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Miroslav TichyOriginal Vintage Print - Woman in Bikini - Unique Piece1971
1971
About the Item
Original Miroslav Tichý b/w Photography.
Woman in Bikini. 17.5cm x 10.5cm
Unique Vintage Print on paper with the artist's drawing on it.
Miroslav Tichý was a photographer who from the 1960s until 1985 took thousands of surreptitious pictures of women in his hometown of Kyjov in the Czech Republic, using homemade cameras constructed of cardboard tubes, tin cans and other at-hand materials. Most of his subjects were unaware that they were being photographed. A few struck beauty-pageant poses when they sighted Tichý, perhaps not realizing that the parody of a camera he carried was real. His soft focus, fleeting glimpses of the women of Kyjov are skewed, spotted and badly printed — flawed by the limitations of his primitive equipment and a series of deliberate processing mistakes meant to add poetic imperfections.Of his technical methods, Tichy has said, First of all, you have to have a bad camera and, If you want to be famous, you must do something more badly than anybody in the entire world. During the Communist regime in Czechoslovakia, Tichý was considered a dissident and was badly treated by the government. His photographs remained largely unknown until an exhibition was held for him in 2004. Tichý did not attend exhibitions, and lived a life of self-sufficiency and freedom from the standards of society.
Tichý died on April 12, 2011 in Kyjov, Czech Republic.
Conservation
The works were unnumbered, untitled and undated. Tichý kept no catalogue and had no room to properly store his negatives or prints. Once he had printed a picture, it was cast aside, dropped haphazardly about his home, exposed to dirt and damage, rats and insects. In 1981, Roman Buxbaum, a former neighbor befriended by Tichý when Buxbaum was a child, returned from exile in Switzerland. His family had long been owners of paintings and drawings by Tichý, and now Buxbaum discovered the photographic work, which had been kept a secret. Buxbaum began an effort to collect and preserve the artist's deteriorating photographs. He says that over the next 25 years it was his good fortune to be the only person to see, collect and document Tichý's work. Tichý made him presents of bundles of photographs, and Buxbaum bought more bundles from Tichý's neighbor and "surrogate mother", Jana Hebnarová, who has looked after Tichý since his mother's death and been appointed his heir.
Recognition
As part of Buxbaum's conservation efforts, he made a documentary about the artist's work and life, Miroslav Tichý: Tarzan Retired (2004). Tichý's work was largely unknown until Buxbaum's collection of his photographs was shown at the 2004 Biennial of Contemporary Art in Seville. Tichý's work won the Rencontres d'Arles 2005 New Discovery Award, and Buxbaum set up the Tichý Oceán Foundation on behalf of Tichý, then 77, to preserve and exhibit his work. In 2005, he had a major retrospective at the Kunsthaus in Zurich, another at the Pompidou Centre in 2008. In February 2010, Tichý had a solo show at the International Center of Photography in New York City. The exhibition featured 100 photographs, the film Miroslav Tichý: Tarzan Retired, and two large vitrines exhibiting dusty and grimy piles of photographs, homemade cameras, lamps, and rolls of undeveloped film. In its review, The New York Times thought his anti-modernist style was representative of the nonviolent subversion practiced by Czech students and artists under the Soviet regime, and called his photographs an uncanny fusion of eroticism, paranoia and deliberation that is mildly disturbing [but also] intensely fascinating.
Miroslav Tichý was known for his unconventional and candid approach to photography, often capturing everyday moments with a unique perspective. "Woman in Bikini" is a black and white photograph that likely reflects his distinctive style.
In "Woman in Bikini," we see a candid scene of a woman as she dries off after a swim. She is wearing a bikini, which suggests a relaxed and leisurely atmosphere, possibly at a beach or swimming pool. Tichý's work often portrayed ordinary moments in the lives of his subjects, giving them an intimate and unguarded quality.
The use of black and white photography adds a timeless and classic feel to the image, emphasizing the shapes, contrasts, and textures within the scene. Tichý's approach often involved using homemade and improvised cameras, which could result in unconventional compositions and visual effects.
As with much of Tichý's work, "Woman in Bikini" likely captures the essence of a fleeting and unposed moment, providing viewers with a glimpse into the everyday lives of his subjects. It's an example of his ability to find beauty and interest in the mundane, offering a unique perspective on the human experience.
- Creator:Miroslav Tichy (1896-1961, Czech)
- Creation Year:1971
- Dimensions:Height: 6.89 in (17.5 cm)Width: 4.14 in (10.5 cm)Depth: 0.08 in (2 mm)
- Medium:Photographic Paper,Pinhole
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:
Miroslav Tichy
Tichý is truly one of the great ‘finds’ of an unknown artist who worked on the outside edges of the art world. Born in 1926, he attended the Academy of Fine Arts in Prague in the late ‘40s and produced figurative paintings that were, apparently, of a vaguely modernist character. Alienated from the prevailing Communist regime, he turned his back on the official art world and withdrew to a life in isolation to live quietly and poorly in the small Moravian town near Brno where he was born. His generally nonconformist way of life led to run-ins with the authorities; following the communist takeover Tichý spent some eight years in prison camps and jails for no particular reason other than he was ‘different’ and was considered subversive. Upon his release in the early 70’s, Tichý wandered his small town in rags, pursuing his obsession as an artist with the female form by photographing in the streets, shops and parks with cameras he made from tin cans, and other junk he found on the street - even his lenses were cut from Plexiglas or children’s spectacle lenses and polished with a mixture of toothpaste and ashes.. He would return home each day to make prints on equally primitive equipment, making only one print from the negatives he selected. For a long time, Tichý was something between a charming oddity and a local bogeyman. He was frequently arrested for hanging around the local pool and snapping pictures of unsuspecting women. The fact that this was all occurring under an oppressive Communist regime added a certain air of rebellion to the proceedings, whether or not he intended it. With time, the locals grew accustomed to his presence and would often welcome having their photos taken. Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period.
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