THE CONCEPTUAL USE OF PHOTOGRAPHY IN THE ARTWORK OF ANTUN MARAČIĆ

Abstract

Based on selected works, the article analyzes the conceptual use of photography in the work of multimedia artist Antun Maračić, from his first use of analog black-and-white photography in the mid-seventies to a number of photography series from his “Dubrovnik period” that lasted from 2000 to 2012. While the artist uses photography as a necessary tool for recording the ideas of his work with strong existential connotations during the mid-seventies, the series of war photographs published in Emptied Frames / Vanished Contents (1991 – 1994) uses photographs in a self-sufficient and symbolic manner, and the conceptual fabric is woven into the scene itself. The conceptual framework of Maračić's photography series from 2000 onwards is mainly centered around following motifs over a long period of time in the liminal space between life and art and the subsequent introduction of photographs into the context of art. This paper is open access and may be further distributed in accordance with the provisions of the CC BY-NC-ND 4.0 HR licence.