Miroslav Tichý (1926 – 2011) is a well-regarded photographer on the gallery circuit; the late Czech artist won Rencontres d’Arles’ 2005 New Discovery Award, and has had his work shown around the world.
However, at the time of their exposure, both Tichý ‘s subject matter and photographic techniques placed his images well outside of the artistic mainstream. Having studied at the Academy of Fine Arts in Prague, Tichý became disillusioned with the Soviet arts establishment, and went onto become something of a peeping tom as well as a political dissident.
Today however, in an age of digital fidelity and online titillation, Tichý’s vernacular film exposures take on a poetic charm, while the sheer variety of the women he photographed – shop assistants, beauty queens, quite ordinary girls sunbathing – mitigates at least some of the accusations of perversion that have come his way. As we reported back in March, his work was well received at last year’s Moscow Photo Biennale and prints have become hot property among collectors.
This kind of ambiguous images creates peculiar visual effect. I really like these images by Miroslav Tichý. It seems that each photograph within many uncertain elements, which bring more imaginative interspace. I highly prefer to this kind of uncertainty and ambiguity in artwork.