Wybrane konteksty współczesnej fotografii w Polsce 1947–2017
Selected contexts of contemporary photography in Poland 1947–2017
Contributor(s): Janusz Musiał (Editor)
Subject(s): Fine Arts / Performing Arts, Photography
Published by: Wydawnictwo Uniwersytetu Śląskiego
Keywords: pictorialism; medialism; intermediality; multimediality; neo-avant-garde; photography in Poland; outdoor photography
Summary/Abstract: In its essence, photography is a process upon which an image is conjured up by an object itself, namely, through the way light acts on a given photosensitive object. Yet, photography is also a discipline of humanities that for a dozen or so decades has been developing various techniques and technologies, styles and tendencies. In this day and age photography is virtually omnipresent. Therefore, we experience manifold orders, manners in which photographic images are circulated, while we interact with different screens, read printed dailies, leaf through photo albums, catalogues, or wander through galeries and museums. The present publication attempts to reference selected notions relating to artistic photography in Poland. The authors come from various photograhy-related research backgrounds; they are both theoreticians and practicioners, which results in a quite comprehensive and multifaceted presentation of photographic works in Poland. The paramount aim of our monograph is to elucidate some apects pertaining to the medium of photography in Poland between 1947 and 2017, that have come to our attention. The book creates the tapestry of selected events, facts, activities, personalities, and tendencies, which transpired over the course of seven decades since the year 1947. The subsequent texts build a bridge of sorts between the activities of the pre-World War Two association called Fotoklub Polski (the Polish Photoclub), its co-founder’s, Jan Bułhak’s, organizational endeavours, and the activities of ZPAF (Association of Polish Art Photographers), also including some intermediate phenomena in photography during the late 1960s and early 70s, the works of idiosyncratic artists, such as: Andrzej Różycki, Zygmunt Rytka, Stefan Wojnecki, and Zbigniew Dłubak, as well as reportage photography in Upper Silesia, exhibitions by the Extravagance Gallery in the Sosnowiec Centre for Art – Sielecki Castle, open-air photography as a form of encounter, and the video recording as a photographer’s portrait.The publication is addressed to students of arts who work with photographic medium both in practical capacity and as a research subject.
Series: Kultura, Sztuka, Muzyka
- E-ISBN-13: 978-83-226-3850-7
- Print-ISBN-13: 978-83-226-3849-1
- Page Count: 224
- Publication Year: 2020
- Language: Polish
Wybrane konteksty współczesnej fotografii w Polsce 1947–2017
Wybrane konteksty współczesnej fotografii w Polsce 1947–2017
(Wybrane)
- Author(s):Janusz Musiał
- Language:Polish
- Subject(s):Photography
- Page Range:7-13
- No. of Pages:7
- Price: 4.50 €
Jan Bułhak i jego udział w powojennej odbudowie życia fotograficznego w Polsce
Jan Bułhak i jego udział w powojennej odbudowie życia fotograficznego w Polsce
(Jan Bułhak and His Role in Post-War Photographic Revival in Poland)
- Author(s):Jerzy PIWOWARSKI
- Language:Polish
- Subject(s):Photography
- Page Range:15-25
- No. of Pages:11
- Keywords:Jan Bułhak; artistic photography;polish photography;
- Summary/Abstract:Jan Bułhak (1876–1950) was a distinguished artist and photographer of the interwar period, who was engaged in the initiatives and actions contributing to the photographic revival in Poland after World War II. During the Tourist Congress (Cracow 1946), Bułhak presented his postulates, which included: establishing the Photography Department in the Ministry of Culture and Arts (whose aim would be to found the Central Photography Archive and the union of photographers), supporting the photographic associations and publications, addressing the copyright law and the problem of its violation, and organising higher photography education at the academic level. Moreover, he engaged in some of these initiatives in person: he was the first president and cofounder of Polish Association of Art Photographers (now known as Association of Polish Art Photographers), and it was during his term when Polish Photographic Association, targeted at amateur photographers, was founded and photography began to be protected by the copyright law. Bułhak’s many other postulates were realised despite his lack of direct engagement: Photography Board was founded in the Ministry of Culture and Arts, which supported photography enthusiasts and began to establish the Central Photography Archive.
- Price: 4.50 €
Inicjowanie negocjacji tożsamościowych w projektach artystów należących do ZPAF: Andrzeja Różyckiego, Zygmunta Rytki i Stefana Wojneckiego
Inicjowanie negocjacji tożsamościowych w projektach artystów należących do ZPAF: Andrzeja Różyckiego, Zygmunta Rytki i Stefana Wojneckiego
(Initiating Identity Negotiations in Projects by ZPAF Members: Artists Andrzej Różycki, Zygmunt Rytka, Stefan Wojnecki)
- Author(s):Marek Janczyk
- Language:Polish
- Subject(s):Photography
- Page Range:27-53
- No. of Pages:27
- Keywords:photography; society; art;politics;
- Summary/Abstract:This article deals with the social and political aspects of the functioning of Związek Polskich Artystów Fotografików – the Association of Polish Art Photographers – from its establishment in 1947 to the present day. Under conditions of limited political sovereignty, many ZPAF members promoted universal values in their work, thereby participating in the process of shaping an independent, civic culture. A significant number of ZPAF members felt that an important element of modern photography as an art form was engagement in a critique of political hypocrisy and social stagnation. Projects by three outstanding photographers – Andrzej Różycki, Zygmunt Rytka, and Stefan Wojnecki – served as the basis for my analysis of the processes taking place in Polish photography from the 1960s through the 1980s. Each, in his own way, referred to universal experience and authentic history as important motifs in their work. By rejecting official formulae, these artists co-created an independent space for artistic and cultural continuity, choosing photographic experimentation and references to the nation’s communal historical consciousness. Theoretical references include the writings of Walter Benjamin, Urszula Czartoryska, Sławomir Magala, Krzysztof Jurecki, and Allan Sekula. The examined projects and primary sources bear testimony to the historical significance of photography as an art form as well as to the latent social potential of art.
- Price: 4.50 €
Czas rewolucji. Fotografia prasowa na Śląsku od 1989 roku do współczesności na podstawie dwóch największych dzienników regionalnych: „Dziennika Zachodniego” i „Trybuny Śląskiej”
Czas rewolucji. Fotografia prasowa na Śląsku od 1989 roku do współczesności na podstawie dwóch największych dzienników regionalnych: „Dziennika Zachodniego” i „Trybuny Śląskiej”
(The Time of Revolution. Silesian Press Photography since 1989 on the Example of Two Most Influential Regional Newspapers “Dziennik Zachodni” and “Trybuna Śląska”)
- Author(s):Arkadiusz Gola
- Language:Polish
- Subject(s):Photography
- Page Range:55-73
- No. of Pages:19
- Keywords:press; photojournalist; media; publication;photography;
- Summary/Abstract:The revolution in the contemporary history of press in Poland arguably began with the fall of Worker Publishing Cooperative “Press – Book – Movement” in March 1990. The market of newspapers in Katowice region, as it was called back then, recognised two entirely new periodic publications. Along with Gazeta Wyborcza, Kurier Zachodni was founded in 1990. Many ambitious photographers decided then to join the editorial teams all across the region, including such figures as Rafał Klimkiewicz, Michał Szalast, Roman Koszowski, Arkadiusz Ławrywianiec, Arkadiusz Gola, Tomasz Jodłowski, Karina Trojok, Eliza Oleksy, Michał Oleksy, Marta Błażejowska, Jacenty Dędek, Ireneusz Dorożański, Grzegorz Celejewski, Andrzej Grygiel, Robert Krzanowski, or Waldemar Kompała, to mention a few. In the following years, this group of ambitious photojournalists from the Upper Silesia region established their position and participated in various prestigious exhibitions and contests in Poland. During their career, they observed the crucial events in regional, local, and global history. Even though nowadays the specificity of photojournalism has changed significantly, the sense of purpose – that is, the pursuit of the possibly best shot – still remains the same.
- Price: 4.50 €
Członkowie ZPAF w praktyce wystawienniczej Galerii Extravagance w Sosnowieckim Centrum Sztuki – Zamek Sielecki, wybór
Członkowie ZPAF w praktyce wystawienniczej Galerii Extravagance w Sosnowieckim Centrum Sztuki – Zamek Sielecki, wybór
(Members of the Association of Polish Art Photographers and Extravagance Gallery in Sosnowiec Art Centre – Sielec Palace: Selected Cases)
- Author(s):Małgorzata Malinowska-Klimek
- Language:Polish
- Subject(s):Photography
- Page Range:74-117
- No. of Pages:43
- Keywords:Extravagance Gallery; photography; artistic awareness;exhibitions;
- Summary/Abstract:This article analyses the selected cases of cooperation between Extravagance Gallery in Sosnowiec Art Centre – Sielec Palace and the members of Związek Polskich Artystów Fotografików – the Association of Polish Art Photographers – in the last 25 years. These include: Zbigniew Podsiadło, Ryszard Czernow, Maciej Stobierski, Wacław Wantuch, Janusz Musiał, Okręg Dolnośląski ZPAF (Lower Silesian Department), Patrycja Pawęzowska, Andrzej Dudek-Dürer, Ewa Zawadzka, Krzysztof Gołuch, Marek Wesołowski, and Tadeusz Rolke. Each of the selected photographers is discussed with regard to his or her: artistic work, themes, theoretical investigations, and forms of expression; finally, the ideas behind particular expositions are reconstructed.
- Price: 4.50 €
Plener jako forma spotkania i twórczej inspiracji artystycznej. Wobec miejsca i czasu… I–V, 2010–2016
Plener jako forma spotkania i twórczej inspiracji artystycznej. Wobec miejsca i czasu… I–V, 2010–2016
(Wobec miejsca i czasu.../ Confronting Space and Time... I–V, 2010–2016)
- Author(s):Andrzej Dudek-Dürer
- Language:Polish
- Subject(s):Photography
- Page Range:119-147
- No. of Pages:29
- Keywords:open air photography; Wobec miejsca i czasu...; subjective identity; Association of Polish Art Photographers (Lower Silesian Department); Książ; Grodziec; Czocha; Saj Andrzej; Dudek-Dürer Andrzej
- Summary/Abstract:Andrzej Dudek-Dürer discloses the ideas behind the open air photography project realised between 2010 and 2016, entitled Wobec miejsca i czasu.... [Confronting space and time...]. He presents the theoretical assumptions, the places where the project and exhibitions took place, and the photographers that contributed to Wobec miejsca i czasu… The selected works are presented in the text as well, via both detailed descriptions and illustrations. Finally, Dudek-Dürer argues for the importance of the aforementioned project, whose potential has not depleted, but rather holds a promise for the future. After all, it is the project which gathers and confronts the artists of various approaches, stimulates and encourages them to undertake and present their own ideas, and inspires and mobilises creativity and awareness among the photographers.
- Price: 4.50 €
Leksykon fotografii – film dokumentalny i zapis wideo jako portret artysty fotografa
Leksykon fotografii – film dokumentalny i zapis wideo jako portret artysty fotografa
(Leksykon fotografii / Photography Lexicon – Documentary Films and Video Footages as Portraits of an Art Photographer)
- Author(s):Janusz Musiał
- Language:Polish
- Subject(s):Photography
- Page Range:149-167
- No. of Pages:19
- Keywords:documentary film on photography; interview with a photographer; film on photography; audiovisual portrait
- Summary/Abstract:This article focuses on the significance and function of a documentary film and video footage as the portrait of an author (precisely, the portrait of an art photographer). The first part introduces the issue of a film being an audiovisual document. Then, Leksykon fotografii [Photography Lexicon] is discussed with regard to its origins, assumptions, and the idea of reviving an author by means of media environment, that is, film screening, video installation, or VR technology. While being screened, the audiovisual medium first and foremost makes us believe that it has indeed reconstructed an encounter with a living human being; thereby, it creates an illusion of intimacy with its protagonist and his or her media appearance. The protagonist recalls his or her private life, family, and friends; moreover, the photographer shares his or her views, discusses the creative process, points to the inspirations and contexts of particular works, ponders upon his or her life with photography, and, finally, considers the role and significance of this medium. This text refers to the views of such theorists as: Roland Barthes, Susan Sontag, Jerzy Lewczyński, Kazimierz Karabasz, Vilem Flusser, and Jean Baudrillard.
- Price: 4.50 €
Intermedialne zjawiska w fotografii i sztuce w Polsce w latach 1945–1988
Intermedialne zjawiska w fotografii i sztuce w Polsce w latach 1945–1988
(Intermedia Tendencies in Polish Photography and Art in 1945–1988)
- Author(s):Lech Lechowicz
- Language:Polish
- Subject(s):Photography
- Page Range:169-191
- No. of Pages:23
- Keywords:Intermedialne zjawiska w fotografii i sztuce w Polsce w latach 1945–1988 intermedia; multimedia; medialism; neo-avant-garde;staged photography;
- Summary/Abstract:The presence of photography in intermedia tendencies in Polish art of 1945–1988 might be defined if we divide them into four phases – 1945–1948, 1956–1970, 1970–1980, 1980–1988 – which render the changes in Polish modern art in the second half of the 20th century. Each of these phases points to different tendencies in and fields of intermediality. The first one, 1945–1948, is tightly linked to the modern tendencies in the visual arts, especially painting. What is at stake is both the historical abandonment of the worn-out conventions in Polish photography (relying on pictorialism) and openness to the approaches to photography practised by some representatives of Polish modernity. The second phase, 1956–1970, encompasses the exploration of intermedia as stemming from the inclusion of photography in such new fields of artistic practice as environment, installation, or film. The result was, among other things, the reduction of isolation between the art photographers and the representatives of modern art. The third phase, 1970–1980, marks the peak of Polish neo-vanguard intermedia explorations, varying in form and content, yet sharing the inclusion of photography and conceptual method. Medialism, as this tendency is called, blurs the previous divisions. The last phase, 1980–1988, marks the change in intermedia practices and broadly understood cultural origins. Staged photography constructs its intermedia aspect not only by creating such a work of photographic art that relies conceptually and formally on an image-model which already exists in visual culture, but also – in some cases – by adopting the elements derived from other media, such as manual, pictorial, or painting interventions. The intermedia tendencies this article focuses upon were permanent and evolved in each of the periods. Their complexity and specificity developed along with the changing trends in modern art. By resorting to intermedia, Polish artists significantly challenged the isolation of Polish photographers from the modern artistic tendencies, and contributed to the openness of visual artists to photography and, consequently, other mechanical media.
- Price: 4.50 €
Fotografia w świecie intermediów
Fotografia w świecie intermediów
(Photography and Intermedia)
- Author(s):Zbigniew Tomaszczuk
- Language:Polish
- Subject(s):Photography
- Page Range:193-211
- No. of Pages:19
- Keywords:intermedia; iconosphere; photo-object; photo-installation; photographic visual poetry
- Summary/Abstract:This text focuses on the examples of photography defined as intermedia art. It takes Dick Higgins’s theory of intermedia as its venture point, and attempts to apply the intermedia aesthetics to the selected post-war photographic projects, starting from Zbigniew Dłubak’s photographic installation, through the activity of Grupa Zero-61 and the authors connected with Polska Fotografia Poszukująca [Polish Searching Photography] exhibition, ending with Polska Fotografia Intermedialna lat 80-tych [Polish Intermedia Photography of the 1980s] exhibition.
- Price: 4.50 €