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Od „bibliotek fotograficznych” do "fototek". O epistemologicznym potencjale historyczno-artystycznych kolekcji fotografii

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Caraffa C., Lipiński F.

Artium Quaestiones

2022

issue 33

183-238

This text is a translation from English into Polish of a fundamental text for research into reproductions of works of art, written by Constanza Caraffa, the leading theorist of the field. It is an introductory chapter of her important volume Photo Archives and the Photographic Memory of Art History (2011), in which she elucidates the meaning of a photo-archive as a site of research into photographs of works of art as individual, material objects. Using examples and her work experience in the Photothek at the Kunsthistorische Institut in Florence, she presents the complexity and abundance of information that photographic reproductions of works of art can carry, over and above the traditional understanding of a photograph as a document transparent onto the object it represents.

Materialność świetlnego zapisu – o rzeczach w dorobku Jerzego Lewczyńskiego

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Kobylińska-Bunsch W.

Artium Quaestiones

2018

issue 29

161-185

The popularity of Jerzy Lewczyński (1924-2014) coincided with the academic interest in the problem of archive, corresponding to Lewczyński’s program of the “archeology of photography,” developed in the 1970s. Lewczyński’s idea consisted in restoring Kantor’s “reality of the lowest rank,” i.e. the rejected microhistories hidden in the anonymous and the forgotten or taken out of an ashtray at the Warsaw Central train station. Today, however, one tends to forget that Lewczyński’s gesture of artistic legitimization did not aim at giving new meanings, but above all at blurring the boundary between everyday items and those which emerged from some kind of “aesthetic situation” (Maria Gołaszewska). This aspect of his art can be seen, e. g, in his visual journal, where the artist included objects of particular importance – next to Xerox copies of his own works or works of other artists, he placed also shopping receipts. Lewczyński equaled the value of cheap receipt paper with the noble velvety quality of bromine. He did not reduce his collected items to their aesthetic function, having rejected the institutionalized idea of the artifact as a work of art to enjoy by the audience. Anticipating the postulates of Bruno Latour, instead of showing objects appropriated by the power of the gaze, he presented actors: things that asked questions on their own.

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2 Artium Quaestiones

1 Caraffa C.

1 Kobylińska-Bunsch W.

1 Lipiński F.

1 2022

1 2018

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Od „bibliotek fotograficznych” do "fototek". O epistemologicznym potencjale historyczno-artystycznych kolekcji fotografii

Materialność świetlnego zapisu – o rzeczach w dorobku Jerzego Lewczyńskiego