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Where do the limits of l'informe lie?
Hejný, Kryštof ; Konečný, Lubomír (advisor) ; Vlček, Tomáš (referee)
The present study centres on perceived blank space within research dedicated to czech ceramics of the second half of the twentieth century. Its purpose is to map and summarize the totality of published period discourse pertinent to the selected topic. Most forms of object oriented expression and production within fired clay medium generated throughout the period of immutability and economic centralization fall into categories defined by terminological adjacency to "non-fine art" education, industrial application and/or modernist material semantics. Study observes a historical, hence limited field whose horizon emerges via questions meaningfully unencumbered by partially mythologized experiences and overreliance on stereotypes in judgement of relative importance of concepts, events and goals. Those have insofar marred attempts for general interpretation. The issue of supplementarity or, in moral terms, inferiority of the medium ran an unsolved red line through the period discourse. Sociological advancement however, whose tools were curated consumption and a mixture of work ethic and esthetic, bracketed ceramic supplemental to industry. Its value was then judged by its adherence to original material dialectic (place of craft, or artistic means, in Theodor Adorno's Esthetic theory, ADORNO 1970). As...
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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...
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