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Josef Moucha - Photography
Šigut, Vladimír ; Musilová, Helena (advisor) ; Kolář, Viktor (referee)
This master´s theoretical thesis deals with the personality of a photographer and publicist in the area of theory and history of photography by Josef Moucha. The first part is dedicated to the consequences in the Czech and world documentary photography and so-called visualism. The main part of this thesis deals with Moucha´s subjective (documentary and artistic) photographical work. Comparison with other authors showing similar photographical features is also included in this part. The conclusion focuses on the author´s data, private and collective exhibitions, catalogues, literatures and collection representations.
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The work of Sebastiao Salgado - Humanism, Document and Art.
Estevez, Lazaro ; Silverio, Robert (advisor) ; Kolář, Viktor (referee)
The work of the Brazilian photographer Sebastiao Salgado is worldwide know. Exhibited all over the planet in photo galleries and street shows, published in book and magazines, his photographs have made their author a celebrity and a photographer who is not only labelled as a documentrary one, but the author of work that is certain times elevated to the category of art, dispayed in museums, and sought agter by art collectors.
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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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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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