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  • One might think that a critical reflection on the work of Martin Polák and Lukáš Jasanský would only repeat with a slight delay arguments expressed twenty years ago in relation to “artists using photography”. However, in their case the tenor of this criticism is quite different. Unlike their American counterparts, the Czech artists have not approached the medium of photography from the outside, but from within. Whereas in American conceptual and post-modern art, the tendency towards non-aesthetic, apparently amateur, photography corresponded to the artists’ lack of interest in the chosen medium – which, for them, was merely one means of expression, alongside film and performance – in the case of Jasanský and Polák the same tendency is evidence of the opposite. The aesthetics of amateur photography, its mechanical origins, the multiplication of works and the banality of the chosen themes has enabled them to break with the tradition of “fine art photography” which, through its highly subjective vision and its emphasis on the formal quality of the photograph, concealed the objects in front of the lens. It has also allowed them to try and renew the photograph as a means serving the descriptive representation of reality.
  • One might think that a critical reflection on the work of Martin Polák and Lukáš Jasanský would only repeat with a slight delay arguments expressed twenty years ago in relation to “artists using photography”. However, in their case the tenor of this criticism is quite different. Unlike their American counterparts, the Czech artists have not approached the medium of photography from the outside, but from within. Whereas in American conceptual and post-modern art, the tendency towards non-aesthetic, apparently amateur, photography corresponded to the artists’ lack of interest in the chosen medium – which, for them, was merely one means of expression, alongside film and performance – in the case of Jasanský and Polák the same tendency is evidence of the opposite. The aesthetics of amateur photography, its mechanical origins, the multiplication of works and the banality of the chosen themes has enabled them to break with the tradition of “fine art photography” which, through its highly subjective vision and its emphasis on the formal quality of the photograph, concealed the objects in front of the lens. It has also allowed them to try and renew the photograph as a means serving the descriptive representation of reality. (en)
Title
  • The Shadow Frontier (en)
  • The Shadow Frontier
skos:prefLabel
  • The Shadow Frontier (en)
  • The Shadow Frontier
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  • RIV/60461071:_____/13:#0000330!RIV14-MSM-60461071
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  • 104904
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  • RIV/60461071:_____/13:#0000330
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  • Photography; Martin Polák; Lukáš Jasanský (en)
http://linked.open.../riv/klicoveSlovo
http://linked.open...ontrolniKodProRIV
  • [18C9D591A1CB]
http://linked.open...i/riv/mistoVydani
  • Praha
http://linked.open...i/riv/nazevZdroje
  • Lukáš Jasanský a Martin Polák
http://linked.open...in/vavai/riv/obor
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  • Císař, Karel
number of pages
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  • tranzit/jrp/ringier
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  • 978-3-03764-312-9
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