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Markéta Luskačová (b. Prague, 1944) is a Czech photographer known for her series of photographs taken in Slovakia, Britain and elsewhere. Considered one of the best Czech social photographers to date, since the 1990s she has photographed children in the Czech Republic, Slovakia, and also Poland.〔(【引用サイトリンク】url=http://www.gold.ac.uk/cucr/urban-encounters/#d.en.12313 )〕 == Biography == In 1968 Luskačová graduated from Charles University in Prague with a thesis on religion in Slovakia.〔Mellor, ''No Such Thing as Society,'' p. 53.〕 During her stay in Slovakia, she became familiar with the old Christian rites and decided to return with a camera to document the surviving traditions. Her thesis was titled ''Poutě na Východním Slovensku'' (Pilgrimages in East Slovakia).〔''The Photogeny of Identity'' (2006), p. 205.〕 In the ''Pilgrimages'' cycle she mainly focused on the Slovak village of Šumiac.〔Birgus (2010), p. 156.〕 Following that she studied photography at FAMU, in this period photographing in Slovakia and Poland. From 1970 to 1972, Luskačová photographed stage performances of the ''Za branou'' theatre, founded by director Otomar Krejča. However, the theatre was banned by communists in the spring of 1972. The same year, she was allowed to display the cycle ''Pilgrims'' in the Gallery of Visual Arts in Roudnice nad Labem (the curator of the exhibition was the photography theorist and art historian Anna Fárová). In 1971, Luskačová married the poet Franz H. Wurm (native of Prague and a British citizen). Wurm, terrified by the "Normalization" in Czechoslovakia, left the country and Luskačová asked the state authorities for permission to visit her husband abroad. After several short visits she received a form for emigration (1975) and went to live in England.〔 However, in an interview she claimed: "Bohemia, Prague and Šumiac have never ceased to be my home. I always took my life abroad as a kind of stopgap that stretched to be a considerable part of my life."〔 In the 1970s and '80s, the communist censorship attempted to conceal her international reputation. Her works were banned in Czechoslovakia, and the catalogues for the exhibition ''Pilgrims'' in the Victoria and Albert Museum were lost on their way to Czechoslovakia. Luskačová started photographing London's markets in 1974.〔Mellor, ''No Such Thing as Society,'' p. 154.〕 In the markets of Portobello Road, Brixton and Spitalfields, she "() a vivid Dickensian staging".〔 ==Selected exhibitions== *"Photographs from the Beaches" (with Sirkka-Liisa Konttinen). Side Gallery (Newcastle), 1978.〔"(Side Gallery Exhibitions 1977–1994 )", Amber Online. Accessed 15 February 2009.〕 *"North Tyneside" (with Isabella Jedrzejczyk, Sirkka-Liisa Konttinen and Graham Smith). Side Gallery (Newcastle), 1981.〔 *"Pilgrims". Side Gallery (Newcastle), 1985.〔 *"Primary Concerns". Side Gallery (Newcastle), 1989.〔 *"Photographs of Spitalfields". Whitechapel Art Gallery (London), 1991.〔Documented in the catalogue ''Photographs of Spitalfields.''〕 *"Poutníci". Fotografická galerie Fiducia (Ostrava), 2001–2002.〔(List of exhibitions, 1995–2008 ), Fotografická galerie Fiducia. Accessed 15 February 2008.〕 *"No Such Thing as Society: Photography in Britain 1968–1987." Aberystwyth Arts Centre; Tullie House, Carlisle; Ujazdów Castle, Warsaw; Luskačová is one of a number of photographers shown.〔(Press release ) for the exhibition, British Council. Accessed 15 February 2009.〕 *"The Photogeny of Identity – The Memory of Czech Photography", National Museum of Photography (Jindřichův Hradec), 2008.〔(Exhibition notice ), National Museum of Photography at Jindřichův Hradec. Accessed 15 February 2009.〕 *"The Third Side of the Wall: Photography in Czechoslovakia 1969–1988 from the Collection of the Moravian Gallery in Brno." Moravian Gallery in Brno, 2008–2009.〔(Exhibition notice ), Moravian Gallery in Brno. Accessed 15 February 2009.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Markéta Luskačová」の詳細全文を読む スポンサード リンク
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