The lecture briefly introduces the historical context of the terms of pre-modern and modern original and originality in the arts, as well as provides definitions and explanations for the terms as copy, perfect copy, remake, fake, reminiscence, allusion, reference, parody, borrowing, imitation, plagium, epigon, repetition, remix and multiplication, copyright, and the problematic of mechanical and digital multiplications and applications. The lecture describes and analyzes study cases selected from the art of the seventies and eighties in US as Sherrie Levine, Cindy Sherman, Richard Prince or Ed Ruscha; and introduces the post-structuralist and post-modernist theories related to the artistic practice and term of appropriation art by R. Barthes, B. Buchloh, A. C. Danto, H. Foster, R. Krauss, C. Owens, P. Schjeldahl, S. Zizek. Lecture also introduces a semiotic model for the process of appropriation as artistic concept and practice. The model contains a system of sings and signifiers that builds a multi-level construction which also functions as artistic method. And finaly the lecture attempts to apply the previously introduced model in cases of art in Central European region in the eighties and nineties as Neue Slowenische Kunst, Mladen Stilinovic, Gabor Bachman, Sanja Ivekovic, Ion Grigorescu, Jozef Robakowski, Janos Kosa, etc. The aim of the lecture is to demonstrate how artistic concepts, methods and practices are innovated within the rapidly changing political, economic and technological environment. Kurz je založen na individuálních i skupinových konzultacích s vyučujícím tak, aby v maximální možné míře vycházel vstříc partikulárním potřebám a tematickému zaměření disertačního projektu každého studenta.
Získané způsobilosti představují zvládnutí a osvojení si znalostí v daném oboru, vycházejí z konkrétní anotace předmětu a směřují k naplnění profilu absolventa daného oboru.
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Barents, Els. Cindy Sherman. Cindy Sherman, Amsterdam, 1982.
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Barthes, Roland. Camera Lucida: Reflections on Photography. Hill and Wang, New York, 1983.
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Barthes, Roland. Le Degre zero de l´ecruite. Paris, 1957.
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Barthes, Roland. Mithologies. Hill and Wang, New York, 1972.
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Barthes, Roland. "The Death of the Author" in. Image, Music, Text. Fontana Press, 1977.
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Baudrillard, Jean. Le Systéme des objects. Gallimard, Paris, 1968.
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Baudrillard, Jean. Simulations. New York, 1989.
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Benjamin, Walter. The Author as Producer. Reflections, Harcourt Brace Jovanovich, 1978.
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Beyond Traditional Aesthetics. Beyond Traditional Aesthetics. ICA - London, 1991.
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Bourdieu, Pierre, Haacke, Hans. Free Exchange. Stanford University Press, 1995.
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Buchloch, Benjamin. Allegorical Procedures: Appropriation and Montage in Contemporary Art. In Artforum, 1982.
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Buchloch, Benjamin. Figures of Authority, Ciphers of Regression - Notes on the Return of Representation in Europe Painting. October, No. 16, 1981.
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Buchloch, Benjamin. The Museum and the Monument: Daniels Buren´s Les Couleurs.
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Buren, Daniel. The Function of the Museum. Artforum, 1973.
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Buren, Daniel. The Function of the Studio. October: The First Decade 1976-1986, 1987.
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Burgin, Victor. The End of Art Theory - Criticism and Postmodernity. Macmillan, London, 1986.
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Buskirk, Martha. The Contingent Object of Contemporary Art. MIT Press, 2003.
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Crimp, Douglas. The Photographic Activity of Postmodernism. October, 1980.
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Danto, Arthur C. Art after the end of Art. Artforum, 1993.
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Danto, Arthur C. Beyond the Brillo Box - The Visual Arts in Post-historical Perspective. Farrar, Strauss, Giroux, New York, 1992.
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Danto, Arthur C. Embodied meanings - Critical Essays and Aesthetic Meditations. Farrar Straus Giroux, New York, 1994.
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Danto, Arthur C. Hans Haacke and the Industry of Art. The Noonday Press, Farrar Straus Giroux, 1986.
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Danto, Arthur C. Introduction: Artphilohistocritisophory Today. Farrar Straus, New York, 1986.
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Danto, Arthur C. The Transfiguration of the Commonplace - A Philosophy of Art. Harward university Press, Cambridge, Massachusetts, 1981.
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Duncan, Carol and Wallach, Allan. The Museum of Modern Art as a late Capitalist Ritual. Iconographic Analysis; Marxist Perspectives, 1978.
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Foster, Hal. Subversive Signs. Art in America, 1982.
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Foster, Hal. The Crux of Minimalism. The Return of the Real, An October Book, MIT Press, 1996.
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Foster, Hal. The Expressive Fallacy. Art in America, 1983.
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Francblin, Catherine. Cindy Sherman. Art Press 165.
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Godfrey, T. Conceptual Art. Phaidon, London, 1998.
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Greenberg, Clement. Modernis Painting. Art and Literature, 1965.
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Greenberg, Lynne. The Art of Appropriation: Puppies, Piracy and Post-Modernism.
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Guilbaut, Serge. How New York Stole the Idea of Moder Art - Abstract Expressionism, Freedom and the Cold War. The University of Chicago Press, 1983.
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Charbonnier, Georges. A Conversation with Claude Levi-Strauss. Marcel Duchamp in Perspective, Artists in Perspective Series, 1975.
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Klinger, Linda S. Where is the Artist?. Art Journal, Summer, 1991.
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Lambert, Susan. The Image Multiplied - Five Centuries of Printed Reproductions of Paintings and Drawings. Abaris Book, New York, 1987.
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Landes, William. Copyright, Borrowed Images And Appropriation Art: An Economic Approach. John M. Olin Law & Economics Working Paper No. 113 (2d Series), Chicago. The Social Science Research.
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Marzorati, Gerald. Art in the (Re)MAKING. Art News, 1986.
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Nelson, Robert S. Appropriation" edited by Robert S. Nelson and Richard Shiff. Critical Terms for Art History, University of Chicago Press, 1996.
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Owens, Craig. Sherrie Levine at A M Artworks. Art in America, 1982.
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Shiff, Richard. Originality. Sidney press, 1996.
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Schjeldahl, Peter. Shermanettes. Art in America, 1982.
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Singerman, Howard. Seeing Sherrie Levine. October 67, 1994.
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Zizek, Slavoj. Why are Laibach and NSK not Fascist?. M´ARS V 3,4 Ljubljana, 1993.
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