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Lecturer(s)
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Course content
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Weeks 1 - 13 - Assigning the theme of semester project (KP), information about the course. - Progressive clarifying of the topic. - Land-Art composition. - Framing the composition in a specific setting (periphery, dump ...). - Exercise - incorporating Land-Art composition. - Land-Art composition - a particular solution in a specified setting. - Convincing formulation of the specified intent through continuous documentation. - Evaluating and promoting social desirability of its realization. - Illustrative examples. - Continuous input, obligatory corrections and submission of all the tasks as directed by the teacher, - Ongoing consultations and development of KP, - Submitting the final version of the semester project (KP) to the teacher by the deadline.
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Learning activities and teaching methods
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Collaborative instruction, Project-based instruction, Instruction based on dialogue, Multimedia supported teaching, Students' portfolio, One-to-One tutorial, Skills demonstration, Task-based study method, Individual study, Seminar
- Contact hours
- 130 hours per semester
- Individual project (40)
- 40 hours per semester
- Graduate study programme term essay (40-50)
- 40 hours per semester
- Preparation for an examination (30-60)
- 30 hours per semester
- Practical training (number of hours)
- 45 hours per semester
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| prerequisite |
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| Knowledge |
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| to recall knowledge about a wider range of common expressive and visual tools of sculpture and spacial creation, about their possible reciprocal compositional relationships and their usage for aplicated medial illustration, to recall and apply knowledge about technical and technological procedures of supporting disciplines, about the finishing of the sculptural work surfaces, or fixation of the installation, to interpret own knowlidge about historical and contemporary style canons and and options of scultpure, their possible conections and boundaries, to critically assess his/her own work in a discipline context, to plan a project in the production team dealing with complex artistic projects, about ways to justify and defend your own design activity in relation to other members of the production team, to reproduce knowledge about the techniques of spatial and sculptural creation, about how to adjust and expose the work, |
| Skills |
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| to apply basic knowledge about diverse sculpture working procedures suitble for creation of sculpture, object or instalation,, to plan a complex project of medial illustration and to suggest its different forms, individually and as a manager of a team of various artistic and supportive professions during realization of interactive projects of different forms, to apply a wide array of ways of construction of action, including non-traditional practices, to reflect its work in the context of professional, technical and technological processes, to submit his proposal and selection to the contracting authority and justify it in the respect to the task and his/her requirements, to critically assess his/her own work in the field context and style framework, to verify the finishing of the sculptural work surfaces, or fixation of the installation and ensure full project presentation and promotion, with erudition, to present his work to the professional community, to be able to accept and assert in a way the evaluation and critical response, to explain and defend his/her choice from other members of the production team, to be able to accept and assert in a way the evaluation and critical response |
| Competences |
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| learning outcomes |
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| Knowledge |
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| about possibilities of inspiration and creation initiated by own innovative intention and a generally assigned task, about ways to evaluate and justify the social desirability of the project, about planning a complex and technically difficult project to carefully place the Land-Art composition in a particular setting, about planing and managing work and specialized procedures including present appropriate documentation of the course of the implementation and the final outcome, about the contemporary style canons used in the sculpture and land-art and their translations, about the possibilities and limits of involvement in interdisciplinary cooperation on spacial and land-art projects in more difficult complexes, about a wide array of technological and technical procedures for sculpture and land-art, and their creative crossing, about their possible reciprocal relationships and their usage in conventional and experimental way, of ways to compare the demands on technical possibilities and possible ways of implementation craft-wise and technology-wise |
| Skills |
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| to individually plan and realise more complex project focused on careful placement of the Land-Art composition in a particular setting including drawing designs of higher noticeable value for elaborating considering specifics based on the nature of the graphic technique and its overlap to other spacial and artistic forms, to critically assess his/her own work in the field context and style framework, to work with several varied alternatives and variations, to choose most suitable design based on specific requirements of each project, proposes and analyzes the specific creative themes of the projects and modifies them according to wider cultural circumstances, to be able to apply their creative potential and design valuable implementations of a spacial object in an open space and nature, to select the most suitable variant of the final graphic project and create complex design documentation, choose the appropriate technology for producing the final product, to choose appropriate documentation of the course of the implementation and the final outcome in the form of a photography catalog, 3D animation (or film documentary), and to secure the full presentation and promotion of the project, to analyze practical applications, lead a discussion over the task analysis, to make effort to find various solutions to given problem, to maintain originality of own design and to own advancement aiming to distinctie artistic and handicraft expression, to be able to accept and assert in a way the evaluation and critical response, to reflect own work in the context of professional, technical and technological processes, to reflect his work in historical and contemporary contexts and to be aware of potencial of those contexts for own original expression and inspirational sources which work with this reality, |
| Competences |
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| N/A |
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Recommended literature
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Pro orientaci v oboru kromě jeho samotné historie, je důležitá znalost aktuálních tendencí. Proto jsou studenti v rámci výuky upozorňováni na články v odborném tisku, výstavy a webové adresy..
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Hlaváček, Josef. Jiří Beránek: Přítmí paměti. Praha, 1998. ISBN 80-86087-12-3.
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Jíra, J. Portréty: figurální kompozice. Roudnice nad Labem: Galerie výtvarného umění, 1978.
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Rezek, Petr; Fialová, Eva. K teorii plastičnosti. Vyd. 1. Praha : Triáda, 2004. ISBN 80-86138-53-4.
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Slouka, Jiří. Kámen : od horniny k soše. 1. vyd. Praha : Grada, 2007. ISBN 978-80-247-1258-1.
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