… The forms derived from textual, framed pictorial (painting, print, etc.), motion picture- and photography-based (perforated edge) media become “unified”: following its digitalisation and classification according to the new system, the data/information is stored in the corresponding files and folders.
… This series is particularly special because it is the earliest surviving example of documentary photography in Hungary. The daguerreotypes in this series document art objects and the exact date and location of the daguerreotypes of the series are also known, as well as the sponsor and the creator. Their value is also enhanced by the fact that the pictures were taken outdoors in the yard of the artist's house in Buda, and one of them shows a full portrait of the sculptor. István Ferenczy …
… were taken by his friend József Plohn (1869–1944), a prominent figure of Hungarian ethnographic photography. The journals and correspondences discovered in 1984 were initially processed by the Tornyai’s first monographer, art historian and Hungarian National Gallery staff member Éva Bodnár, who published her findings in her 1986 volume entitled Tornyai Rediscovered. Her manuscripts and notes for the oeuvre catalogue, along with her documents relating to the transfer of the Tornyai …
… Beke’s interests also extended to intermedial art, i.e. to the interdisciplinary frontiers of photography and film theory, painting, sculpture, graphics, architecture, experimental film, and video. László Beke’s manuscripts and essays in the Archives cover the wide range of his interests in aesthetics, philosophy of art, psychology of art, sociology of art, visual anthropology, intermedia, ethnography, structuralism, linguistics, semantics, semiotics, and visual education. His …
… letters and messages requested by Fábri from the artists she captured, reflecting on the act of photography. /Balázs Zoltán Tóth/