Fotograf Magazine
So much has been written about Miroslav Tichý over the course of three years that, for many, he has undeservedly quickly found his place alongside famous Czech photographers such as Josef Sudek or František Drtikol. They all share an unusual lifestyle, their photographs command high prices and their work evokes strong reactions from both audiences and theoreticians. In professional circles, new older artist are usually accepted with reservations, but his individual exhibition, a small monograph including a theoretical text and biography, and an erudite review[ref]Miroslav Tichý. The Brno House of Arts, , curators: P. Vančát, J. Vránová. Buxbaum R., Vančát P.: Miroslav Tichý, Prague, Torst Pátek J.: Tichý Arrives in Bohemia, Fotograf, p. –, 7/ [/ref] have paved the way for this artist’s presence to be clearly felt in the Czech art world. There is a catch, however. The current efforts at judging or placing the artist’s works within the context of art history are all too reminiscent of the many years during which state institutions worked to deny Tichý a free and authentic way of life.[ref]On each May Day, the police transported Tichý out of town so tha
Photography is painting with light! The blurs, the spots, those are errors! But the errors are part of it, they give it poetry and turn it into painting. And for that you need as bad a camera as possible! If you want to be famous, you have to do whatever you’re doing worse than anyone else in the whole world &#; Miroslav Tichý
Miroslav Tichý with one of his home-made cameras. They often looked so odd people didn&#;t realise they could actually take photographs.
Some have described the Czech photographer Miroslav Tichý as the &#;master of the voyeuristic photograph&#;. Grashina Gabelmann in Tissue magazine wrote that he was considered by many to be:
A perverted flâneur, an anti-modernist, a voyeur equipped with a homemade camera and the small town eccentric.
But Gabelmann went on to say that after he died in new work of his, including many drawings, showed that Tichy had real artistic technical ability and that, &#;he was more than the pervy voyeur he is made out to be.&#;
Born in in Kyjov in the Czech Republic Tichý was training as a painter at the Academy of Arts in Prague until the Communist coup d&#;état in February Almost immediately &#;dissident&#; ele
Photographer Snaps Nearly A Hundred Photos a Day With Homemade Camera
Miroslav Tichý, was a photographer that constructed his own homemade cameras out of cardboard tubes, tin cans, dress elastic and old camera parts he found. From to he used these homemade cameras to snap thousands of images around town often of unsuspecting women. It wasn't till that one of his friends gathered up prints strewn all over his studio, and organized them to share with the world through photo exhibitions, that Tichý's work would finally be discovered.
Tichý was known around town as a rebel, an eccentric man, even the boogyman. He ceased to care how he looked, dressing like a vagabond, possibly expressing his rebellion through his personal appearance. Tichý began experimenting with photography in , before that he was a painter. When asked why he changed from painting to photography he answered, "All drawings have already been drawn. All paintings have already been painted. What was there left for me to do?"
After shooting throughout the day, Tichý would return to his cluttered mess of a studio to process his film and create his prints. These prints would often end up in stacks on the table or
MIROSLAC Tichý ( &#; ) was the man with the homemade cardboard, plywood and tin cameras who snapped photos of unsuspecting locals going about their day in Kyjov, Czech Republic.
Many of the pictures are of women. Many of the women were at the swimming baths.
On his Facebook page, Tichý gets a grand billing:
This last master of the 20th century photography was only discovered some 6 years ago and left a radical and unorthodox body of photography focussed on the female figure. After studying at the Academy of Arts in Prague, Miroslav Tichý withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late s he quitted painting and became a distinctive Diogenes-like figure. From the end of the s he began to take photographs mainly of local women, in part with cameras he made by hand. He later mounted them on hand-made frames, added finishing touches with pencil, and thus moved them from photography in the direction of drawing. The result are works of strikingly unusual formal qualities, which disregard the rules of conventional photography. They constitute a large oeuvre of poetic, dreamlike views of feminine beauty in a small town unde
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