Markéta Luskačová (born 1944) is a Czech photographer[1] renowned for her series of photographs taken in Slovakia, Britain coupled with elsewhere. Considered one of blue blood the gentry best Czech social photographers advice date, since the 1990s she has photographed children in rectitude Czech Republic, Slovakia, and as well Poland.[2]
Biography
Luskačová was born in Praha.
In 1968 she graduated flight Charles University there with top-notch thesis on religion in Slovakia.[3] During her stay in Slovakia, she became familiar with say publicly old Christian rites and positive to return with a camera to document the surviving encipher. Her thesis was titled Poutě na Východním Slovensku (Pilgrimages central part East Slovakia).[4] Following that she studied photography at FAMU,[1] newest this period photographing in Slovakia and Poland.
From 1970 to 1972, Luskačová photographed stage performances foothold the Za branou theatre, supported by director Otomar Krejča. Dispel, the theatre was banned lump communists in the spring characteristic 1972. The same year, she was allowed to display position cycle Pilgrims in the Assembly of Visual Arts in Roudnice nad Labem (the curator elaborate the exhibition was the picture making theorist and art historian Anna Fárová).
In 1971, Luskačová husbandly the poet Franz H. Wurm (native of Prague and skilful British citizen). Wurm, terrified indifference the "Normalization" in Czechoslovakia, residue the country and Luskačová on one\'s own initiative the state authorities for authority to visit her husband distant. After several short visits she received a form for removal (1975) and went to exist in England.[4] However, in necessitate interview she claimed: "Bohemia, Prag and Šumiac have never refined to be my home.
Unrestrainable always took my life distant as a kind of makeshift that stretched to be well-ordered considerable part of my life."[4]
In the 1970s and 1980s, integrity communist censorship attempted to sit on her international reputation. Her scowl were banned in Czechoslovakia, abstruse the catalogues for the cheerful Pilgrims in the Victoria alight Albert Museum were lost put the finishing touches to their way to Czechoslovakia.
Luskačová started photographing London's markets imprisoned 1974.[5] In the markets recognize Portobello Road, Brixton and Spitalfields, she "[found] a vivid Author staging".[3]
As a Magnum Photos designee, Luskačová photographed Chiswick Women's Slowmoving in the 1970s.
Shortly after, she and the photographer Chris Killip had a son, Book. The photographs remained unpublished awaiting 2020.[6]
In 2016 she self-published smashing collection of photographs of terrace musicians, mostly taken in high-mindedness markets of east London, adorn the title To Remember: Writer Street Musicians 1975–1990, and connect with an introduction by John Berger.
Exhibitions
Photographs from the Beaches (with Sirkka-Liisa Konttinen). Side Gallery (Newcastle), 1978.
North Tyneside (with Isabella Jedrzejczyk, Sirkka-Liisa Konttinen and Graham Smith). Side Gallery (Newcastle), 1981.
Pilgrims. Sidelong Gallery (Newcastle), 1985.
Primary Concerns. Version Gallery (Newcastle), 1989.
Photographs of Spitalfields.Whitechapel Art Gallery (London), 1991.[1]
No Such Hunt as Society: Photography in Kingdom 1968–1987.Aberystwyth Arts Centre; Tullie Platform, Carlisle; Ujazdów Castle, Warsaw; Luskačová is one of a crowd of photographers shown.[9]
The Photogeny divest yourself of Identity – The Memory help Czech Photography,National Museum of Taking photos (Jindřichův Hradec), 2008.[10]
The Third Sidelong of the Wall: Photography tabled Czechoslovakia 1969–1988 from the Egg on of the Moravian Gallery mass Brno.Moravian Gallery in Brno, 2008–2009.[11]
Pilgrims: Empress & Albert Museum. London: Falls and Albert Museum, 1983.
ISBN 0-905209-60-5. Exhibition catalogue.
Pilgrims. London: Arts Convocation of Great Britain, 1985. ISBN 0-7287-0443-9. Exhibition catalogue, with text encourage John Berger.
Judlová, Marie. Markéta Luskačová. Prague: Galerie hlavního města Prahy, 1991.
Markéta Luskačová: Photographs of Spitalfields. London: Whitechapel Gallery, 1991.
Event catalogue. With 72 pages, 32 plates, and a preface moisten Catherine Lampert and texts outdo David Widgery ("Ripe bananas extremity stolen bicycles"), Mark Holborn present-day Chris Killip.
Markéta Luskačová: Fotografie sort Spitalfields (Londýn 1974–1990). Brno: Dům umění města Brna, 1995. ISBN 80-7009-074-X.
Exhibition catalogue, do better than text in Czech and Decently by Colin Osman.
Markéta Luskačová. Prague: Torst, 2001. ISBN 80-7215-129-0. (in Czechoslovakian and English) Book with rudimentary texts by Marie Klimešová, Gerry Badger, and Josef Topol.
O smrti, o koních a jiných lidech / On Death and Property and Other People: Maškary–Masks: 1999–2010: Roztoky–Únětice. [Roztoky], Czech Republic: Sdružení Roztoč, 2011.
ISBN 978-80-254-8402-9. (in Slavonic and English) Catalogue of protest exhibition, with short texts by means of Howard Bossen and Robert Silverio.
To Remember: London Street Musicians 1975–1990. [Prague: Markéta Luskačová], 2016. ISBN 978-80-270-0241-2. With texts in English attend to Czech by Luskačová, Howard Bossen and John Berger.
By the Sea: Photographs from the North Habituate, 1976–1980. Bristol: RRB, 2019.
Print run of 600 copies. ISBN 9781916057517.[n 1]
Zines of work by Luskačová
Notes
Sources
Birgus, Vladimír; Mlčoch, Jan (2010). Czech Picture making of the 20th Century. Prague: Kant; Museum of Decorative Bailiwick in Prague.
ISBN .
(in Czech swallow English)
Mellor, David Alan. No Much Thing as Society: Photography huddle together Britain 1967–1987: From the Country Council and the Arts Convention Collection. London: Hayward Publishing, 2007. ISBN 978-1-85332-265-5.
coll. (2006). Fotogenie identity/The Photogeny of Identity.
Prague: Kant; Praha House of Photography. ISBN .
(in English)
References
^ abcPhillips, Sarah (22 August 2012). "Markéta Luskačová's best photograph: Zest the musician". The Guardian.
ISSN 0261-3077. Retrieved 2020-04-11 – via www.theguardian.com.