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1

STANISLAW IGNACY WITKIEWICZ - 'MULTIPLE PORTRAIT', 'MULTIPLE PHOTOGRAPH' OR 'QUINTUPLE PHOTOGRAPH' ?

100%
Okolowicz S.
Rocznik Historii Sztuki
|
2006
|
vol. 31
173-186
EN
Stanislaw Ignacy Witkiewicz (1885-1939) is one of the most interesting and intriguing Polish artists of the 20th century. For this reason his multiple photographic portrait found in the 1970s and taken ca. 1916 in St. Petersburg has quickly become famous, as it symbolised a versatile artist realising his work in various artistic domains. The photograph was taken with the use of a well-known trick to multiple the photographed person in mirrors. Thus the photograph presents an optical illusion - five of the artist own persons sitting around the table. When the Witkiewicz's multiple portrait was found, several other such portraits by other artists were already known: the portrait of Polish architect Waclaw Szpakowski from 1912 taken in Riga, of Italian futurist Umberto Boccioni, pictures of Marcel Duchamp and his friend Henri-Pierre Roché – both taken in 1917 in New York, and a photograph taken by Hanah Höch. For several years, till the discovery of a source of the photographic trick, the photos of Witkiewicz and Szpakowski passed as their self-portraits. The method of taking such multiple photographs was described by Albert Hopkins in his book 'Magic. Stage Illusions and Scientific Diversions, Including Trick Photography', published in New York in 1897. The photographic tricks depicted by Hopkins were fragmentary published in the book by Hermann Schnauss 'Photographischer Zeitvertrieb' issued in Leipzig in 1903. Possibly there are other publications describing various optical phenomena to be used in photography. At the turn of the 19th and 20th century there was a sort of fashion for funny photographs using the effect of multiple reflection in mirrors. Numerous photographic studios in the United States, but also in European countries including Russia and Poland, offered such pictures regarded as amusing curiosity. There are preserved many multiple photographs of anonymous persons. Therefore, there is nor reason to emphasise which of those artists: Szpakowski, Duchamp or Witkiewicz was first one to have his multiple photographic portrait taken, as many anonymous people had done it before them. We may only consider the significance that each of the artists lent to this photograph.
2

MODERNITY AND EXPERIMENT IN SELECTED REALISATIONS OF ARTISTIC PHOTOGRAPHY AFTER THE END OF POSTMODERNITY

80%
Michalowska M.
Rocznik Historii Sztuki
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2006
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vol. 31
229-254
EN
The article is an attempt to examine the consequences which a renewed interest in modernity had for contemporary art of photography. What could be seen in artistic practice is that after the period of fascination with Baudrillardian simulations artists again are inspired by Dadaism, Surrealism or Constructivism. And although the achievements of modern photography and such artists as Z. Dlubak, Z. Beksinski or J. Robakowski have never been actually called into question by successive generations of artists, undoubtedly they have became a part of what is considered to be dead classics now. The article juxtaposes the works of art of some of the artists active in the field of art at least since the 1960s (A. Müller-Pohle, W. Prazmowski, J. Lewczynski) with the photographic test pieces of a new generation of artists (among others P. Orzechowska, T. Sikorski and A. Szwinta). Such a confrontation allows to see which trends of avant-garde art could still be attractive to contemporary photographers. The text is divided into two parts. The first one determines the extent of theoretical references within which photography could be analysed. The scope is defined by the concepts of 'photography as art' (in the ideas of, among others, L. Wells and A. Solomon-Godeau), avant-garde (with reference to the ideas of P. Bürger, R. Poggioli, R. Krauss and A. Erjavec) and modernity (Ch. Baudelaire, W. Benjamin, J.-F. Lyotard). The second part of the text analyses three aspects of contemporary photography which refers to modernity on the example of the selected photographic realisations. The aspects are: the role of artistic experience, relationship between 'novelty' and 'historicity' of a photographic picture, and a depiction of modern subjectivity.
3

ARTISTS, AMATEURS, PROFESSIONALS. THE GENESIS OF INSTITUTIONS AND SOCIAL ROLES OF PHOTOGRAPHERS IN POLAND AFTER 1945 (Artysci, amatorzy, zawodowcy. Geneza instytucji i rol spolecznych fotografow w Polsce po 1945 roku)

80%
Wroblewska M.
Ikonotheka
|
2007
|
issue 20
7-15
EN
The institutional framework for the photographers' work during the period of the People's Republic of Poland has not hitherto been a matter of any in-depth research, despite the fact this framework significantly influenced the attitudes and social rôles of this creative group. In the years 1946-1947, the circles of photographers initiated the inception of institutions which redefined the place of photography in the field of artistic output. This redefinition took the form of a change of status and social rôle of its creators in the newly established Polish state. The institutions in question were the Polish Association of Art Photographers and the Polish Photographic Society. Thus, creators of photography conducted the formal division of their circle into the sub-groups of artists, professionals and amateurs and defined the status and functions of each sub-group. Inception of those institutions solidified the division both in the sphere of aesthetic programmes and in the competences of their members. The most significant changes concerned the tradition of amateur photography. The interwar years were a period of rapid development of this field of creativity, as photography was no longer accessible only to the small élite and became more widespread. After the war, in defining the rôles of a professional photographer and the artist, the creators in this field of art referred to this tradition. The art was often termed 'photographics' (fotografika in Polish); this word was coined by Jan Bulhak as an expression of his attachment to the aesthetic tradition found also in his theoretical texts.
4

ARCHITECTURE AND ITS IMAGES. PHOTOGRAPHS BY CZESLAW OLSZEWSKI

80%
Lesniakowska M.
Rocznik Historii Sztuki
|
2006
|
vol. 31
187-198
EN
The article pertains to the relationship between photography, modernism and historiography. It's a proposal of a different reading of architecture photography which is treated as a posed 'portrait' of modernism with the purpose of realisation an adequately designed representation of modernist architecture. The stimulus was provided by the photographs by Czeslaw Olszewski (1894-1969) from the 1930s taken for the leading Polish periodicals of the interwar period: 'Architektura i Budownictwo' (Architecture and Building Trade), 'Arkady' (Arcades). In their 'foreground' these photographs documented an international style present in Poland, the realisations of young Warsaw architects from among 'the generation of ca. 1900' and the peers of the photographer, so it is a sort of a generation's manifesto. The authoress, however, points out the problematics of the broad term of a 'documentation photography', the apparent neutrality and false 'objectivity' of camera (photography); she refers to the model of the Allan Sekula's archives as a 'territory of images' which reveals a new sense of a 'document' as a memory relic. Black-and-white photograms are the 'images' of architecture that imitate the ways of representation known from the paintings of the 1930s, and as representations they derivatively aestheticize this architecture. The fact that this is monochromatic photography allows to inscribe it into the project of creation of the image of modernism seen as the culture of 'white walls'. Ideologists of modernism made use of the 'lack of colour' of photography to create an image (definition) of modernist architecture as an abstract 'play of white forms in the light'. In this way one of the modernist dogmas was realised pertaining to: 1) the question of space, and 2) the colour and/or lack of it as a sign and reference. Thus, modernism identified with the culture of 'white architecture' situated thereby on the plane of designed by modernism historiographic tradition that reveals here its feature: as an aesthetic construct. The authoress recalls the new analyses which criticise modernism as the 'culture of white wall' and disclose the relationship between the 'white wall' and patriarchal scenario with the purpose to create the avant-garde art as a 'male' area (gender theories, psychosexual basis of architecture, postcolonial theory interpreting a 'culture of whiteness' as domination of the white race etc.). At the end of the text there is presented the relationship between the 'beautiful portraits' of avant-garde architecture and 'rhetoric of wandering' and narration: the buildings in the photographs taken by Olszewski had been build before 1939 and were either destroyed during the WWII or devastated in the communist times. For this reason the authoress interprets them like the pictures with typical utopian scheme: a convention of journey and reference to nostalgia, which inscribes them into the discourse upon memory and history.
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