Abstract:

Photography With Unseen Faces II builds on the author's previous artistic research,which closely touched on the phenomenon of the hidden face in photographic and artistic creation, in the time span from the beginning of photography to contemporary photography. In the historical and theoretical part of the thesis, the author analyses how contemporary artists reflect older patterns and whether and how they develop them towards new contents and forms. The author focuses on the objective - meaning-making and subjective motives of photographs that do not in any way depict the face or other facial details. The author then illustrates the individual motifs with the work of selected artists from history and the present, both from the domestic and foreign photographic scene. She also introduces the subsidiary categories of motifs that lead the author to apply this form, and describes the techniques and authorial approaches that have been used to create faceless photographs. An essential element of the thesis is then a consideration of the unique contents and meanings that emerge in the interaction between author, viewer and work, i.e. the faceless photograph. The essayistic approach to the topic develops the work further.