National Repository of Grey Literature 8 records found  Search took 0.01 seconds. 
Art Symposia in the 1960s
Fišer, Marcel ; Wittlich, Petr (advisor) ; Klimešová, Marie (referee) ; Šetlík, Jiří (referee)
The Dissertation Abstract The dissertation deals with the tradition of holding art symposia (with a special focus on sculpture symposia) since their origins until the beginning of the 1970s. Both of them coming from German-speaking regions, so far only two works have been dedicated to the topic. However, they both focus on sculpture symposia and totally neglect other disciplines. The fact that they - for perfectly understandable reasons - mostly deal with art from Eastern Europe and overseas is their second weakness. Thus East-European art symposia are commented on scarcely and without knowledge of the local context. The text of the dissertation is therefore for the fist time fully based on an extensive research of the wide spectrum of symposia with respect to their geographical and disciplinary aspects. Thanks to their heavy influence, sculpture symposia, nevertheless, tend to occupy most space. The text places symposia into the context of general development in visual arts and sculpture after World War 2, especially with respect to some on-going contemporary trends, such as the phenomenon of open-air exhibitions, foundation of sculpture parks, development of public art, emerging of abstract art or welded metal sculptures of the later period. The major part of the text includes data about all art symposia...
Art to convention
Micka, Alois ; Rakušanová, Marie (advisor) ; Šetlík, Jiří (referee) ; Prahl, Roman (referee)
The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...
Miloslav Hejný, a contextual study in sculptural oeuvre 1956 - 1972.
Hejný, Kryštof ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee)
(in English) The life and work of academically trained sculptor Miloslav Hejný (1925 - 2013) has not hitherto been submited to a complex examination or otherwise underwent any literary research. This thesis is the first attempt at a summary of the first half of creative life of an unknown author, a nearly twenty-year period between 1955 and 1973, a commented biography with an accompanying introduction and appendix as to his education, the initial professional experiences with the official regime production of visual art, and the second quarter of the 70s, when Hejný's spacial art forms deliberately ceased. Biographical chapters are interrupted by excursions into the parallel happenings of the artists' community, contemporary developments in form and style, the works of his friends and collaborators, and up to date or otherwise relevant theory. Out of the hinted-at phenomena, neorealism, postwar receptions of cubism, minimalism as a moral concept, the sculptors Vladimír and Věra Janouškovi, Stanislav Kolíbal, Vladimír Preclík, and the groups Máj 57, Trasa and UB 12, or the theory of creative thought of Gaston Bachelard will be mentioned. Nominally popular in the sense of the first publication of data, the thesis maintains a profile of a synthetic biographical study. For that reason it does not...
Presentation of the unofficial art scene in 1980s outside the centre
Ryantová, Zdislava ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee)
This thesis deals with the six Czech regional institutions, which aimed at unofficial art during 1980s, thereby created an alternative to Prague's galleries, which were refusing such type of an art. Among them belongs Galerie 55 (Gallery 55) in Kladno, Městské kulturní středisko (Municipal culture centre) in Dobříš, Letohrádek (Summer residence) Ostrov nad Ohří, Galerie ve věži (Gallery in the tower) in Mělník, Alšova jihočeská galerie (Aleš's South Bohemian gallery) in Hluboká nad Vltavou along with Malá scéna Domu kultury (Culture centre's Small scene) in České Budějovice and, as the only private gallery, Galerie H (Gallery H) in Kostelec nad Černými lesy. Based on period documents and memorial texts, this thesis characterize each and every art space, the groups of people who were gathering around them, the exhibition program and the most important exhibitions. It introduces these "galleries" to the period cultural-politics context and to relations with other galleries and important exhibitions of the Czech unofficial art during the eighties.
Czech public art collections and the acquisition policy during the normalization era
Sloupová, Andrea ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee) ; Neumann, Ivan (referee)
The doctoral thesis Czech public art collections and the acquisition policy during the normalization era deals with the topic of domestic institutional operation in 1970s and 1980s, with specific focus on activities of galleries incorporated in the national, hierarchically organized network of art institutions. The research of these acquisition activities uncovers composition of the works of art acquired this way. It finds aspects in which individual institutions differed and detects the reasons behind these differences. Besides the acquisition process itself, the thesis also outlines the circumstances of establishment of the gallery network and summarizes its activities in more tolerant 1960s based on various material sources and oral history. The acquisition policy of galleries as such is analysed in the thesis covering the period from the beginning of the year 1970, when the resolution of the turning meeting of the Central Committee of the Communist Party of Czechoslovakia in April 1969 started to be fulfilled, until the end of the year 1989. Geographically, it is limited to the Czech territory. The results obtained by the analysis point out fundamental differences between individual institutions and between regions in which they operated. The results bring answers to questions concerning...
Exhibition versus "exhibitioning". The Czechoslovak pavilions at Expo 1967 in Montreal and Expo 1970 in Osaka
Nekvindová, Terezie ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee) ; Švácha, Rostislav (referee)
The paper focuses on the Czechoslovak pavilions at the 1967 and 1970 World Expos. Both events took place in the period around 1968, when, however briefly, the Czechoslovak visual arts partially overlapped with the state's cultural policy. The pavilions (especially at Expo 70) also reflected the socio- political contexts of the year 1968.. In Czechoslovakia towards the end of the 1960s, the purpose of "exhibitioning" - i.e., the state-sponsored exhibition trade - was to communicate with the public and to (re)present the country abroad. Its main goal was to promote and spread the ruling ideology. On the other hand, the Czechoslovak visual arts scene was beginning to consciously work with the medium of the exhibition as a comprehensively composed unit, either through innovative exhibition design and installation or through installation art. While the exhibition trade reached its high point in the 1960s and began to disintegrate into rigid mannerism towards the end of the decade, real experiments with the format of the art exhibition were just beginning. This study focuses on the question of how these two fields (art and the exhibition trade) approached the medium of the exhibition in the 1960s. I study the Czechoslovak pavilions as a cultural artifact in which aesthetic, social, political, and economic forces...
Art Symposia in the 1960s
Fišer, Marcel ; Wittlich, Petr (advisor) ; Klimešová, Marie (referee) ; Šetlík, Jiří (referee)
The Dissertation Abstract The dissertation deals with the tradition of holding art symposia (with a special focus on sculpture symposia) since their origins until the beginning of the 1970s. Both of them coming from German-speaking regions, so far only two works have been dedicated to the topic. However, they both focus on sculpture symposia and totally neglect other disciplines. The fact that they - for perfectly understandable reasons - mostly deal with art from Eastern Europe and overseas is their second weakness. Thus East-European art symposia are commented on scarcely and without knowledge of the local context. The text of the dissertation is therefore for the fist time fully based on an extensive research of the wide spectrum of symposia with respect to their geographical and disciplinary aspects. Thanks to their heavy influence, sculpture symposia, nevertheless, tend to occupy most space. The text places symposia into the context of general development in visual arts and sculpture after World War 2, especially with respect to some on-going contemporary trends, such as the phenomenon of open-air exhibitions, foundation of sculpture parks, development of public art, emerging of abstract art or welded metal sculptures of the later period. The major part of the text includes data about all art symposia...

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