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Martin and Osa Johnson
Svatoš, Jan ; Silverio, Robert (advisor) ; Scheufler, Pavel (referee)
In my bachelor disertation, I want to outline a broad and complex overview of photography and its history in Africa in social-culture context - starting with first pioneers and travellers, continue to early nature documentarists up to origin of temporary commercial so called "photographic safari". The goal is not only to draw a complex historical line, but also to mention technical obstacles, to consider pro-and-con of todays photo-tourism and, last but not least, point out the most important turning-points which were affecting and still affects our world´s history in pictures a lot. For example, the early wildlife photographers during the 20´s and 30´s in 21st century come with the wildlife photographing as an alternative to the thosetimes popular hunting safari, which had brought plenty of species to the extinction . With the help of photography, things got starting to be moving right way.
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La jetee - a photo roman
Loucaides, Andreas ; Silverio, Robert (advisor) ; Grygar, Štěpán (referee)
La jetee 1962 is a film made by Chris Marker - also called photo roman - composed almost entirely by black and white Photographs. The effort would be to analyze and discuss this phenomenon, to explore the way in which the still photography interacts within different contexts than the pure photographic.
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Tourist Postcard in contemporary art
Držková, Kateřina ; Musilová, Helena (advisor) ; Silverio, Robert (referee)
This dissertation concerns itself with tourist postcards and their use in contemporary art projects. These art projects are classified into categories and introduced within individual chapters, each of which considers picture postcards from a different perspective. Postcards are analyzed as a product that accompanied tourism from its beginning and that influenced the perception of visited venues. Postcards are also analyzed as a means of personal and mass communication. In addition to viewing postcards as a medium of communication, their physical and aesthetic characteristics are taken into account. These characteristics influence the perception of the photographed images. Emotions that are evoked can refer either to the aesthetic features of the postcard or to its referential function. Circumstances under which a postcard can be classified as ?kitsch? are considered. Postcards collections are likened to photographic archives. A separate chapter is devoted to the use of postcards in artistic projects during the past century.
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Ivan Pinkava and Adi Nes
Faukner, Jan ; Czumalo, Vladimír (advisor) ; Silverio, Robert (referee)
The basis of this dissertation confronts through different criteria Czech photographer Ivan Pinkava and Israeli Adi Nes. The works of both artists deal with stage photography based on direct references to well-known works in art history, biblical stories or other great stories from European culture.
Part one will discuss their work within the brother context of postmodern art. Part two will talk about the formal aspects of their photographs, e.g. the character of lighting, structure of the picture. Finally the last chapter will explore the meaning and the subject-matter of their attitudes, specifically translating their photographic language in the relationship to painting, photography and cinematography.
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Nobuyoshi Araki, Robert Mapplethorpe a Jeff Koons
Mlynarič, Martin ; Pospiszyl, Tomáš (advisor) ; Silverio, Robert (referee)
This master thesis is focused on the analysis and reconstruction of authors visual languages, elected authors are Nobuyoski Araki, Robert Mapplethorpe a Jeff Koons. The thesis is focused on the pornographic elements using in their creation. The thesis has two levels of the researching. It compares authors´s phraseology and way of their work and at the same time it shows on the pornographic elements legitimacy in the art throught the photographic medium in the 70´s and 80´s of the 20th century.
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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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