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Photography in Contemporary Art
Study Course Description
Course Description Statuss:Approved
Course Description Version:7.00
Study Course Accepted:02.02.2024 12:25:46
| Study Course Information | |||||||||
| Course Code: | KSK_180 | LQF level: | Level 6 | ||||||
| Credit Points: | 3.00 | ECTS: | 4.50 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | Information and Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Alnis Stakle | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Social Sciences | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Dzirciema street 16, Rīga, szf rsu[pnkts]lv | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 4 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 8 | ||||
| Total Contact Hours | 20 | ||||||||
| Part-Time - Semester No.1 | |||||||||
| Lectures (count) | 5 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 10 | ||||
| Classes (count) | 3 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 6 | ||||
| Total Contact Hours | 16 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | None. | ||||||||
| Objective: | To familiarise students with the most important advancements and authors of contemporary photography, as well as to develop the skills of students to find their way around current processes of contemporary photography and to understand the general cultural and social context in relation to them. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to course content. | Lectures | 1.00 | auditorium | |||||
| 2 | Role of photography in contemporary art. Landmarks and context. | Lectures | 1.00 | auditorium | |||||
| 3 | Role of photography in avant-garde art of the second half of the 20th century – conceptualism, performances, land art, etc. | Lectures | 1.00 | auditorium | |||||
| 4 | Documentary photography as an artistic image. Photo journalism and art. Staged “impressive” photography (photography as painting). | Lectures | 0.50 | auditorium | |||||
| 5 | Role of contemporary photography in appropriation. Narrative in photography. | Lectures | 0.50 | auditorium | |||||
| 6 | Depicting the “invisible” in contemporary photography. | Lectures | 1.00 | auditorium | |||||
| 7 | Topic of daily and private life in contemporary photography. Socio-political topic in contemporary photography. | Lectures | 1.00 | auditorium | |||||
| 8 | Practical classes based on discussions on the use of photography in contemporary art. | Classes | 4.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to course content. | Lectures | 1.00 | auditorium | |||||
| 2 | Role of photography in contemporary art. Landmarks and context. | Lectures | 1.00 | auditorium | |||||
| 3 | Role of photography in avant-garde art of the second half of the 20th century – conceptualism, performances, land art, etc. | Lectures | 1.00 | auditorium | |||||
| 4 | Documentary photography as an artistic image. Photo journalism and art. Staged “impressive” photography (photography as painting). | Lectures | 0.50 | auditorium | |||||
| 5 | Role of contemporary photography in appropriation. Narrative in photography. | Lectures | 0.50 | auditorium | |||||
| 6 | Depicting the “invisible” in contemporary photography. | Lectures | 0.50 | auditorium | |||||
| 7 | Topic of daily and private life in contemporary photography. Socio-political topic in contemporary photography. | Lectures | 0.50 | auditorium | |||||
| 8 | Practical classes based on discussions on the use of photography in contemporary art. | Classes | 3.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | To use the knowledge provided at lectures and seminars also beyond the study course, to follow up current events in contemporary photography – exhibitions, visiting lectures in Latvia and nearest regions. | ||||||||
| Assessment Criteria: | Participation in seminars, examination work, reviews of literature. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | Understanding and finding one’s way around the use of photography in contemporary art, in its historical development, understanding the context of photography in connection with other phenomena of contemporary art and culture. Understanding the role of contemporary photography in the avant-garde art of the second half of the 20th century. Identification of links between contemporary art, documentary photography and photo journalism, knowledge of the most important strategies, approaches, methods, types of messages of contemporary photography. Knowledge of the most pressing topics and discourse in contemporary photography. | ||||||||
| Skills: | Independent finding one’s way around the use of photography in contemporary art, contextualising it in connection with other phenomena of contemporary art and culture. To learn the role of contemporary photography in the avant-garde art of the second half of the 20th century. To compare, analyse, interpret examples of contemporary photography and related fields, their link. To recognise and understand the use of most pressing topics and discourse in contemporary photography. | ||||||||
| Competencies: | To know and to practically find one’s way around the field of general knowledge in contemporary photography. To know the development and leading trends of contemporary photography when working with information and critically analysing it. To independently find one’s way in information and literature on contemporary photography, to develop the ability to analyse it. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | C. Cotton. The Photography as Contemporary Art. - Themes and Hudson, 2006. | ||||||||
| 2 | I. Jefrey. Photography. A Concise History. - Themes and Hudson, 1996. | ||||||||
| 3 | H. Foster, R. Kraus, Y. A. Bois. Art since 1900. Modernism, Antimodernism, Postmodernism. - London: Thames & Hudson, 2005. | ||||||||
| Additional Reading | |||||||||
| 1 | Rosalind Krauss. The Optical Unconscious. The MIT Press. 1993. | ||||||||
| 2 | Rolāns Barts. Camera Lucida. Piezīme par fotogrāfiju. Rīga, LMC, 2006. | ||||||||
| 3 | Valters Benjamins. Iluminācijas. Rīga, LMC, 2005. | ||||||||
| 4 | Nikolā Burjo, Attiecību estētika. Rīga, LMC, 2009. | ||||||||
| 5 | Sūzena Sontāga. Par fotogrāfiju. Rīga, LMC, 2005. | ||||||||
| 6 | Moriss Merlo Pontī. Acs un gars. Rīga, LMC, 2007. | ||||||||
| 7 | Kas ir svarīgi? [katalogs]. 2004. Rīga, Latvijas Laikmetīgās mākslas centrs | ||||||||
| 8 | Mākslas žurnāli „Fotokvartāls”, „Studija”, „Art Press”, „Artforum”, „Parkett”, „Flash Art” | ||||||||
| Other Information Sources | |||||||||
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