Czech

Not applicable.

Students understand topics and ideas which are crucial for the development of 20th century art. They will be able to distinguish between their early and late articulation and reinterpretaions after 1950. They are aware of their historical, social, or political determinants and they will be able to employ perspectives from a wide spectrum of social sciences in their own interpretation of modern and contemporary art.

Students must have an overall knowledge of 20th century art.

Not applicable.

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Exam (interview).

1. Searching for the other - Orient, exotics, peripheries (modernist search for inspiration from distant and exotic cultures; the spreading influences of modern art and interwar avantgardes; cultural imperialism and the relationship between the art of the East and West;
postcolonialism and art.
2. Highbrow and lowbrow: the relationship of fine art and culture industry, Frankfurt school, avantgarde and kitch, The Independent Group, pop art, merging of values - digitalization, globalization.
3. Original or copy? Appropriation as an art method: from Duchamp to Youtube, the move from artistic strategies to user tactics, art in the age of mechanical reproduction, digitalization and its consequences for art
4. Autonomy or propaganda? (avantgarde attacs against the social autonomy of art and the museum, leftist avantgardes and the desire for the change of social arder, historical avantgardes and neoavantgardes; a survey of tendencies, artists and particular critical art projects concerned with social, political, and especially economical reality (street art, media interventions): reality hacking, tactical media – RTMark, Yes Men, Steve Lambert...)
5. De-skilling: from craft to medim, from medium to practise - the turn from the craft basis of artistic practices and the shift to practices which do not demand specific "artistic skills"; the artist as a manager; life is art; conceptualism, hybrid forms in which art overlaps everyday practices.
6. The subject - identity - the body: Duchamp's alter ego, surrealits games with the unconscious, gender, queer issues; new models of subjectivity, new insight into the body, postmodern subjectivity, the body and technology.

Not applicable.

The course will introduce topics and concepts which determined the development of 20t century art. The course thus widens the general survey of 20th century art course; the aim is to contextualize knowledge students have acquired do far.

Cumpulsory attendance (3 absences accepted).

Not applicable.

Not applicable.

BOIS – BUCHLOH – FOSTER – KRAUSSOVÁ, Umění po roce 1900. Praha: Slovart, 2007.

Anour ABDEL–MALEK – Chinua ACHEBE – Aimé CÉSAIRE – Achille MBEMBE – Edward W. SAID – Ngũgĩ WA THIONGʼO, Postkoloniální myšlení II, Praha: tranzit.cz, 2011.
Clement GREENBERG, „Avantgarda a kýč.“ Revue Labyrint, 2000, č. 7–8, s. 69–74.
Hal FOSTER, „Co je nového na neoavantgardě?“ Sešit pro umění, teorii a příbuzné zóny, 2010, č. 8, s. 58 – 84
Hans BELTING, Konec dějin umění. Praha: Mladá fronta, 2000
Lisa CARTWRIGHT – Marita STURKEN, Studia vizuální kultury. Praha: Portál, 2009.
Martha BUSKIRK, The Contingent Object of Contemporary Art. Cambridge, MA – Londýn: MIT Press, 2003.
Martina PACHMANOVÁ (ed.), Neviditelná žena. Praha: One woman press, 2002.
Nicolas BOURRIAUD, Postprodukce. Praha: Tranzit, 2004.
Peter BÜRGER, „Negace autonomie umění v avantgardě“. Sešit pro umění, teorii a příbuzné zóny, 2007, č. 1 – 2, s. 168–175.
Suzi GABLIKOVÁ, Selhala moderna? Olomouc: Votobia, 1995
Thierry DE DUVE, „When form has become attitude – and beyond“. In Simon LEUNG – Zoya KOCUR (eds.), Theory in Contemporary Art: From 1985 to the Present. Blackwell Publishing, 2004, s. 19–31
Tomáš POSPISZYL (ed.), Před obrazem. Praha: OSVU, 1998
Tomáš POSPISZYL, Srovnávací studie. Praha, Agite Fra, 2005.
Walter BENJAMIN, Umělecké dílo ve věku své technické reprodukovatelnosti. In: Dílo a jeho zdroj. Praha: Odeon, 1979, s. 17–43.