Dno oka: Eseje o fotografii by Wojciech Nowicki and a great selection of related books, art and collectibles available now at Susan Sontag O fotografii: w Platonskiej Jaskini. Uploaded by Helena Postawka . Dno oka, eseje o fotografii. W. Nowicki, Sahib, [w:] Dno oka, eseje o fotografii. Dno oka: eseje o fotografii by Wojciech Nowicki(Book) 4 editions published in in Polish and held by 15 WorldCat member libraries worldwide.
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The artist began the development of the cycle in and continued almost until her death in Rydet repeated the same scheme for nearly three decades.
She was fascinated by the view of identical, small working spaces that the employees decorated with such items as cut-outs from newspapers, photographs of their families, religious images, erotic posters and landscapes.
The artist was interested in the ties that connected people with objects and architecture, as well as the way individual aesthetic preferences, political and religious views manifested themselves through the arrangement of private space.
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Writer and curator Wojciech Nowicki wrote in his book “Dno oka. At the same time, “Sociological Record” broke into numerous sub-categories l escaped the principles of the project. Some of these categories evolved into separate cycles, e. Travelling and working on “Sociological Record” inspired Rydet to discover new potential avenues for her project — for instance, the artist photographed bus interiors: What is more, an analysis of unpublished photographs reveals that the artist staged the vast majority of the works — Rydet re-arranged photos on the walls, and assembled objects on tables into compositions.
Thus, she created specific kinds of installations or assemblages that comprised elements found in the homes of people she did not know. Yet, the idea was abandoned possibly due to the unfavourable — the extremely poor and backward — image of Poland that the series revealed.
During the final years of her life, Rydet was already too weak to travel around Poland with her camera. That was the reason why she started to modify her photographic material with scissors, using pieces of fabrics, dried flowers and buttons.
Always on the road and with the camera in her hand the artist confided to Anna Beata Bohdziewicz in an interview: Rydet wrote in one of her exhibition outlines ca.
The exhibition Zofia Rydet. The cumulative effort of the four partners has created the possibility to digitise Sociological Record and to make the cycle available to the public almost in its entirety, complete with numerous source materials, within the online archive www.
Treatise on objects or treatise on man? On objects and people. What and how did Zofia Rydet photograph?