- Josef Koudelka: ExilesOur PickBy Josef Koudelka
- Josef Koudelka: Wall - Israeli & Palestinian Landscape 2008-2012Our PickBy Josef Koudelka in collaboration with Ray Dolphin
- GypsiesOur PickBy Josef Koudelka
Important Art by Josef Koudelka
Koudelka contrasts the faces of a man and a woman: his expressionless, calm face and her expressive, articulate countenance. She faces the viewer head on, speaking directly to the audience, while he is seen in profile, gazing down. His head appears suspended in mid-air and his face is graphically abstracted into shapes of light and dark. While her head emerges out of the dark background, anchored by her neck and shoulders. The raw graininess of the black and white image lends drama to the scene, which pulls the viewer in, drawing an emotional response to the noise of the image which belies the silence of the photograph. As the art historian Anna Farova explains, "his theatre photography succeeds in effectively conveying the essence of every performance."
These images of Czech theater were an important first step in Koudelka's process of developing a unique way of depicting theatrical performances in the 1960s. His photographs of theatrical scenes foretell his love for the emotional and stylized rendition of drama. These pictures not only provided the material for his first exhibition in Prague, which took place at the Semafor theatre in 1961, but also the cover images for the important theater magazine Divadlo.
Three young gypsy boys proudly display their toughness to survive the challenges of their nomadic existence, in spite of their thin bodies, as they puff up their chests like Western bodybuilders. Koudelka's empathy for these peoples living on the edge of society, defined by a homogenous nationalism, enabled him to capture the epic drama of their everyday lives. Koudelka described the gypsy series as the "theatre of the real," as he identified how their lives involved drama, large gestures, boldness, camaraderie, and loneliness.
Koudelka lived among the Roma (gypsies) in Slovakia and Romania in the 1960s, as well as among gypsies in other European countries, spanning a period of sixteen years. Through hard won trust, he established understanding and acceptance between subject and artist, and a symbiosis of respect. The Roma accepted Koudelka as an outcast and even considered him more of a displaced person by comparison. Thus they interchangeably observed one another as the viewer and the viewed. In the mid-1970s, Koudelka published his photo-book The Gypsies, in which he records and preserves the identity of these peoples, as they faced the need to integrate into socialist society in exchange for the promise of equality.
Koudelka captures a male youth's bold gesture of dialogue and peace toward the armed soldiers sitting on top of a moving tank, during the Soviet invasion of Prague in the summer of 1968. He entered the heart of the resistance with an unflinching sincerity: he climbed tanks, mixed with the protesters, positioned himself between the demonstrators and armed soldiers with machine guns. Koudelka vividly documents how Czech citizens resisted by inciting dialogue with the armed soldiers to challenge them to question the reasons given for this aggression. He even photographed the many paintings and posters that appeared daily on the city walls, which were torn down by the invaders by each evening. His work documents the invasion by some 200,000 soldiers and 2000 tanks of Warsaw Pact troops on the night of August 20, 1968 to crush the Prague Spring.
Throughout the weeklong invasion, from August 21st to 27th, Koudelka reputedly took some 5000 photographs. He spent the winter selecting and printing the images. These photographs were published anonymously on the anniversary of the invasion in an ample reportage for the Sunday Times magazine in London and Look magazine in New York. These photographs were prepared from the negatives, which were clandestinely sent to the United States and entrusted to the Magnum Photo Agency. Not until 1984 did Koudelka identify himself as the photographer of these images, which are suffused with a sense of outrage, anger and disbelief. These photographs provide a unique record of a historical event as it unfolded, which is particularly poignant when viewed in relation to the political acquiescence that ensued.