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Arthur Tress
Kovačevič, Danica ; Kolář, Viktor (advisor) ; Silverio, Robert (referee)
In her thesis, Danica Kovacevic focuses on Arthur Tress, an important representative of world photography. Apart from presenting a complex and comprehensive summary of Tresse?s photographic oeuvre, the objective of her thesis is also the evaluation of the artist?s distinctive approach to the surrealist heritage and his personal contribution to the development of this movement?s theses. The author subsequently attempts her own theoretical interpretation of Arthur Tresse?s oeuvre.
In the opening part of the submitted thesis, Personality of Arthur Tress, the author mentions biographical dates, events and those aspects of Arthur Tresse?s personality that she finds significant for his future artistic development. The following part, Creation of Arthur Tress, she deals in detail with influences, resources, the process of constituting the artist?s creative method (Arthur Tress in the Context of the Development of Surrealism in Photography, The Birth of a Photographer) and a detailed analysis of the particular creative phases (Staged Figurative Photography, Collages, Late Work).
Considering the paradoxical fact that the persona of Arthur Tresse is given the attribute of ?the master of spiritual vision and staged surrealism? in common interpretations, yet the artist himself identifies as a documentary or etnographic photographer, and recognizing that all his photographic work contains explicitly artistic elements, often surrealistic and imaginative, the author attempts to decipher the basic elements of Arthur Tresse?s poetics and to accuratetly define and contrast it with the surrealist aesthetics, with which the artist is often artificially associated, and at the same time offer her own, deeper interpretation of his oeuvre.
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Documentary Photography
Kumermann, David ; Dvořák, Tomáš (advisor) ; Silverio, Robert (referee) ; Kolář, Viktor (referee)
The text deals with documentary photography as an autonomous practice. The starting axiom for any further deliberations states, that photographic documentary is based on effort to eliminate any possible manipulation.
This manipulation is usually understood as some mechanical intervention in the otherwise automatic process. If, however, the role of a photographer is reflected, we understand the manipulation as an ethical rather than a mechanical problem.
The meaning of photography is always viewed within certain cultural context. A solitary photograph is always polysemic and opened to a manipulative ideological abuse. Photographic documentary works with a collection of photographs, thus providing more complicated but also more exact message.
This is how possible manipulation has to be considered. The authorship must be understood as responsibility for the photographic message. The authorship is not only the fact of taking the pictures but also their selection.
Brief historical excursion establishes an approach to the search for the genealogy of a documentary. It also concerns the ?language? of photography and its ability to carry certain meanings.
Journalistic and documentary photography emerged as a single practice. Photographic documentary as we know it got its autonomy by separating itself from journalism. The place of documentary photography vis-à-vis art and journalism is discussed. .
The last part concerns documentary photography as a stream of various tendencies and approaches. It suggests instruments to reflect this diversity. It also deals with the traditional document in relation to practices that attempt to liberalize the concept of documentary photography and allow in tendencies that are based upon manipulation of the photographic meaning.
Documentary photography is an authentic reflection of the world, based on the author´s responsibility for his message. That is the fundamental principle: Documentary photograph has to be judged not only in aesthetic terms but also by its truthfulness.
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Participatory and collaborative tendency in czech art colleges and academies in recent years
Fröhlich, Vojtěch ; Musilová, Helena (advisor) ; Silverio, Robert (referee)
The thesis focuses on collaboration methods as they are employed in today's art education in the Czech Republic. It introduces the return of forms of participative practices in contemporary world art while looking for its echoes in the schooling of young Czech artists. It introduces three case studies: Studio of Visiting Professor Zbigniew Libera, Academy of Fine Arts in Prague (2008-2009); Studio of Conceptual and Intermedia Art of Jiří David, Studio of Intermedia Art led by Michal Pěchouček and Dušan Záhoranský in Pilsen (2007-2008), all of which have in various ways integrated elements of participative art.
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Early Period Of Conceptual Art In The USA In 1960s
Leinweberová, Adéla ; Silverio, Robert (advisor) ; Grygar, Štěpán (referee)
The topic of this bachelor?s thesis is the early period of conceptualism in the 1960s. In the form of a personal travel diary there is and effort to discover the way to perception and understanding of the conceptual art. The traces of conceptualism have been present in art until today. As well as a stream that cannot be specified by an exact definition, even from its early period. The selected topic is followed through Sol LeWitt?s essay ?Sentences on Conceptual art?. ?Sentences? are reviewed and compared to other contemporary theoretical works, followed by author?s opinion reflection. The whole thesis is written on the background of a journey to the retrospective exhibition of Sol LeWitt in Zurich.
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Fotografie v lotyšské Rize 1839-1918
Leite, Guna ; Scheufler, Pavel (advisor) ; Silverio, Robert (referee)
Klasifikace fotografických obrazů z daného období, přístupných v muzejích a soukromých sbírkách. Nejdřív fotografie budou klasifikované podle použité techniky (daguerreotypie, ambrotypie, ferrotypie, albumín, ušlechtilé tisky, barevné techniky aj. ) a potom podle žánru (portrét, akt, krajina, reportáž, etnografický dokument aj.) Každý žánr bude popisován blíž. (Na příklad-Portrét: individuální portrét, rodinný portrét, skupinový portrét, použivané formáty-Cabinet Portrait, Carte-de-Visite. Detailizovaně budou popsány nejtypičtější a také zajímavejší fotografie-kompozice, rukopis fotografa, zajímavé detaily. Také budou analyzována adjustace a grafický dizain ve zadní straně fotografie. Jednak budou popsány jednotlivé trendy-od symboliky malby a florálních motivů po secesi. A také, jak grafický dizain pomůže datovat fotografie a určit úspěch ateliéru.
Cílem bakalářské práce je schromáždit materiál a vytvořit kompilaci jako výchozí materiál pro magisterskou práci.
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Principle of similarity in relation to photography
Kliment, Jáchym ; Czumalo, Vladimír (advisor) ; Silverio, Robert (referee)
The subject of my thesis is similarity in photography. The first part provides a complex definition of the principle of similarity, with emphasis on philosophy, logics, mathematics, semiotics, iconology and iconography. A connection of similarity with analogy, sylogism, mimesis and association is also pursued. The second part, which represents the core of the paper, selectively explores similarity as a stylistic and semanticising means in contemporary photography. Apart from other aspects, diptych and series in photography are discussed in greater detail.
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Women in the contemporary finnish photography
Zmudová, Žaneta ; Musilová, Helena (advisor) ; Silverio, Robert (referee)
In my final bachelor paper I have focused on the work of the Finnish female photographers of the past fifteen years. They graduated at The University of Art and Design Helsinki during this period of time. The time determination is connected with the coming of Timothy Persons to the university. He helped his students a lot to present their work, mainly abroad. I chose the topic Women for closer determination of the contemporary Finnish photography, also from my own interest and I tried to make a survey of the work of Finnish female photographers who come from a different cultural background.
This paper has been divided into several parts. It goes from the background introduction of the Helsinki School as the proof of the school success and present activities to the contentual and visual specific features of the Finnish female photographers and also main tendencies in their work including the photography presentation of the selected photographers.
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Unknown Latvian Photography
Gravlejs, Ivars ; Silverio, Robert (advisor) ; Kolář, Viktor (referee)
Latvian photography has been provincial with prevailing pictorial tendency for almost one century. During WWI and WWII has been lost a great amount of photographic archives. Nevertheless, there is a hope that in the future will be discovered more outstanding unknown Latvian photographers.
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