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Loli Kantor. Call me Lola
Call Me Lola is a moving photo essay by the acclaimed Israeli-American lens-based artist and documentarian Loli Kantor. For over twenty years, she combed through the family archives of her Polish-born father, a doctor and political activist. At the center of her work is her mother, Lola, who died in childbirth: a woman who manifests herself principally through images and stories rather than direct memories. The family documents and photographs that retrace the artist's personal history are shown alongside new camera-based works, resulting in a deeply subjective reflection on the most significant upheavals of the twentieth century: war and displacement, love and loss, trauma and grief. LOLI KANTOR (*1952) is an Israeli-American photographer whose work centers on personal and cultural memory. She lives and works in Fort Worth, Texas.
Primary Documents
This text presents documents drawn from the artistic archives of Eastern and Central Europe during the second half of the 20th century.
Nowi dokumentaliści
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She-documentalists
She-Documentalists - Polish Women Photographers of the 20th Century is one of the possible reconstructions, or rather constructions, of alternative maps of documentary photography in Poland. Instead of following a well-worn track of famous names, established canons, and clear generic divisions, we are taking the risk of building a new, uncertain space based, above all, on that which has been repressed. Such marginalised, or repressed, phenomena include, for instance, the Polish school of photojournalism, the, still too one-sidedly revised, concept of 'homeland photography', or the, repressed like the worst trauma, aesthetic of socialist realism, and the subjects marginalised by history that are women photographers. -- from back cover.
The Polish Review
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The Hidden Story
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The Archaeology of Seeing
The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology, on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity, and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illu...
Drzazga
Mirosław Tryczyk odkrył, że jego dziadek, ten sam, któremu uwielbiał siadać na kolanach, uwikłany był w zbrodnie na niewinnych osobach. Jak się uporać z taką prawdą? Autor rusza w Polskę śladem osób sobie podobnych. Które odkryły grzechy przodków i szukają języka, by o nich opowiedzieć. Trudno przyznać się do tego, że nie radzimy sobie z prawdą o naszej historii, o naszych najbliższych. Jak kochać tych, którzy zabijali? To książka o ludziach, którzy mają odwagę pamiętać i nie chcą już milczeć. Bo wyparte poczucie winy jest jak drzazga, która jątrzy ranę. Tryczyk przyznaje, że członkowie jego rodziny uwikłani byli w mordy na Żydach. Zrywając w ten sposób z przyjętym w Polsce decorum, ustanawia niespotykany w naszym piśmiennictwie standard szczerości, umożliwiając wypowiedzenie prawdy zablokowanej przez fałszywe lojalności. Jego postawa udziela się rozmówcom, zachęcając ich do podobnej otwartości. To reportaż „z frontu pamięci”. prof. Joanna Tokarska-Bakir Mirosław Tryczyk – doktor nauk humanistycznych, filozof. Autor książki Miasta śmierci. Powyższy opis pochodzi od wydawcy.
