National Repository of Grey Literature 55 records found  1 - 10nextend  jump to record: Search took 0.00 seconds. 
Silent friendships: Vladimír Fuka, Jiří Kolář, Zdeněk Urbánek, Emanuel Frynta, Jan Hanč a Jan Rychlík
Strnadlová, Anna ; Klimešová, Marie (advisor) ; Pospiszyl, Tomáš (referee)
The period after the February 1948 posed great changes for the cultural sphere, the groups and clubs were dissolved, artists who did not want to squeeze into the limits of socialist realism had no choice than to close themselves in the privacy of their homes and studios. After 1950, however, a group of friends around Jiří Kolář formed in Prague, who shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experiences in pictures or texts. The thesis focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil LhoJan Hanč, Josef Schwarz-Červinka, Emanuel Frynta and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. The thesis is based on diary entries, drawings, collages, poems and literary texts, which they created together and for each other in this unique, free and inspiring environment.
Postmodernism in Bohemia Theory in Practice / Practice in Theory
Ledvina, Josef ; Rakušanová, Marie (advisor) ; Morganová, Pavlína (referee) ; Pospiszyl, Tomáš (referee)
The thesis deals with Czech art of the 1980s and with the way it was at its own time reflected in relation to the concept of postmodernism. As a widely discussed topic postmodernism enters Czech art scene in the middle of the 80s. At that time key texts were written (primarily by Jana and Jiří Ševčíks and Ludvík Hlaváček) and first unofficial exhibitions of students of Prague art academies known as Confrontations took place. "New painting" or "new art" was interpreted and perceived as an expression or manifestation of the ethical, political and life attitudes of the "postmodern generation". In this context generational theatrical, musical and performative activities were of particular importance (theatre ensembles of Pražská pětka, musical performances of Vladimír Skrepl and Martin John at the openings of their exhibitions, Vaclav Stratil's, Margita Titlova Ylovsky's and Vladimír Merta's band Apage Satanas and others). The thesis discuses some shared attributes of postmodern "mood" and in this broad framework interprets work of some particular artists (Martin John, Vladimír Skrepl, František Skála, Martin Mainer, Jiří Kovanda, Margita Titlová Ylovsky, Jiří Surůvka and others).
Documentary Approaches in Contemporary Fine Art Moving Image
Bačíková, Alžběta ; PhDr. BcA. Andrea Slováková, Ph.D., MBA (referee) ; Pospiszyl, Tomáš (referee) ; Cenek, Filip (advisor)
The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.
Forms of Expression in Painting in Contemporary Czech Art Within a Czech and International Art Context
Ropková, Barbora ; Rakušanová, Marie (advisor) ; Winter, Tomáš (referee) ; Pospiszyl, Tomáš (referee)
This dissertation thesis deals with the work of three contemporary Czech artists - Josef Bolf, Jakub Špaňhel and Lubomír Typlt. The reason for choosing these three was the fact that all of the artists represent the same generation which entered the art scene in the late 1990s and their canvases can be equally described as expressive, although right at first glance there are noticeable differences in the intervention of the emotional and sense elements which participated in the creation process of the work of art, but also in its content. Contemporary expressive paintings are influenced by the development of art in the second half of the 20th century which is based on the continuous comparing of expressive subjectivity and its negation or intentional application and irony. That is why I decided to illustratively explore the movements which took place in terms of the foreign and Czech scene during the second half of the 20th century in the field of expressive painting. Because the Czech art arose in different conditions, I explored the changes of this phenomenon separately in these geographical areas, but at the same time I carried out a partial analysis of the works and comparisons with the work of the three chosen artists based on these findings. Subsequently, I analysed the work of the chosen...
Food as a Source of Meanings in Conceptual Art
Guhová, Vendula ; POSPISZYL, Tomáš (advisor) ; Uhnák, Tomáš (referee)
“Food as a Source of Meanings in Conceptual Art: Artistic Attitudes of Alison Knowles and Rirkrit Tiravanija” is a case study that examines the spectre of meanings mediated by food in the 20th century art and context-dependent changes of those. The thesis describes and compares the meanings of cooking and eating in Alison Knowles's pieces Propostion: Make a Salad and The Identical Lunch and Rirkrit Tiravanija's pieces Untitled (Pad/Thai) and Untitled (Free/Still), with regard to their contemporary and artistic context (Fluxus and relational aesthetics). It explores when do these activities - using quotidian acts - become an art piece and what mythology do these two artists build around themselves. One of the important aspects examined is a motive of connectivity.
The convergence of film and architecture. The case of Prague
Poláková, Sylva ; Hanáková, Petra (advisor) ; Petříček, Miroslav (referee) ; Pospiszyl, Tomáš (referee)
This dissertation examines the as yet untethered practice of the convergence of film and architecture in public municipal spaces against the backdrop of the idea of the relocation of the moving picture. Since this is an interdisciplinary practice whose forms and operations are influenced by a host of dynamics, the initial film perspective is supplemented by related themes from the spheres of architecture, public municipal space, and the organisation of culture and the applied arts, including advertising. The wide range of subjects covered in this dissertation is given focus by narrowly localised research examining the situation in Prague from the 1990s until 2010. Along with the case study, the chapters devoted to the discursive field form a progress report on the situation as regards this particular media practice, the outputs of which are subject to a short half-life that considerably limits the possibility of archiving them. The structure of the case study is derived from a specific classificatory framework and is close to the "catalogue" format, determined by a series of questions - who participated on the convergence of film and architecture and where, when and how. Though a specific segment of time was monitored, it did not remain free of links to previous working methods, historical situations and...
Jiří Šetlík's Art Collection in Museum of Art and Design Benešov
Škvorová, Lenka ; Pech, Milan (advisor) ; Pospiszyl, Tomáš (referee)
Aim of this thesis is to describe and analyze of art collection, that was given by Czech art theoretician and art historian Jiří Šetlík to Museum of Art and Design in Benešov in 2010. It will deal with sculptures, graphics, drawings, paintings and applied arts, which Jiří Šetlik had been collecting his hole life. It will try to find relation between Šetlík's professional life, his life and relations with artists. It will be contextualized to cultural and political situation from 1940's to 2000's. The important part of work will be catalog of artworks.
From landscape to rationality - landscape bases of the Czech neoconstructivism
Dudr, Karel ; Klimešová, Marie (advisor) ; Pospiszyl, Tomáš (referee)
This bachelor thesis deals with Czech artists whose work of art imply the development from landscape- painting to rational and constructivist tendencies. Thus it emphasizes four distinctive constructivist artists - Zdeněk Sýkora, Karel Malich, Vladislav Mirvald and Kamil Linhart - and their development until the end of 1960s. The distance from the interwar movements and difference from foreign simultaneous constructivist and rational creation give even greater importance to the proper landscape basis which influence on the particularity of the work of Czech constructively oriented creators is discussed in this thesis. In connection with it the work focuses on the role of Salcman's school or the group called Křižovatka. For the overall insight the work refers to the artists who represent wider range of this phenomenon due to their individual approach to the constructivism and complicated direction from the landscape to the rationality. Powered by TCPDF (www.tcpdf.org)
Political aspects in contemporary art. Czech and Slovak art in 1989-2011
Kukurová, Lenka ; Klimešová, Marie (advisor) ; Pachmanová, Martina (referee) ; Pospiszyl, Tomáš (referee)
This work focuses on the research of contemporary Czech and Slovak visual art which critically reflects problems in the society. Due to the totalitarian past in former Czechoslovakia, this orientation of art made a specific genesis. It was established as a acknowledged part of art only in the last decade. The aim of my thesis was to analyze when and by which means the Czech and Slovak sphere of visual art became repoliticized. I research and analyze selected works of artists who are critically reacting to the problems of politics and society. I keep the chronological order of the artworks and exhibitions. Afterwards I focus on the two important topics in this field: feminism and queer issues. The engagement of the artworks was forced in the past and this fact has its result in the devaluation of the term. Part of my thesis examines the terms political art and activist art in the international and domestic context and proposes its definitions.
Mass and Crowd. Multiplicity in works by Ivan Kafka
Bartlová, Anežka ; Konečný, Lubomír (advisor) ; Pospiszyl, Tomáš (referee)
I have paid attention to artworks of Ivan Kafka especially to the problem of multiplicity. On the background of the reseach of Kafka's work I have described some aspects of his art work in more common way: dealing with time, with space and with multiplicity. I have shortly analyzed first two aspects. On the other hand is multiplicity much wider phenomena, I have defined with categories which were created specially for this work. The category of mass is defined by non-living unifique parts of one coplex without any autonomy. The second type labeled as crowd type, typically contains some level of individuality. On such background I tried to create a diagramatic structure, which was postulated according to Rolasind Krauss'es "expanded fields". This should better show the relations between terms like mass, crowd, seriality and serial type of multiplicity. I have also applied these categories on particular Ivan Kafka's artworks, but in the end I suggest to asser this system of multiplicity categories on other artists artworks as well.

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