (ISBN: 0500237999)
KARABELNIK, Marianne, ed. (2004). Stripped Bare: The Body Revealed in Contemporary Art. London and New York: Merrell (ISBN: 185894256X)
KHOSRAVI, Mojgan (2011, June, 5th). "Shirin Neshat: A Contemporary Orientalist". Master George State University. [Online] http://scholarworks.gsu.edu/art_design_theses/73)
KÖHLER, Michael, ed. (1995). Constructed Realities: The Art of Staged Photography [1989]. Zürich: Edition Stemmle. (ISBN: 3905514540)
KUL-WANT, Christopher, ed. (2010). Philosophers on Art from Kant to the Postmodernists: A Critical Reader. New York: Columbia UP. (ISBN: 9780231140959)
KUNSTHALLE Wien; and Matt, Gerald; and Weiermair, Peter, eds. (2nd: 2010). Das Portrait: Fotografie als Bühne [2009]. Nürnberg: Verlag für modern Kunst. (ISBN: 9783941185609)
LOVEJOY, Margot (2nd: 1997): Postmodern Currents: Art and Artists in the Age of Electronic Media [1989]. Upper Sadle River: Prentice Hall. (ISBN: 0131587595)
MARK, Lisa Gabrielle, ed. (2007). WACK! Art and the Feminist Revolution. Cambridge and London: The MIT Press. (ISBN: 0914357999)
MORRIS, Catherine (1999): The Essential Cindy Sherman. New York: The Wonderland Press. (ISBN: 0810958082)
MUELLER, Roswitha (1994). Valie Export: Fragments of the Imagination. Bloomington and Indianapolis: