“A New Pictorial Script”: Photography in Devětsil

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

“A New Pictorial Script”: Photography in Devětsil

Popis výsledku v původním jazyce

The fundamental contradiction in Devětsil’s photography lies in the asymmetry between the group’s proclaimed interest in the medium and the actual involvement of photographers in its program positions and exhibition activities. Devětsil’s leading theorist Karel Teige (and his colleagues Jaromír Krejcar, Jindřich Štyrský and Jiří Voskovec) attributed a key position to photography in the revision of the existing arts hierarchy, but the only professional photographer among the members, Jaroslav Rössler, did not participate in all the exhibitions of the group, and Teige never wrote anything focused just on his work. Another loosely collaborating photographer, Jaromír Funke, denounced the basic forms of avant-garde photography – Man Ray’s camera- less photographs, the rayograms, and László Moholy-Nagy’s photomontages – as dead ends. The misunderstanding of these artists by the Czech avant-garde then contributed to the delayed appreciation of Czech modern photography.

Název v anglickém jazyce

“A New Pictorial Script”: Photography in Devětsil

Popis výsledku anglicky

The fundamental contradiction in Devětsil’s photography lies in the asymmetry between the group’s proclaimed interest in the medium and the actual involvement of photographers in its program positions and exhibition activities. Devětsil’s leading theorist Karel Teige (and his colleagues Jaromír Krejcar, Jindřich Štyrský and Jiří Voskovec) attributed a key position to photography in the revision of the existing arts hierarchy, but the only professional photographer among the members, Jaroslav Rössler, did not participate in all the exhibitions of the group, and Teige never wrote anything focused just on his work. Another loosely collaborating photographer, Jaromír Funke, denounced the basic forms of avant-garde photography – Man Ray’s camera- less photographs, the rayograms, and László Moholy-Nagy’s photomontages – as dead ends. The misunderstanding of these artists by the Czech avant-garde then contributed to the delayed appreciation of Czech modern photography.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

V - Vyzkumna aktivita podporovana z jinych verejnych zdroju

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Devětsil 1921–1930

ISBN

978-80-7010-160-5

Počet stran výsledku

14

Strana od-do

171-184

Počet stran knihy

231

Název nakladatele

Prague City Gallery

Místo vydání

Praha

Kód UT WoS kapitoly

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