. . "Raven Row" . "9"^^ . "The Alphabet of Things"@en . "The Alphabet of Things" . . . "London" . . "978-0-9561739-5-9" . "1"^^ . "1"^^ . . . "Photography; B\u011Bla Kol\u00E1\u0159ov\u00E1; Rosalind Krauss; Georges Didi-Huberman"@en . . . "B\u011Bla Kol\u00E1\u0159ov\u00E1" . . . . "The Alphabet of Things" . "RIV/60461071:_____/13:#0000329" . "C\u00EDsa\u0159, Karel" . "112"^^ . . "In the unique self-reflective essay \u201EA Way among Others\u201C, written in 1968, B\u011Bla Kol\u00E1\u0159ov\u00E1 declares that her artistic career took a decisive turn at a certain moment in early 1961, when, having heard someone say \u201EThe whole world has been photographed off\u201C, she started to focus on pictures of small objects of daily use, so far neglected by photography. Yet the fact is that the same interest is inscribed already into several of her early street images from the 1956 cycle \u201EChildren\u00B4s Games\u201C. Besides having chosen the marginal theme of children from the suburbs, she also already avoided the Cartier-Bresson logic of a decisive moment, and instead of a focus on capturing the climax of an unfolding action, she concentrated on the otherwise invisible correlations between time and space, trajectory and length covered, speed and rhythm. By having transformed abstraction in the 1960s into the reverse of a socially engaged documentary photography, Kol\u00E1\u0159ov\u00E1 revived crucial segments of the modernist project of a \u201Enew vision\u201C, and thus today, after more than half a century, she is a direct participant in the current discussion regarding the critical potential of present-day photographic abstraction."@en . "In the unique self-reflective essay \u201EA Way among Others\u201C, written in 1968, B\u011Bla Kol\u00E1\u0159ov\u00E1 declares that her artistic career took a decisive turn at a certain moment in early 1961, when, having heard someone say \u201EThe whole world has been photographed off\u201C, she started to focus on pictures of small objects of daily use, so far neglected by photography. Yet the fact is that the same interest is inscribed already into several of her early street images from the 1956 cycle \u201EChildren\u00B4s Games\u201C. Besides having chosen the marginal theme of children from the suburbs, she also already avoided the Cartier-Bresson logic of a decisive moment, and instead of a focus on capturing the climax of an unfolding action, she concentrated on the otherwise invisible correlations between time and space, trajectory and length covered, speed and rhythm. By having transformed abstraction in the 1960s into the reverse of a socially engaged documentary photography, Kol\u00E1\u0159ov\u00E1 revived crucial segments of the modernist project of a \u201Enew vision\u201C, and thus today, after more than half a century, she is a direct participant in the current discussion regarding the critical potential of present-day photographic abstraction." . . "RIV/60461071:_____/13:#0000329!RIV14-MSM-60461071" . . "[0D52160085BC]" . "60144" . "V" . "The Alphabet of Things"@en . .