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Thomas Demand
Kolský, Jan ; GRYGAR, Štěpán (advisor) ; SILVERIO, Robert (referee)
In this paper I am focusing on oeuvre of German artist Thomas Demand. At
first I do so at the level of his method and in the second part I discuss three different
readings of his work. The purpose of this work is to present Demand`s oeuvre in
coherent context and to discuss and synthesize different interpretational readings
with greater focus on relation between Demands work and reality, that is
representation, and the viewer with his perception of Demand`s photographs. I
identify the moment associating the motifs of absence, closedness and interiority,
which are common to all interpretations, as crucial to Demand`s work. I propose to
read Demand`s photographs as anticipating principles of the digital image thus the
photography.
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Hans-Peter Feldmann, 44 pages
Stejskalová, Eliška ; GRYGAR, Štěpán (advisor) ; , (referee)
This bachelor's thesis deals with the German conceptual artist and photographer Hans-Peter Feldmann. The monograph is divided into four parts. The first chapter describes Feldmann's live. It is followed by the main part about his work, where his crucial subjects are analyzed, such as collecting and everyday life. The third chapter discusses the specific attitude Feldmann has towards himself. The closing part puts Feldmann's work into a broader context.
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Recycling Photography
Ketmanová, Karolina ; GRYGAR, Štěpán (advisor) ; ŠIMLOVÁ, Štěpánka (referee)
This thesis analyzes the method of recycling photography in art. Recycling is meant
as usage of appropriated photos as a material to produce new work of art.
The method is examined on the example of artist Christian Boltanski, who has been
using this method consistently from 60's up to the present day.
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Reflection of Photography Medium
Pleslová, Anna ; GRYGAR, Štěpán (advisor) ; PORTEL, Robert (referee)
This Bachelor thesis is aimed at reflection of photography's medium from its beginning to the present day. It is wave which is very popular and many authors are concerned with this but there wasn't anything written about yet. I mean in some summarize form and this is what I exactly wanted in my text. Introduction I devote to technical and philosophical questions which authors process the most often. I outline the beginnings of Analytical Photography and Visualism. In maim part of text I pick the most significant photographers who work with reflection of their medium and I research their production in more detail. Some essays about Czech representatives are supplemented by interviews which enable deeper insight to their way of thinking. In the end I generally summarize meaning of this wave. I reach the opinion that evolution of photography to this stage had its reasons and it was was inevitable. At the same time I can see some turning artists into themselfs and some kind of fulfilment of photography in its development.
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Fotografie: Cena a ahodnota
Kholodayev, Alexey ; GRYGAR, Štěpán (advisor) ; ŠIMLOVÁ, Štěpánka (referee)
Práce se snaží zkoumat vztah mezi hodnotami jako je kvalita a cena v
oboru fotografie na současném uměleckém trhu skrz analýzu historického
pozadí vážícího se k tématu, analýzu pojmů ceny a hodnoty, jejich
vlastností, mechaniky trhu a současných tendencí na příkladu práce dvou
z nejvýznamnějších umělců současnosti: Andrease Gurského a Cindy
Sherman.
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Symboly ve vizuálních obrazech
Ringgard Bak, Nina ; SILVERIO, Robert (advisor) ; GRYGAR, Štěpán (referee)
To je studie o definici, historii, formy a používání symbolů, vztahujících se na vizuální představivosti a umění, a jako takový se vztahují na oblasti fotografie. Tento text uvádí na definici symbolů do dvou kategorií: osobní symboly (symboly, které význam chápe jednu osobu) a společné symboly (symboly, které symbolický význam je společné pro dva nebo více lidí). Obsahuje historický přehled symbolické původu a použití, jakož i studie o symbolické shody a pravděpodobnost, zda do symboly je třeba učit, nebo zda se dědí do lidského Algologická a fyziologické make-upu. Výsledky v této oblasti je dvojznačný jak jasné test dědičné symbolické konsensu je nepravděpodobné.
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