1 50 1 http://www.moremuseum.org/omeka/files/original/465463ffb6ec9ced29f135b253b5f9d4.jpg 4da0c6d3ad4c978c596da4f5d07c32c3 http://www.moremuseum.org/omeka/files/original/011a0106dbbba730077ca1ad8d455790.jpg 5d3c6c8d1076a2b5451be876e58ecdff http://www.moremuseum.org/omeka/files/original/85de864b364381b7e861e2806df09cd5.jpg f387be79bae45a43e1763d04d2b21b8e http://www.moremuseum.org/omeka/files/original/a9647271bf5b9e49a400c14ffd48c2eb.jpg 5fbdcce26539b8933a7262587bed4dd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petar Dabac Description An account of the resource Petar Dabac was born in 1942 in Zagreb. He graduated from the Faculty of Mechanical Engineering and Naval Architecture in Zagreb. He started working in photography in 1960 as an associate in Tošo Dabac’s studio - Tošo Dabac is one of the most important Croa-tian photograph of the post-war period, documenting the cultural transformations and the artistic and social events of his country - which he took over after Tošo’s death in 1970. He’s been working as an independent artist since 1966 and he’s been a member of ULU-PUH (The Croatian Association of Artists of Applied Arts) since 1970. From 1980 to 1987, he organized around 40 photo exhibitions of local and international authors at the gallery established within Tošo Dabac’s Studio. During the 1990s and early 2000s, it was increasingly difficult to maintain the Tošo Dabac Archive, so that Petar Dabac launched negotiations with the City of Zagreb on the purcha-se of the collection. He is one of the founders of SPOT, a photography magazine, launched in 1972. Frm 1990 to 2008, he teached Photography at the Academy of Fine Arts in Ljubljana. In the sixties, he began working on a series of black-and-white portraits of artists, acquaintances, friends and members of the art scene, which he continued to create during the following decades. He belongs to a generation of artists who introduced the conceptual approach to photography in the 1970s by creating spatial installations and doing experiments with photocopies and photograms. Creator An entity primarily responsible for making the resource Dabac, Petar Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum of Photography Description An account of the resource <p>Petar Dabac began by tackling the issue of conserving photographic heritage to protect the legacy of Tošo Dabac, his uncle. He proposed the establishment of a Museum of Photography in Zagreb to collect, store and copy photographic documents. The Museum would also have exhibitions, a library and a permanent display. <a href="https://www.repository.unipr.it/bitstream/1889/3688/4/Petar%20Dabac_Museum%20of%20Photography.pdf" target="_blank" rel="noopener">Read more.</a></p> Creator An entity primarily responsible for making the resource Dabac, Petar Date A point or period of time associated with an event in the lifecycle of the resource 1986 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Petar Dabac MoRE museum Financial reasons Logistical reasons