Найбільшого визнання, яке досягло рівня справжньої слави у 1970-х роках, Олег Мальований отримав як фотохудожник, яскравий образ якого він активно культивує, стаючи взірцем для багатьох фотографів міста, що прагнуть втілити себе в фотографії-як-мистецтві.
More than a thirty-year-old photographic practice of Anatoliy Makiyenko belongs to Kharkiv School of Photography, the characteristics of which were recognised and systematised not so long ago.
Misha Pedan: All the Fears at the End of the Soviet Era Were Connected with the Fact that It Was Unclear Where the Danger Was Coming from.
Misha Pedan on the structure of Kharkiv photography scene in the 1970-1980s, the change of aesthetic paradigm and the specific character of curatorial activity in the Soviet period of “perestroika”.
In a country where photographic practice existed in only two modes – an amateur one, focused on technical quality, encouraged by the state through the creation of a network of photo clubs, and a reportage one, directed by an ideological governmental order – Rupin and the other members of the Vremia group were looking for ways to rethink photography as an artistic practice