Related Papers
Sudek and Sculpture
Sudek and Sculpture
2020 •
Hana Buddeus
From his panoramic views of Prague to his enigmatic still lifes and reflections in the misty window of his studio, photographer Josef Sudek captured the unique spirit of the Czech capital between the 1920s and 1970s. Already in his lifetime, Sudek enjoyed a worldwide reputation—and yet a substantial part of his practice, dedicated to photographing works of art, has remained largely unknown until now. This book shines a light on Sudek’s most beloved topic—sculpture—which acted as a bridge between his fine art photography and his commercial work. Sumptuous full-page reproductions of Sudek’s black-and-white photographs illustrate a series of thematic essays, focusing on the scope and legacy of his work; while cameos of the key people and institutions supporting his career reveal Sudek’s rich connection to the artistic circles and tendencies of his day. Together, they uncover the shifting tension between the ability of photographs to bring art closer to the people and their potential as works of art in their own right, raising important questions for the history of photography. Editor: Hana Buddeus Texts: Hana Buddeus, Katarína Mašterová, Kateřina Doležalová, Zuzana Krišková, Mariana Kubištová, Martin Pavlis, Fedora Parkmann Translations: Barbora Štefanová, Hana Logan Copy editing: Julia Tatiana Bailey Index: Tatjana Štemberová Design: Martin Groch & Tim+Tim Litography: Radek Typovský Publisher: Artefactum – Institute of Art History of the Czech Academy of Sciences & Karolinum (1st edition, 2020) Reviewed by PhDr Hana Rousová and Doc. Karel Císař, PhD 624 pages, 429 images ISBN: 978-80-88283-34-8 Published to accompany the exhibition: Lovelies from the Files. Sudek and Sculpture House of Photography, Prague City Gallery Revoluční 5, Prague 1 – Czech Republic 23 June – 27 September 2020 Content Introduction (Hana Buddeus) The Life of Sculptures: Ways of Photographic Recontextualization (Hana Buddeus) Vanished Statues: Finding Images, Creating Pictures (Hana Buddeus) Light on Sculpture, Sculpture in Light (Katarína Mašterová) Sudek’s Archival Garden (Katarína Mašterová) Glass, Plastics, and Papers: A Conservator’s Perspective (Kateřina Doležalová) Artia (Mariana Kubištová) Československý spisovatel (Mariana Kubištová) Družstevní práce (Mariana Kubištová) Karel Dvořák (Zuzana Krišková) Emanuel Famíra (Zuzana Krišková) Emil Filla (Martin Pavlis) Fotografický obzor (Fedora Parkmann) Stanislav Hanzík (Zuzana Krišková) Jiří Jaška (Zuzana Krišková) Bohumil Kafka (Martin Pavlis) Kmen (Mariana Kubištová) Karel Kotrba (Zuzana Krišková) Karel Lidický (Martin Pavlis) Vincenc Makovský (Zuzana Krišková) Josef Mařatka (Zuzana Krišková) Melantrich (Mariana Kubištová) Orbis (Mariana Kubištová) Karel Otáhal (Zuzana Krišková) Pestrý týden (Fedora Parkmann) Karel Pokorný (Zuzana Krišková) Pražské nakladatelství (Mariana Kubištová) Otto Rothmayer (Martin Pavlis – Hana Buddeus) Sfinx and ELK (Mariana Kubištová) SNKLHU/Odeon (Mariana Kubištová) Bedřich Stefan (Martin Pavlis) Svaz československých výtvarných umělců (Katarína Mašterová) Světozor (Martin Pavlis) SVU Mánes (Hana Buddeus) Umělecká beseda (Hana Buddeus) Václav Vokálek (Zuzana Krišková) Volné směry (Hana Buddeus) Josef Wagner (Katarína Mašterová) Marie Wagnerová-Kulhánková (Katarína Mašterová) Hana Wichterlová (Katarína Mašterová) Cyril Zatloukal (Zuzana Krišková) Život (Hana Buddeus)
Dreamer or Strategist? Reconsidering Czech Photographer Josef Sudek
Alexandra Whittaker
This paper seeks to expand the accepted interpretation of Czechoslovak photographer Josef Sudek’s (1896–1976) life and work. Critics and scholars have consistently portrayed Sudek as a dreamy, impractical, and reclusive figure, contributing to the rich mythology surrounding his personality. Such portrayals have overlooked Sudek’s shrewdness and pragmatism. Sudek’s capacity for practical, strategic thinking is evidenced by his successes in navigating difficult political situations in Communist Czechoslovakia. As the government began to impose collectivization, Sudek helped establish a new division in the Union of Czechoslovak Artists in order to allow himself and his fellow photographers to work freelance and keep their private studios. Faced with restrictions on trade, he used his network of contacts abroad to obtain photographic papers from the West. Finally, he published his photographs despite state censorship by collaborating with Marxist theorist Lubomír Linhart. Altogether, Sudek’s ability to strategize allowed him to maintain the integrity of his working process and artistic vision under Communism.
Signs: Journal of Women in Culture and Society
The “Eternal Return”: Self‐Portrait Photography as a Technology of Embodiment
2002 •
Amelia Jones
Rosa JH Berland
He or she who glimpses, desires, is wounded. A dialogue in the interspace between Aby Warburg and Georges Didi-Huberman, in “Angelaki. Journal of the theoretical humanities”, 23, 4, 2018, p. 47-79.
barbara baert
On 27 May 2015, Georges Didi-Huberman presented a keynote lecture “Que ce qui apparaît seulement s’aperçoit” at Charles University in Prague, during the “Dis/Appearing” conference organized by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM, Bauhaus Universität Weimar). As a former fellow of the IKKM in attendance, I was profoundly touched by the personal depth Didi-Huberman displayed in his paper.1 It consisted of various reflections concerning the meaning of the image as instances of flaring up and fading away. During his talk, Didi-Huberman used evocative images – recollections – which he had collected over the years; impressions while walking in the streets, melancholic musings about love, and thoughts gathered from literature en route. I vividly remember the moment a Ph.D. student inquired about expanding upon the associative approach of the theme. The reply of the master was that the particular beauty of the discipline of art history can be seen through the embracing of multiple genres. Is it possible to characterize this genre? To denominate the collection of thoughts that welcome the image as a witness to the history of thought? Let us define it as “the nameless science” just like Giorgio Agamben carefully described Aby Warburg’s oeuvre out of fear of suffocating its meaning (“Aby Warburg and the Nameless Science”). Georges Didi-Huberman’s personal points of view uttered that particular day in May, and subsequently published in the IKKM journal Zeitschrift für Medienstudien (“Glimpses: Between Appearance and Disappearance”), are points of departure for this essay. In seven stages, I will describe in what way Georges Didi-Huberman’s unique inner eye rotates around Warburg’s cosmos of images as tenderly as possible, in order then to define what can be termed the visual medium. Didi-Huberman’s extensive oeuvre, however, demands careful selection. Therefore, I will isolate seven cases that, in my opinion, are anchored in visual anthropology:2 the nymph, the butterfly, the passer-by, the surface, the dance, the silence, and sophrosyne. Taken together, these cases constitute a unique element in the dialogue between Aby Warburg and Georges Didi- Huberman, yes, very much like a cyclopic “eye of history” (l’oeil de l’histoire).
Instant Presence. Representing Art in Photography
Hana Buddeus, Costanza Caraffa, Sarah Hamill
Edited by Hana Buddeus, Vojtěch Lahoda and Katarína Mašterová. Together with the digitisation of collections and the redefining of analogue archives, there has emerged a broad spectrum of new topics dealing with the fascinating subject matter of photography of art works. This results in unprecedented attention being paid to the various kinds of photographs housed in the photo libraries of art history institutions, the estates of art historians, artists and photographers, archives, museums or galleries, and reproduced in periodicals and publications on art history. Published in honor of Josef Sudek (1896–1976), a Czech photographer otherwise famous for his photographs of the misty window of his studio, the present book brings together experts on the photography of art works from leading European and American institutions as well as curators and art historians who specialise on Sudek and his work. The breadth of the scope of this photographer, for whom making reproductions of fine art was a source of livelihood, helps to open up a number of important questions which explore various problems related to the photographic representation of art. INTRODUCTION 1. REPRODUCING ART’S HISTORY “The Life of Objects”: Sculpture as Subject and Object of the Camera’s Lens – Geraldine A. Johnson Josef Sudek and the Photography of Works of Art – his Predecessors and Contemporaries – Jan Mlčoch Sudek’s Revelations – Antonín Dufek 2. FROM SOUVENIR TO ARCHIVE DOCUMENT Rodin and his Marble Sculptures: A Photographic Passion Hélène Pinet Manzoni in the Photothek. Photographic Archives as Ecosystems – Costanza Caraffa The Ambivalent Power of Reproduction: Josef Sudek’s Postcards –Amy Hughes 3. SCULPTURE AS PHOTOGENIC BODY The Photographic Detail and Sculptural Seeing – Sarah Hamill Braun, Brokof, Sudek et al.: Czech Baroque Sculpture in the Light of Modernist Photography – Hana Buddeus Modern Sculpture, A Photobook – Megan R. Luke 4. ARTISTS IN THE ROLE OF CLIENTS Photographer and Painter: Josef Sudek and the Mystery of the Image – Vojtěch Lahoda Volume, Material and “Something Else”: Sudek as Engaged Observer of a Turning Point in Modern Czech Sculpture– Katarína Mašterová There Appeared to Be Chaos: Josef Sudek’s Work in the Context of Avant-Garde Architectural Photography in the 1920s and 1930s – Rolf Sachsse The Poetics of Geometry: Josef Sudek as a Photographer of Modern Architecture – Mariana Kubištová CONTRIBUTORS SELECTED BIBLIOGRAPHY INDEX
Person, Encounters, Paradigms Commitment, and Applications, eds. D. Prokofyeva and C. Patterson
Death and the Experience of Photography an Existential Consideration
2023 •
Diana Prokofyeva
This upload includes Auxier's contributions to the book Person, Encounters, Paradigms Commitment, and Applications, eds. D. Prokofyeva and C. Patterson. In this essay Diana Prokofyeva considers “the photograph” in an unusual way – not just as an ordinary visual image and an imprint of reality, or as an expression of feelings, emotions and thoughts of a person. Photography as a common phenomenon of modernity is mostly seen through the filter of a person’s need for self-expression or social approval, to capture a memory, or as an attempt to establish social communication with the world. Here Prokofyeva analyzes the photograph as an existential phenomenon and as a way of avoiding death. In this case, the photograph as a phenomenon belongs to two “worlds” – the world of life and the world of death. This brings us to the main existential dichotomy of a human being’s life – the dichotomy between life and death, but against the background of our understanding of the inexorable progress of time and the mortality of everything. Therefore, Prokofyeva shows a connection between the “phenomenon” of photography, the experiential aspect, and this existential knowledge. In the background of this inquiry is a question about “the person” as an existential concern or care, a project or a hope. Does the person, in the existential sense, “survive” as image, in image, through image?
Trauma and Traces in the Photography of Hrair Sarkissian
2021 •
Vali Mahlouji
Like the archaeologist, the psychoanalyst often starts off from traces, marks, tracks, clues, contours, injuries, deposits, vestigial remains. Those evidentiary signs point to the radical potentials of (in the Benjaminian sense) a “deep memory”: something in and of the past that has left and indelible imprint on the present. The site must be critically examined, detonated; the hidden meaning or truth salvaged from oblivion, rescued from death, revealed, released, experienced. The excavator devises all manner of strategies across a whole range of constructs - historical, physical, mnemonic, sensory - to extricate, ignite or incite from the there and elsewhere into the here and now.
Edición TEA (Tenerife Espacio de las Artes)–Colección Ordoñez Falcón de Fotografía, 2012. ISBN: 978-84-937979-4-2.
Something’s Missing. The vanished meaning in photography
2012 •
Teresa Arozena
Discourse
Impressions: Proust, Photography, Trauma
2010 •
Rebecca Comay
