Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Optional Workshop Module Code: 03.0-WA-EASP-PWW Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Principal lecturer: Ryszard Woźniak, Prof.UZ; Magdalena Gryska, PhD; ad. Zenon Polus; Radosław Czarkowski, PhD; Alicja Lewicka-Szczegóła, PhD; kw. art. I st. Piotr Czech; Jarosław Dzięcielewski, PhD; kw. art. I st. Helena Kardasz; Wiesław Hudon, Prof.; Wojciech Müller, Prof. Mode of Delivery: Classes, Classes Number of Hours: 150, 150 Number of Hours per week: 5, 5 Term: 1, 2; 1, 2 A pass grade Points ECTS: 5, 5 Painting / Unconventional forms in painting Language of Delivery: Polish Module supervisor: Ryszard Woźniak, Prof.UZ Principal lecturer: Ryszard Woźniak, Prof.UZ Module Aims: Closed form. Open form. The work of art as a thing, as a process and as a recording. The scheme of work assumes students individual artistic search. The whole term is devoted to complete one self-prepared project or to complete the programme that meets students individual needs. Classes on selfpresentation. The students should be able to create original work in painting based on individually elaborated expressive idioms and the individual techniques of working. The ability to present and defend an individual concept in art. Revision of the portfolio. One of the conditions for a pass is to elaborate a selected topic in the form of a series of works. Magazines Artforum, WWW.artforum.com Art Review, WWW.artreview.com Flash Art., WWW.flashartonline.com Parkett, WWW.parkettart.com Obieg, WWW.obieg.pl Art&Business, WWW.artbiznes.pl Sztuka.pl, WWW.sztuka.pl Piktogram, WWW.piktogram.pl Notes.na.6.tygodni, WWW.funbec.eu Muzeum, WWW.gazeta-muzeum.pl Arteon, WWW.arteon.pl Exit
Painting / Unconventional forms in painting Language of Delivery: Polish Module supervisor: Magdalena Gryska, PhD Principal lecturer: Magdalena Gryska, PhD The main aim is to understand and master the main techniques connected with painting, get familiarised with the structure of a painting, painting materials, texture, light and colour and also approach painting as a discipline that enables to reach all the contemporary ways of expression leading to the final outcome, which is painting. The scheme of work of the Workshop is included in the topics that are based on the study of nature and the use of multiple interpretation means. One of the aims is also to develop students skills to make their own decisions in painting. The students will get familiarised with the basic elements of painting. They will also get to know basic techniques in painting such as: oil painting, acrylic painting, mix media, drills with different kinds of support in painting. Attendance, participation in the term exhibitions, completion of the scheme of work. Wassily Kandinsky, O duchowości w sztuce, przeł. Stanisław Fijałkowski, wyd. PGS, Łódź 1996. Władysław Strzemiński, Teoria widzenia, Wyd. Literackie, Kraków 1974. Kazimierz Malewicz, Świat bezprzedmiotowy, Wydawnictwo Słowo/Obraz/Terytoria, Heinrich Wolfflin, Podstawowe pojęcia historii sztuki, Wydawnictwo Słowo/Obraz/ Terytoria, Gdańsk 2006. Magazines: Arteon, Exit, Artluk, Format, Obieg itp. Other sources: internet, World museums, Galleries of Modern Art, artists authorised articles Drawing / intermedia drawing operations Module supervisor: ad. Zenon Polus Principal lecturer: ad. Zenon Polus One of the main aims is to develop the acquired skills (during the License course) in drawing through the expression of the observed and analysed reality, its interpretation and creative processing. The students have to acquire the skill to join traditions with the modern artistic thought and improving the present and searching for the new methods of teaching the art of drawing. The scheme of work includes the skills of drawing notations of both our reality as well as everything that is connected with our sensitivity and spirituality. The main aim of this work is to prepare the students to complete a drawing as an individual form of expression. The students will be able to make their own artistic decisions which reflect the way they perceive the world and show their own sensitivity and fulfil them in drawing. Attendance, completion of the scheme of work.
Dick Higgins, Intermedia, Akademia Ruchu, Warszawa 1985. Performance, wybór tekstów, MAW, Warszawa 1984. E.H. Gombrich, O sztuce, Rebis, 2008. Marcin Czerwiński, Samotność sztuki, Warszawa 1988. A. Rottenberg, Sztuka w Polsce 1945-2005, Warszawa 2005. K. Wilkoszewska, Wariacje na postmodernizm, wyd. Universitas, Kraków 2008. B. Reeves, C. Nass, Media i ludzie, Wyd. PIW 2000. Any books, magazines or catalogues concerning the problems of contemporary art. Drawing / intermedia drawing operations Module supervisor: Radosław Czarkowski, PhD Principal lecturer: Radosław Czarkowski, PhD The teaching methods include: individual discussions, monitoring the development of workshop and artistic awareness, joint analysis of ideological qualities, organisation of exhibitions, supervision of the exhibitions, open air exhibitions, public discussions. The topics of the workshops are elaborated according to individual requirements of the students with particular attention to the needs of the Diploma artistic workshops. The main aim of the workshop is permanent development of the artistic workshop, enriching the artistic awareness, developing the skills to express the creative ideas, developing autonomous values, free discussions including openness and flexibility in reflections and alternative ideas, developing the skills to observe a broad spectrum of phenomena within the students interests, developing the artistic sensitivity, strengthening individual attitudes. The students have to complete all the required end of term and mid-term projects. The course ends with a pass grade. Drawing / intermedia drawing operations Module supervisor: Alicja Lewicka-Szczegóła, PhD Principal lecturer: Alicja Lewicka-Szczegóła, PhD The main aim of the workshop is to develop students artistic sensitivity and awareness, perfect the artistic skills, as well as to familiarise the students with the problems of contemporary art. The main form of teaching consists of an individual work with a student and it is based on their own sensitivity and predispositions. The students are allowed to use both classical and unconventional drawing techniques within the workshop. The scheme of work includes the problems of interactive drawing, installations, dimensional drawing, etc. The scheme of work is completed through suggested topics that are then carried out in drawing, object, photography, sound and video. The students start an individual scheme of work or completes the topics offered by the scheme of work of the workshop. In both cases, the students have to consult the workshop supervisor during their work-from the very beginning to the final outcome. Examples of the tasks: 1. Pleasant-awful-moving 2. Places-maps-histories.
Students should be to complete the selected topic. They should feel quite confident within various cultural contexts. They should be able to express the phenomena, emotions, and attitudes towards different situations of everyday life as well as different social behaviours by means of intermedia visualisations. Revision of works (participation), regular consultations. To get a pass, the students have to complete the selected project in a form of a series f works or one individual artistic work (installation, drawing operation, etc.) M. Archer, N. de Oliveira, N. Oxley, M. Petry, Installation Art, Smithsonian Institution Press J. Brach-Czaina, Szczeliny istnienia, PIW, Warszawa 1992 U. Czartoryska, Fotografia mowa ludzka. Perspektywy teoretyczne, Wyd. słowo/obraz terytoria, Gdańsk 2005 M. Eliade, Mity, sny i misteria, Wyd. KR, Warszawa 1999 M. Głowiński (red.), Symbole i symbolika, Czytelnik, Warszawa1990 A. Jakubowska, Na marginesach lustra, Universitas, Kraków 2004 C.G.Jung, Archetypy i symbole. Pisma wybrane, Czytelnik, Warszawa 1975 A. Żmijewski, Drżące ciała, rozmowy z artystami, seria Krytyki Politycznej, t.2, Bytom-Kraków, 2006 10. A. Mencwel [red.], Antropologia kultury. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa 2005. 11. L. Kolankiewicz [red.], Antropologia widowisk. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa 2005. Paper and network magazines Circulation Exit ARTeon Art and Philosophy Oronsko Exhibition catalogues Graphic Designs Introductory requirements: advanced knowledge of the computer and computer graphics packages. Module supervisor: kw. art. I st. Piotr Czech Principal Lecturer: kw. art. I st. Piotr Czech Development of skills in: use of typography, poster design, character design, publishing and editorial graphics, visual communication. Developing computer techniques in graphic design, skilful and conscious choice of tools to the ways of completing the project. Preparing the materials for digital print. The students should also develop their skills to think creatively and solve the problems in individual design work and look for individual designs solutions taking into consideration aesthetic and usable functions of the objects. During the education process, the scheme of work is individualised depending on creative possibilities of the students that lead to final professional and conscious artistic outcome. The students should acquire a practical knowledge in: graphic design, and they should further develop the skills they acquired during the License course.they should also be able to achieve a conscious and individual expression through graphic design and acquire an artistc maturity leading to the Dipolma. The students should acquire a professional attitude towards the use of both traditional media as well as the latest digital technologies. Using graphics applications: CorelDraw, Adobe Photoshop and their derivatives (at an advanced level) in completing the projects. Active participation in the classes,completion of the scheme of work, a pass grade.
Stefan Bernaciński, Liternictwo, WSiP, Warszawa 1990 Robert Chwałowski, Typografia typowej książki, Gliwice, Helion 2002 Adrian Frutiger, Człowiek i jego znaki, Do/Optima, Warszawa 2003 Robert Bringhurst, Elementarz stylu w typografii, Design Plus, Kraków 2007 Friedrich Forssman, Hans Peter Willberg, Pierwsza pomoc w typografii, Słowo-Obraz Terytoria, Warszawa 2008 James Felici, Kompletny przewodnik po typografii. Zasady doskonałego składania tekstu, Słowo Obraz Terytoria, Warszawa 2007 Tibor Szántó, Pismo i styl, Wrocław, Zakład Narodowy Imienia Ossolińskich Wydawnictwo 1986 Krzysztof Tyczkowski, Lettera Magica, Polski Drukarz, Łódź 2005 Jacek Mrowczyk, Niewielki słownik typograficzny, Słowo-Obraz Terytoria, Warszawa 2008 Gavin Ambrose, Paul Harris, Typografia, Wydawnictwo Naukowe PWN SA, Warszawa 2008 Piotr Rypson, Książki i strony. Polska książka awangardowa i artysytczna w XX wieku, Piotr Rypson: Obraz Słowa, Wydawnictwo AR, Warszawa 1989 Centrum Sztuki Współczesnej Zamek Ujazdowski w Warszawie, Warszawa 2000 S.G Wheeler, G.S. Wheeler, Typografia komputerowa, Exit, Warszawa Janina Wiercińska, Sztuka i książka, PWN, Warszawa 1986 Frantz Herman Wills, Grafika reklamowa, WNT, Warszawa 1972 L. Manovich, Język nowych mediów, Warszawa 2006 Czasopisma: O ile to możliwe stała lektura periodyków: Tekst oraz 2+3D (krajowe), Graphis, Print, Typography, Computer Arts Inne źródła: strony WWW (podawane sukcesywnie) związane z tematyką projektowania. Sculpture Introductory requirements: - Module supervisor: Jarosław Dzięcielewski, PhD Principal Lecturer: Jarosław Dzięcielewski, PhD This workshop is for the full time students-(master Of Arts course). I particularly focus on students autonomy, ability to make their own, artistic decisions, to express their ideas, judgments, remarks. The workshop is supposed to help the students to complete their Diploma in Sculpture. Teaching Methods: Through individual conversations and consultations concerning the selected projects-authorised programmes-i aim at developing students personalities and their artistic qualities. During our discussions, I try to listen, observe, suggest, justify my own doubts. I show them all the possibilities and the limits concerning some projects and problems. I expect the same from my students. Any project which includes four main topics that is elaborated by them may be accepted by me or rejected. I have the duty to justify my choice. Through individual discussions with my students I care about the development of their artistic personalities. I also help them to make their own artistic decisions concerning the diplomas. The students should be able to make judgments and express their ideas connected with their creative work. Attendance and completion of the project.
Photography / intermedia photography Introductory requirements: knowledge on photography (techniques and technology-advanced level), theory and aesthetics in photography Module supervisor: kw. art. I st. Helena Kardasz Principal Lecturer: kw. art. I st. Helena Kardasz The main aims are to develop the students artistic self-awareness expressed through photography. The students are able to interpret the programme through digital or analogue recording, video, object, installation. Photography areas suggested for interpretation: Staging, experiment: postmedia photography (rejecting the conventional rules of optics resulting in the correctness of a photographic picture), pinhole photography (camera obscura, darkroom); digital recording; montage; virtual photography (consultations with the use of Adobe Photoshop). The students should develop their artistic awareness and acquire the knowledge on contemporary photography. individual consultations (project, assumptions concerning the topic) participation in workshop discussions; self-presentation of individual stages of project completion participation in the open air Photography Workshop( broadening the scheme of work with an experiment and cognitive qualities by observing the reality) Barthes Roland, Światło obrazu, Wyd. KR, Warszawa 1999 Benjamin Walter, Twórca jako wytwórca, Wyd. Poznańskie, Poznań 1975 Benjamin Walter, Dzieło sztuki w dobie reprodukcji technicznej, w: Anioł historii, red. H. Orłowski, Wyd. Poznańskie, Poznań 1996 Brauchitsch Boris von, Mała historia fotografii, Cyklady, Warszawa 2004 Przestrzenie fotografii. Antologia tekstów, praca zbiorowa pod red. T. Ferenca, K. Makowskiego, Galeria f5, Łódź 2005 Rosenblum Naomi, Historia fotografii światowej, Wyd. Baturo i Grafis Projekt, Bielsko Biała 2005 Rouillé André, Fotografia. Między dokumentem a sztuką współczesną, Universitas, Kraków 2007 Sontag Susan, O fotografii, Wyd. Artystyczne i Filmowe, Warszawa 1989 Tomaszczuk Zbigniew, Łowcy obrazów. Szkice o fotografii, CAK, Warszawa 1998 Berger John, O patrzeniu, Fundacja Aletheia, Warszawa 1999 Berger John, Nasze twarze, moje serce, zwięzłe jak fotografie, Czuły Barbarzyńca Pies, Warszawa 2006 Co widać?, praca zbiorowa pod red. J. Kaczmarka, M. Krajewskiego, Wyd. Naukowe UAM, Poznań 2006 Czartoryska Urszula, Fotografia mowa ludzka. Perspektywy historyczne. Tom 2, słowo/obraz/terytoria, Gdańsk 2006 Flusser Vilém, Ku filozofii fotografii, folia academiae, Katowice 2004 Fotografia: realność medium, praca zbiorowa pod red. G. Dziamskiego, A. Kępińskiej, S. Wojneckiego, ASP Poznań, Poznań 2000 Michałowska Marianna, Niepewność przedstawienia. Od kamery obskury do współczesnej fotografii, Rabid, Kraków 2004 Michałowska Marianna, Obraz utajony. Szkice o fotografii i pamięci, Galeria f5, Kraków 2007 Słowo o fotografii, Krzysztof Jurecki, Krzysztof Makowski, ACGM Lodart S.A., Łódź 2003 Segal Hanna, Marzenie senne. Fantazja i sztuka, Universitas, Kraków 2003 Sobota Adam, Szlachetność techniki, Wyd. Naukowe Scholar, Warszawa 2001 Tomaszczuk Zbigniew, Odwzajemnione spojrzenie, Typoscript, Wrocław 2004 Wokół dekady. Fotografia polska lat 90, praca zbiorowa pod red. M. Bauera, K. Jureckiego, A. Soboty, Muzeum Sztuki, Galeria FF, Łódź 2002 Exit http://www.exit.art.pl/ Fotografia http://www.fotografia.net.pl/ Fototapeta http://fototapeta.art.pl/ Obieg http://www.obieg.pl/