Few stories in the history of photography are as astonishing and compelling as that of the octogenarian Czech photographer Miroslav TichyÌ. With crude homemade cameras fashioned out of cardboard and duct tape, TichyÌ took several thousand pictures of the women of his Moravian hometown of Kyjov throughout the 1960s and 70s. These pictures of women going about their daily business are at once banal and extraordinary, transforming the ordinary moments of work and leisure into small epiphanies. Blurred and off-kilter, his photographs have a striking contemporaneity, resembling the early paintings of Gerhard Richter or the photographs of Sigmar Polke. Printed imperfectly and deliberately battered, they evince a surprisingly retrograde or even antimodernist feeling, which, in the context of the Cold War atmosphere of provincial Czechoslovakia, just before and after the liberalizing moment of the Prague Spring (1968), undoubtedly constituted a kind of oblique political provocation, a nose-thumbing response to the progressive realist perfectionism of official Soviet culture. After studying at the Academy of Arts in Prague, Miroslav TichyÌ (born 1926) withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late 1950s, he quit painting and became a distinctive Diogeneslike figure, in part as a political response to the social repressions of Czech communism. It is only in the past five years that his intensely private work has gained international public attention. Co-published with International Center of Photography, New York.
The bulk of the photographs in this volume are derived from Sanguinetti's Tich∆ collection, and are prefaced with a lengthy meditation on the photographer by Sanguinetti, who declares his admiration for Tich∆'s personal and artistic ...
The mixed lot of 85 photographs and four sketches is still the biggest groups of works by the Czech artist in a public collection.The portfolio of Petr Kozanek, containing eight portrait photos by Miroslav Tichý, perfectly complements the ...
Miroslav Tichý
Tichy does not see his exhibitions, for he no longer leaves his house. This beautifully produced, thorough volume collects the work--perfectly.
Roman Buxbaum, 'Un Tarzan en retraite—Souvenirs de Miroslav Tichý.' in Quentin Bajac (ed.), Miroslav Tichý (Paris: Centre Pompidou, 2008a); [English version available online under the title 'Tarzan retired—Memories of Miroslav Tichý,' ...
See for example, Susie Garden's “Tichy's Madcap Voyeurism,” No New Enemies Network, May 7, 2012, http://nonewenemies.net/2012/05/07/tichys-madcapvoyeurism/. 33. “Miroslav Tichy,” Vice Magazine, July 2, 2009, http://www.vice.com/read/ ...
Miroslav Tichý has been compared to Gerhart Richter. Gerhart Richter is brilliant but I think it is superficial to compare the two. If we lived in a better world Gerhart Richter might be considered the greatest forger who has ever lived ...
Long moments: Miroslav Tichý and Julia Margaret Cameron
Thirty years of collaboration and collectivity from the European artist's book network Renowned art historian John C. Welchman provides the first ever monograph on the Royal Book Lodge (RBL), an international network of artists that emerged ...
Houston, USA: Multimedia artist and art professor Prince V.Thomas Blending contemporary and historical imagery is a conceptual strategy Thomas often uses in his work. “I am fascinated by the conceptual threads that run through history ...