Iryna Pap, a Ukrainian photographer whose oeuvre was recently rediscovered, stands out starkly in her moment, and the significance of her legacy continues to grow. As a female newcomer to the male-dominated world of Soviet photography, and as such almost unique in her profession, Pap worked for Izvestia, one of the USSR’s newspapers of record from 1958 to 1971. Later on, she launched the first professional School of Journalistic Excellence at the Journalists’ Union of Ukraine, thus shaping the next generation of Ukrainian photographers, some of whom are still active in the field. Pap’s photographs are scattered around different archives in Russia and Ukraine, although, as of 1991, a big portion of them have been rescued and are now preserved at the Fotohof Archiv in Salzburg. This paper provides a brief overview of Pap’s biography, the scope of her work and the problems posed by her archive, and suggests some methodological approaches that may help to address her legacy.
{"title":"The Marking of Absence: What is Contained in the Archive of Iryna Pap","authors":"Kateryna Filyuk","doi":"10.31664/zu.2022.111.11","DOIUrl":"https://doi.org/10.31664/zu.2022.111.11","url":null,"abstract":"Iryna Pap, a Ukrainian photographer whose oeuvre was recently rediscovered, stands out starkly in her moment, and the significance of her legacy continues to grow. As a female newcomer to the male-dominated world of Soviet photography, and as such almost unique in her profession, Pap worked for Izvestia, one of the USSR’s newspapers of record from 1958 to 1971. Later on, she launched the first professional School of Journalistic Excellence at the Journalists’ Union of Ukraine, thus shaping the next generation of Ukrainian photographers, some of whom are still active in the field. Pap’s photographs are scattered around different archives in Russia and Ukraine, although, as of 1991, a big portion of them have been rescued and are now preserved at the Fotohof Archiv in Salzburg. This paper provides a brief overview of Pap’s biography, the scope of her work and the problems posed by her archive, and suggests some methodological approaches that may help to address her legacy.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Esther Baum Born was an American photographer who worked in both the United States and Mexico. Beginning in the 1920s, she exhibited her work regularly in New York galleries and saw her photographs published in a broad spectrum of architectural journals. Born’s book, The New Architecture in Mexico (1937), stands as an undisputed monument to her creative insights and a respected source for cutting-edge ideas about modern building. Less well known to the scholarly community are the sensitive portraits that Born took of her own artistic milieu: Frida Kahlo, Diego Rivera, and Frank Lloyd Wright, to name only a few, appeared before her camera. The author argues that these images represent an area for future research. In any event, Born’s creative flourishing was largely eclipsed once she joined the highly successful architectural practice of her husband, Ernest Born. She gave up photography entirely in the 1940s to support his work. The legacy of both Borns remains fairly well-known to students of Bay Area architecture, who have admired their contributions to public transportation (designing train stations), urban renewal (developing master planning documents), and book design (such as the Plan of St. Gall, co-authored with art historian, Walter Horn). Much of the couple’s joint career is documented in established archives throughout the United States and Canada, although it needs to be said that Ernest Born is typically given top billing for the work. Esther Born’s early efforts as a photographer sit in these archives, too. A full assessment of her legacy as a photographer waits to be written. This paper attempts to give greater visibility to her ambitions as well as to the lasting consequence of her work’s placement within the many archival situations where it can be found today.
{"title":"Constructing Visibility: Esther Born’s Photography beyond the Archives","authors":"D. Cartwright","doi":"10.31664/zu.2022.111.08","DOIUrl":"https://doi.org/10.31664/zu.2022.111.08","url":null,"abstract":"Esther Baum Born was an American photographer who worked in both the United States and Mexico. Beginning in the 1920s, she exhibited her work regularly in New York galleries and saw her photographs published in a broad spectrum of architectural journals. Born’s book, The New Architecture in Mexico (1937), stands as an undisputed monument to her creative insights and a respected source for cutting-edge ideas about modern building. Less well known to the scholarly community are the sensitive portraits that Born took of her own artistic milieu: Frida Kahlo, Diego Rivera, and Frank Lloyd Wright, to name only a few, appeared before her camera. The author argues that these images represent an area for future research. In any event, Born’s creative flourishing was largely eclipsed once she joined the highly successful architectural practice of her husband, Ernest Born. She gave up photography entirely in the 1940s to support his work.\u0000The legacy of both Borns remains fairly well-known to students of Bay Area architecture, who have admired their contributions to public transportation (designing train stations), urban renewal (developing master planning documents), and book design (such as the Plan of St. Gall, co-authored with art historian, Walter Horn). Much of the couple’s joint career is documented in established archives throughout the United States and Canada, although it needs to be said that Ernest Born is typically given top billing for the work. Esther Born’s early efforts as a photographer sit in these archives, too. A full assessment of her legacy as a photographer waits to be written. This paper attempts to give greater visibility to her ambitions as well as to the lasting consequence of her work’s placement within the many archival situations where it can be found today.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Archival Transformations and the Value of Photographic Objects","authors":"C. Caraffa","doi":"10.31664/zu.2022.111.03","DOIUrl":"https://doi.org/10.31664/zu.2022.111.03","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes a curator’s personal experience in a museum of art with several “auxiliary” archives of museum collections, in which various photographic objects are the most numerous. The paper underlines the issue of experts’ unpreparedness within museum institutions for managing and preserving photographic material, which is especially challenging when it exists in a heterogenous documentation cluster that has been reassembled multiple times. In an effort to preserve the conceptual integrity of the new/old archive, which will as much as possible mirror all earlier uses, interventions, manipulations, etc. of the material, as a sign of its pre- and post-acquisition biography (Edwards, Morton), and equally the history of the museum, it has been resorted to a top-to-bottom archival description that will reach the level of each individual item. In this way, the archival imperative of acknowledging the provenance and original order is not being betrayed, while at the same time we are ensuring the visibility of each individual photograph, which is described both as a document and as an artifact. Taking into consideration the fact that this kind of approach is not universally applicable, all of its recognized benefits and inherent limitations are presented. Finally, the paper briefly discusses the challenges of applying the same approach to a digital context.
{"title":"From a Private Archive to a Public Museum","authors":"Ivana Gržina","doi":"10.31664/zu.2022.111.06","DOIUrl":"https://doi.org/10.31664/zu.2022.111.06","url":null,"abstract":"This paper describes a curator’s personal experience in a museum of art with several “auxiliary” archives of museum collections, in which various photographic objects are the most numerous. The paper underlines the issue of experts’ unpreparedness within museum institutions for managing and preserving photographic material, which is especially challenging when it exists in a heterogenous documentation cluster that has been reassembled multiple times. In an effort to preserve the conceptual integrity of the new/old archive, which will as much as possible mirror all earlier uses, interventions, manipulations, etc. of the material, as a sign of its pre- and post-acquisition biography (Edwards, Morton), and equally the history of the museum, it has been resorted to a top-to-bottom archival description that will reach the level of each individual item. In this way, the archival imperative of acknowledging the provenance and original order is not being betrayed, while at the same time we are ensuring the visibility of each individual photograph, which is described both as a document and as an artifact. Taking into consideration the fact that this kind of approach is not universally applicable, all of its recognized benefits and inherent limitations are presented. Finally, the paper briefly discusses the challenges of applying the same approach to a digital context.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The photo archive at the Institute of Art History at the Adam Mickiewicz University (AMU) in Poznań is over 120 years old. Forgotten for many decades, the oldest 10,000 glass slides and photographic reproductions have survived to this day. In the last few years, however, they have been cleaned and become part of a new research unit, the Audiovisual Archive at the AMU Faculty of Art Studies. The Poznań photo archive was inextricably linked to different Poznań universities, which, due to historical and political reasons, were in the past one hundred years administered by either Poles or Germans. When the photo archive was inventoried anew, the historical collections of different institutions were taken into consideration, i.e., collections were organized according to their historical affiliation to German or Polish Poznań universities.
{"title":"(Re)Constructing the Archive: A Collection of Reproductions in Poznań","authors":"Kamila Kłudkiewicz","doi":"10.31664/zu.2022.111.07","DOIUrl":"https://doi.org/10.31664/zu.2022.111.07","url":null,"abstract":"The photo archive at the Institute of Art History at the Adam Mickiewicz University (AMU) in Poznań is over 120 years old. Forgotten for many decades, the oldest 10,000 glass slides and photographic reproductions have survived to this day. In the last few years, however, they have been cleaned and become part of a new research unit, the Audiovisual Archive at the AMU Faculty of Art Studies. The Poznań photo archive was inextricably linked to different Poznań universities, which, due to historical and political reasons, were in the past one hundred years administered by either Poles or Germans. When the photo archive was inventoried anew, the historical collections of different institutions were taken into consideration, i.e., collections were organized according to their historical affiliation to German or Polish Poznań universities.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is based on the research I carried out on the archive of Stanisław Ostoja-Kotkowski (1922–1994), the Cold War-era Polish-Australian artist living in South Australia, which is currently kept in the National Museum in Warsaw. Ostoja-Kotkowski was a pioneer in electronic art, kinetic sculpture, laser art, computer graphics and light art in the 1960s and 1970s. The article analyzes the archive in the context of “self-historicization” (Badovinac), used by this émigré artist to create his artistic identity in both Australia and Poland. The archive proves that self-documentation by the less-known creators from peripheral hubs is helpful to contemporary researchers in deconstructing dominating historical narratives. The use of photographs in the archive is seen through Amelia Jones’ notion of “performative document”, which helps to see images of ephemeral performances and actions as equal to the works of art themselves.
{"title":"Self-Historicization Through Photography and Documentation. Stanisław Ostoja-Kotkowski’s Archive in the National Museum in Warsaw","authors":"M. Nowak","doi":"10.31664/zu.2022.111.09","DOIUrl":"https://doi.org/10.31664/zu.2022.111.09","url":null,"abstract":"The article is based on the research I carried out on the archive of Stanisław Ostoja-Kotkowski (1922–1994), the Cold War-era Polish-Australian artist living in South Australia, which is currently kept in the National Museum in Warsaw. Ostoja-Kotkowski was a pioneer in electronic art, kinetic sculpture, laser art, computer graphics and light art in the 1960s and 1970s. The article analyzes the archive in the context of “self-historicization” (Badovinac), used by this émigré artist to create his artistic identity in both Australia and Poland. The archive proves that self-documentation by the less-known creators from peripheral hubs is helpful to contemporary researchers in deconstructing dominating historical narratives. The use of photographs in the archive is seen through Amelia Jones’ notion of “performative document”, which helps to see images of ephemeral performances and actions as equal to the works of art themselves.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The archive of famous Soviet Ukrainian cinematographer Leonid Burlaka is an example of photography illustrating various spheres of life in Ukraine from the 1960s to the 1990s and has not only historical but also artistic value. In March 2017, the missing part of Leonid Burlaka’s photo archive was discovered in Odessa (Ukraine). Accordingly, the first phase of research was devoted to the analysis of the history of archive discovery, its condition, contents, and the systematization of photographs constituting the archive. In the second stage of the research, another part of the archive was analyzed, which was not lost but preserved by Leonid Burlaka himself and totaled over 300 films. In the process of exploring, the archive raised numerous new issues. How will the further life and preservation of the archive look? What might be the experience of presentation of the archive, its involvement in artistic practices and its influence on collective perception in the post-Soviet period? Currently, the archive forms the basis of the interdisciplinary project Fragile Memory. Therefore, the article touches on several issues: the history of the archive, questions regarding its research, as well as the experience of its popularization, which has been conducted during the past five years within the framework of the Fragile Memory project.
{"title":"Exploring the Soviet Ukrainian Cinematographer’s Private Photo Archive: Issues of Popularization and Representation","authors":"V. Myronenko","doi":"10.31664/zu.2022.111.12","DOIUrl":"https://doi.org/10.31664/zu.2022.111.12","url":null,"abstract":"The archive of famous Soviet Ukrainian cinematographer Leonid Burlaka is an example of photography illustrating various spheres of life in Ukraine from the 1960s to the 1990s and has not only historical but also artistic value. In March 2017, the missing part of Leonid Burlaka’s photo archive was discovered in Odessa (Ukraine). Accordingly, the first phase of research was devoted to the analysis of the history of archive discovery, its condition, contents, and the systematization of photographs constituting the archive. In the second stage of the research, another part of the archive was analyzed, which was not lost but preserved by Leonid Burlaka himself and totaled over 300 films. In the process of exploring, the archive raised numerous new issues. How will the further life and preservation of the archive look? What might be the experience of presentation of the archive, its involvement in artistic practices and its influence on collective perception in the post-Soviet period? Currently, the archive forms the basis of the interdisciplinary project Fragile Memory. Therefore, the article touches on several issues: the history of the archive, questions regarding its research, as well as the experience of its popularization, which has been conducted during the past five years within the framework of the Fragile Memory project.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bringing Down the “Archive Fever”","authors":"Ana Isabel Cruz Yábar","doi":"10.31664/zu.2022.111.02","DOIUrl":"https://doi.org/10.31664/zu.2022.111.02","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly, by being accessible and relying on the contributions of its users, the online archives also forge a new public. The aim of this article is to investigate the affordances of these archives in constructing new photographic histories of the Cold War. Looking at selected photographs showing collective manifestations and street protests, the article will demonstrate the realignment of the private and the public in these archives.
{"title":"Community-Based Photographic Archives and “Potential” Histories of the Cold War in Eastern Europe","authors":"Katarzyna Ruchel-Stockmans","doi":"10.31664/zu.2022.111.04","DOIUrl":"https://doi.org/10.31664/zu.2022.111.04","url":null,"abstract":"The article proposes to look at the recently emerged online photographic archives in Eastern Europe as a form of digital commons. The bulk of the collected photographs in these archives are vernacular, family or amateur photographs, the sort which obstinately resists being included in the histories of photography. The online archives under scrutiny here, Fortepan in Hungary and Karta/CAS in Poland, disregard the established divisions between the photographic genres, allowing the reconfiguring of the hierarchies and values perpetuated by other archives and museum collections. Most significantly, by being accessible and relying on the contributions of its users, the online archives also forge a new public. The aim of this article is to investigate the affordances of these archives in constructing new photographic histories of the Cold War. Looking at selected photographs showing collective manifestations and street protests, the article will demonstrate the realignment of the private and the public in these archives.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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