IM118 World Art After 1945

Faculty of Arts
Spring 2022
Extent and Intensity
2/0/0. 4 credit(s). Type of Completion: zk (examination).
Teacher(s)
doc. Mgr. Jan Zálešák, Ph.D. (lecturer), doc. PhDr. Martin Flašar, Ph.D. (deputy)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Mon 12:00–13:40 327
Prerequisites
Students should have an overall knowledge of art before 1945.
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 10 student(s).
Current registration and enrolment status: enrolled: 0/10, only registered: 0/10, only registered with preference (fields directly associated with the programme): 0/10
fields of study / plans the course is directly associated with
Course objectives
The main objective of the course is to build a coherent knowledge of the main trends, movements and styles in fine arts after 1945, with an emphasis given to the canon of "Western art".
Learning outcomes
After successful passing the subject students will be able to:
- navigate through the developments of the post-WWII fine arts
- situate specific developments in fine arts into more general cultural, social and political histories
- distinguish between early manifestations of particular tendencies and their new formulations in postwar art
- acknowledge differences between a dominant discourse of the Western art history and its regional alternatives.
Syllabus
  • 1. Artistic responses to WWII. Cold war, cultural imperialism. Abstract painting in the West vs. the doctrine of Socialist realism in the East. developmental lines of abstract painting. Documenta Kassel 1955.
  • 2. Black Mountain College (Joseph Albers, John Cage), other artistic schools in the USA. The formation of the neoavantgarde. Neodada (Robert Rauschenberg, Jasper Johns). Raising interest in the everyday culture. New Realism.
  • 3. Artistic responses to culture industry and popular (visual) culture. The Independent Group, Pop art, and its neo- versions up until 2000s.
  • 4. The various forms of performance art. Jackson Pollock and Gutai. Allan Kaprow and happenings. Yves Klein.The forms of performance art and its periodical and local metamorphoses. (Fluxus, Joseph Beuys, Chris Burden, Richard Serra, Marina Abramovic…).
  • 5. Minimalism and postminimalism (Carl Andre, Donald Judd, Robert Morris, Eva Hesse). Conceptual art in its historical phase. Institutional critique; politically/socially engaged forms of conceptualism (Hans Haacke etc.).
  • 6. Site-specific art, public art, new genre public art – developments of art in public space. Land art and its representatives (Robert Smithson, Walter de Maria, Helen and Newton Harrison, Agnes Denes).
  • 7. New media art. The beginnings of video art. Experiments in Art and Technology. Art and TV. Digitalization and its consequences. From net.art to post-internet. New media art and art world institutions.
  • 8. Photography in contemporary art. Conceptual art and photography. (Ed Ruscha, Bernd and Hilla Becher and “Düsseldorf school,” Gabriel Orozco…). "Monumental photography" – Andreas Gursky, Jeff Wall. Photography, subjectivity, identity (Cindy Shermann). Subjective archives – blogs. Richter's Atlas, Wolfgang Tillmans.
  • 9. Returns of figural painting. New figuration of 1960s, hyperrealism, neoexpressionism, Neue Wilde, Transavantguardia, postmodern painting, critical and historical painting.
  • 10. Figurative sculpture 1945. Humanistic reinterpretation of surrealism and abstraction (David Smith, Henry Moore); existencialism (Alberto Giacometti); hyperrealism (Duane Hanson, Ron Mueck); Young Brittish Artists (Jake and Dinos Chapman, Damien Hirst, Sarah Lucas, Marc Quinn); "sculpture today" (Mark Manders, Franz West, Rachel Harrison...).
Literature
  • Terry SMITH, What is contemporary Art?, University of Chicago Press, 2009.
  • Yves-Allan BOIS – Benjamin BUCHLOH – Hal FOSTER – Rosalind KRAUSS, Umění po roce 1900, Praha: Slovart, 2007.
  • Kolektiv autorů, Dějiny umění / 12, Praha: Balios a Knižní klub, 2002.
Teaching methods
Lectures accompanied by projection of visual or audiovisual material.
Assessment methods
The course is finished by an oral exam in a time range of about 25 minutes. The student is tested from one thematic circuit after he / she chooses it.
Language of instruction
Czech
Further Comments
The course is taught annually.
The course is also listed under the following terms Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016, Spring 2017, Spring 2018, Spring 2019, Spring 2020, Spring 2021.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/spring2022/IM118