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•pf-IAlDON I
 The photographic image is
central to contemporary art. yet only in the late twentieth century did major museums
and galleries start adding photographs to their collections and exploring its social
role as a medium of representation. As photography began to be viewed on a par with
fine art. photographers including Andreas Gursky. Robert Mapplethorpe. Cindy
Sherman and Jeff Wall contributed to its emergence as art's pre-eminent medium.
Exploring photography's technical and conceptual innovations. David Campany·s
broad-ranging survey challenges the way we look at the world. The first book of its
kind. Art and Photography presents a comprehensive survey of photography's place
in recent art history.

DAVID CAMPANY is a writer and artist. and Reader in Photography at the University
of Westminster, London. He was co-founder of the organization Photoforum. which
brings together theorists and practitioners working in the photographic arts. His writing
is included in Rewriting Conceptual Art(1999), Postcards on Photography, Photorealism
and the Reproduction (1998), Cruel and Tender, The Real in the Twentieth-Century
Photograph (2003) and Stillness and Time, Photography and the Moving Image (2006).
He is the editor of the anthology The Cinemalic(2007) and the author of Photography
and Cinema (2008).

ISBN 978-0-7148·6~92-4 £ 12 ·95

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ART AND
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-
ART AND
PHOTOGRAPHY
EDITED BY DAVID CAMPANY
 page 10

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WORKS page46
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Photography is embedded in almost every aspect of our visual culture. If one were to gather together al random a dozen "
photographers they may not have much in common. Little appears to unite the photographic imagery of journalism.

fashion, the police, architecture. portrait studios. medicine. geography, anthropology. the film industry. community

projects, advertising. amateurism and the rest.

Photography in art is equally diverse. II is made by many practitioners with a range of artistic identities, ·art

photographers'. ·artists'. ·photographic artists·. ·artists using photography' and ·photographers·. This book is not

concerned with pedantic categories but it does take this tack of consensus as a way to look at the multiple sensibilities of

photography in art.

In the mid 1960s many artists were looking to expand their horizons to engage with the rapidly changing world and its

representations. It was in the photographic that they glimpsed the means to do it. Every significant moment in art since the

1960s has asked. implicitly or explicitly, 'What is the relation of art to everyday life?' And so often that question has taken

photographic form. Why? Because it is an everyday medium. The photographic has achieved its greatest significance for

art in its adaptabilily. This has been the source of its radical potential. of its fascination for artists and its extraordinary

capacity for renewal.

The aim here is to took at the variety of places photography has occupied in art since the mid 1960s. The recent past is

the most difficult of things to grasp. and there is always the possibility that an overview will hastily define works and artists

just as they are trying to open up new questions. With this in mind the structure of this book makes use of themes that

depart from but complement those familiar from recent art history such as ·conceptual art·. ·poslmodemism·. 'the body',

as well as those from recent histories of photographic art- 'image/text'. 'the constructed image·. 'identity' and the ·political

image. Certainty all these have their place here but the aim is to cut across them to arrive at other themes that can be seen

to have been constant but variable over the last few decades.

Section one. Memories and Archives. looks at work that has explored the photograph's rol e in the formation of public

and private histories. Section two. Objective Objects. looks at the photograph's apparently direct relation to the world.

Section three. Traces of Traces. examines photography as a record of the real and its effects. Section four, The Urban and

the Everyday. looks at the supplanting of classical ·street photography' with a breadth of attempts to register the social and
economic complexities of contemporary city life. Section five, The Studio Image. charts the intersection of the photographic

studio and fine art·s traditional space of making. Section six. The Arts of Reproduction. brings together photography that

rethinks art·s past with works that reflect upon the way mass culture is experienced as fragments. Section seven. "Just'

Looking. addresses the ways photography has been used to question the social structures of vision and the place of the
gaze in the formation of our identity. And section eight. The, Cultures of Nature. looks beyond 'landscape photography' to

bring together works that examine how the current understandings of the natural are formed and reflected through

contemporary representation. The themes used here are not a rigid classification but a suggestion. a way lo bring works

into dialogue with each other.

You know exactly
how I feel about
photography.
I would like to see
it make people
despise painting
until something
else will make
photography
unbearable.
" Over the last three decades or so art has
become increasingly photographic.
Why phrase it this way around? Why not say
photography has become art? Because that
would suggest a kind of unity in the medium
when in fact photography has ended up in
art in diverse ways, ford iverse reasons.
This wasn't the result of a recognition of a
singular medium with singular credentials.
Certainly photography has always had its
champions who have spoken on its behalf,·
made attempts to give it an identity and
tried to fashion it into something artistically
unique, although they have rarely agreed
on what it shou Id be. In 1989 our grandest
cultural institutions put on large historical
survey shows. They were pitched as a mix
of 150th birthday and welcome present. 1

SURVEY
 ,,
Photography was celebrated as some now fully accepted
individual, as ifit had been struggling for recognition. It is
a personification with a long history. We might here recall
a famous little il lustration by the photographer Nadarfrom
1859 depicting Paintingtaking Photography by the hand
and offering it a place in the fine arts.
Despite the big declarations and official bestowa l, the
great ceremonial embrace of a thing called Photography was
. misleading. By 1989 the photograph ic had been seeping its
r
way into much of the most significant art practice
for over twenty years, largely unannounced and
rarely in the name of Photography. It had
appealed to artists precisely because it didn't
seem to have an intrins ic character, a clearly
definable identity. It didn't belong to art: it belonged to
everyone and no one, and what little baggage it had picked
up in the hope ofbecoming a distinctive medium was
intriguing but easy to ignore. It was photography's lack
of specialism that made it so special. And it stil l does.
In recent art no other medium has been taken up in such
a variety ofways. In what might now have become a post-
medium condition for art, photography is so often the
medium of choice.
" This book shares its title, Art and Photography, with an earlier study by Aaron Scharf
published in 1968.' Scharf looked at relations between photography and painting. For one
hundred and thirty years discussio n of photography in art had revolved around painting,
around the degree to which artistic photogra phy might be an imitation, rejection or
extension ofit. Give or take a year, 1968 is the starting point here. By the late 1960s it was
becomin g clear that the photographic was taking up unexpected dialogues with many
more of the arts than painting, such as cinema, theatre, performance, literature and
sculpture. A more radical development, however, was that artists were beginning to
reflect on the everyday photography outside of art and on representation in general.'
Sometimes playful, sometimes serious (and oftern both) it is this reflection that unites
the important uses of photography in the art of the last few decades. later in this essay
some of its different aspects are discu ssed, in parallel with the Works sections. Fi rst we
need to examine the moment when this reflection became both possible and necessary.

Photographies and Modernisms

The self-conscious art photography
ofithe 1940s and 1950s had subjected
the mechanism ofthe camera to the
plhotographer's own 'poetics of seeing'. ,
At its best this gave rise to a type of
critical and political independence. For exa mple Robert Frank's book The Americans
(1958-59) was an acerbic critique of the growing social alienation of North America.
His photographic journalis m of a post-war country uneasy with itself became very
influential. This was partly because of its subject matter, and partly because Fran k's
apparently lone voice flattered the seductive idea of the outsider photographer at odds
with the world. less politicised but equally attractive was the embattled pursuit of an
independent art of pure photography. Aperture magazine, founded in 1952 and edited
for twenty years by the mystical Minor White, was North America's bastion of a fiercely
romantic, personalised photography. In Europe a parallel Subjective Photography move-
ment was led by Otto Steinert, who champio ned tlhe cause in three group exhibitions
(1951, 1954 and 1958) .• The movement produced some beautiful photographs but was
often trenchant and defensive about its aims, so much so that it grew insular and quite
conservative. Its photographers attempted to convey free and individual expression in

SUIIVCY
their images but these turned out to bt- generkally similar to
each other in their ric:h dark tones and moody atmospheres,
suggesting a reflex retreat into the opposite ofthe c.heap
colour images ofpost,war masscultufe. Art photography had
always been wary ofthe popular character ofthe medium.
Its aesthetic aspirations could be so easily thwarted by the
colossal weightofits popular cultural 'other', with its base
indistinctness, simplicity, blank objectivity, indust,ial
standards, entertainment value and disposability. These are
things from which any art. traditionally defined, might wish
to recoil. Yet these were also the very qualities that began
to strike artists, with no vested interest in defending
photography, as being significant.
Pop art ofthe 1960s is perhaps the moment that looms
largest when we think of art embracing a mass medium.
Andy Warhol and his assistants made canvases that
reproduced photographs from newspapets, magazines,
celebrity portraits and the like. He mixed the tradition and
materials of painting with an artis.anal mimicry of me<.hanical
techniques. Silksaeens could be made in number. in
a process somewhete betwttn a cottage industry (although
Warhol called it a Factory) and mass production. For himself,
he inverted the idea ofthe lone, self- e:xpressive artist into
a mesme,isiogly blank mirror ofconsumer culture.
Outside of Pop there was a growing interest in the
evidential power that photography had iccrued over the
previous century. It had been placed in the service of sc1enc:e,
the law. news ,md other institutions as proof. Photographs
were given an enormous amount ofiuthorityin daily life.
supposedly telling us how the world is and what is import.1nt
in it. Artists took the opportunity to tackle those uses head on,
to take them as their subject matter. This was a part ofthe-
general attempt to make a more direct connection between
art and everyday life.At a time ofgreat social e:hange in Europe
and North America artists wanted tobe relevant and play their
part as well as being questioning and critical. There were
forces internal to art as well. Many felt the need to transcend "
the often stifling limitations o( abstraction which had
dominated aft for some time. Popwasone solution but by
the late 1960s its ironies seemed insufficientlycritical,
tending to close down artistic possibility rather than open it
up. Much less flashy than Pop but perhaps more significant
for the future development of photography in art was
conceptualism. Alargely retrospective term, it is applied to
an art that wanted to put id~as, investigations and definitions
first. It was a cerebral, theoretical and political prac-1ice that
set out to exilmine the natuceof communication, and the
nature ofart and al'tists. Uwanted to see if an art was possible
that did away with the mark of the hand, with the excesses
ofartistic selt'hood, to deatwith how meaning is made, both
in the world and in art. This was radically new and not new.
Its historic.al precursor is the art of Mateel Ouch amp from
the twentieth century's first two decades. In the late 1950s his
work began to influence avant-garde American artists such as
Robett Rauschenberg and John Cage,
who were precursors of conceptual
art. Ouchamp had been interested
in shifting art from questions of
morphology to questions of its
(unction, from 'What is beautiful?'
to 'What is art?' The now famous
readymades such as Fotmtoin (1917)
introduced everyday objects into the space ofart, turning the
attwork into a matter' ofnomination, ofcalling it art.) Other
of his works used anonymous industrial processes and
materials, while the photographs ofhis masquerades as
a female alter ego. Rrosc S~lavy, sc.-emed to challenge ideas
ofthe unique .1rtistic self.
Language was conceptualism's ideal medium." It could
pethaps get rid of objects, put ideas centre stage. When it had
rec:ourseto images it use<f photography in a perfunctory,
matte, of fact way, but questioned those (acts at the same
time. It was an art that didn't net-d to be about ttchnical skill
or beauty, traditionally defined, It didn't need to have the
'look' o(art. like a well-formed thought, its beauty could
emerge in the clari1yofits ideas. This is what unites works as
diverse as Edward Ruscha's brazenly amateurish photo books
(1963-71), Joseph Kosuth's 'proto-investigations' such as
Onetmd rhree Choirs (1965), Dan Graham's works for
magazines such as Homesfor Ameri,o (1966), Bn.1ce

" Nauman's improvised works made in his studio and
documented for camera (196s- 70). Douglas Huebler's sel(.
assignments called the Duroaion, Location c1nd Variable Piects
ofthe late 1960s and 1970s, Victor Burgin's illusion/anti•
illusion Phoropaih (1967- 69) and KeithArnatt's Trouser•
Word Piece (1970). Such .;irt accepted photography as an
anonymous condition ofeveryday life, but probed and
subvetted it at the same time. In some cases it was a direct
critique of the authority ofthe photograph, in others it was
indire("t: simply using photography in such obviously
inartistic ways could force a different relation to the visual.
and a different understanding of the ro le of the artist.
Photographywasessential to conceptualism but it
approac.hed it as a non-medium. There was nose.ramble to
define its essence and no programme about what it should
be. Some ofthe most significant art of the late 1960s and
1970s was being made in a medium about which the artists
didn't really care too much, certainly not as guardians or
spokespeople. And it could only have been
made with that non-attitude.
Since the late199os the,e has been much
interest in these kinds ofp,actkes, with
several survey shows and ccitical re•
evaluations. Once photography had
become available to artists, the spe-ed at
which ideas could evolve and work could
be made was often exhilarating. Moreover. not being
beholden to the often conservative pace of an art market o,
to the demands ofa photographic history meant that the vast
intellectual and artistic ground that was covered between the
mid 1960s and mid 1970s is still a great source ofinspiration
for contemporary art.'
At twenty years remove the photographic artist JeffWall
looked back and sugg~tOO that hidden within conceptual
311 w;i,s photography's moment ofmodernist •auto<ritique',
whM it examined its own condition.• Photography for the
first time was forced to ruminate on its primary social
functions n joumalism and btJfeaucraticevidence. In post•
war art Modernism is closely assoc;iated with medium
specificity- the focus on those characteristics thought tobe
unique toa medium. This in turn is assoc.iated with purity,
a purging of all those thingsextraneou$ to the essence. for
painting this meant an attention to the natncss of the canvas,
the materiality of paint, the mark ofthe hand and a rejection
S.UJtYO'
offig1.1rative representation. Abstract Expressionism. typified
by the work ofJackson Pollock, Mark Rothko and Barnett
Newman, was perhaps the best attempt at a pure modernist
painting. One version ofphotographic modernism involves
something similar, that is to say a search for the internal
properties that might make photographyunique- such as
focus., detail, fr;Jming, petspective. shutter speeds or tonality.
However. photography is inherently representational,
inher~ntly descriptive. It is thrown into the world (or the world
is thrown into it) and is thus not at all pu,eorautonomous.
Within conceptualism photography reflected on itself not by
looking inwa1ds to define a special or essential character but
by looking outward to reflect on how mass culture understood
photography, how it put its descriptive character to use in
every.day life. This version ofphotographic modernism was
the absolute opposite ofAbstract Expressionism. It was
·representational non-e:xpressionism', a rejection ofthe self•
consciously arty photograph in favour ofthe artless. dumb
and p lainly descriptive image. Within conceptualism
photography restagcd and estranged its social character.
This idea is important in the sense that modetnist art is
usually thought to be all about the 1urning away from
figurative reprtsentation.t Photography's modernism is
a turning on representation. An impure reflection on its
own impurity."' But it took a while to reilise tha1 this is what
it was. Ifconceptualism was the moment of photography's
modernism it wasn't a modernism of the manifesto, of a
declared intention for the medium. ft was la,gely accidental
and ;gnobl•. It happened bydefault."
Artists continued to take up the photographic in this way
throughout the 1970s. They put it to use at the service of
performance {Chris Burden, Carolee Schneeman, Brvce
Nauman), investigations ofthe document (Susan Hiller,
John Hilliard, Lewis Baltz, Larry Sultan and Mike Mandel,
Thomas Barrow) investigations ofthe self;md the social body
(Ana Mendieta, Hannah Wilke, Eleanor Antin, Urs Luthi, Bas
Jan Ader, Francesca Woodman), and in sculptural activity
in which the: camera extended the idea ofthe object into
~rfotmance (Richard Long, Giuseppe Penone, Cordon
Matt;a-Clark. Fischli and Weiss. Boyd Webb. David Haxton).
This splicing of photography into art practice took place in
the shadow ofa largely separate boom in interest in specic1list
art photography. A market was being developed for flneart
print:s ofthe past and their imit~tions, This was accompanied
by an unlimbeting for the public ofcriteria for the aesthetic
judgmentof photographs-letting them knowwhic:h were
art and which were not." 8igmuseums began to put on
oc<:asional shows ofar'l photography, and a few dedicated
galleries began to open.11There was a proliferation ofbooks
on the great ·mas,ters' (Henri Cartier-Bresson, Edward
Weston, And,, KerMs? and others). The leading art
magazines devoted whole issues to photography and these
too reflected the gap between specii!list art photogrJphy and
the more <:ritic-.al social reflection on the medium by artists.
In 1975 Milan-based Flosh Art lnremotionolhad a 'Special on
Photoworks'. In London Studio Jnr.ernotionol ;md in the United
States Artforum soon followed .... The latter two in particular
are revealing snapshots ofthe time. Therewereessays from
a range of perspectives; nineteenth-century portraiture,
modernist painting borrowing from photography, recent
photography books by photojournalists, the split betwttn art
photography and artists using photography, staged images of
the nineteenth and twentieth
centuries, photography in
conceptua1ism, and an introdu<:•
tion ofsemiotics and rhetoric. to
a theory ofphotography. On the
comme,cial pages thete were
advertisements for small presses
selling cheap artists' books, fiine
print sales galleries, museum shows 1 educational pad:s,
specialist bookshops, contemporary group shows in
altemative spa<:es and retrospectives of figures from the
past.'sIn some senses that wide gap between art photography
and artists using photography can be read as an ideological
one: aesthetk conservatism versus radical vanguardism;·or
formalism versos post,formalism; or a defence ofthc 'soul'
of photography against the c;lc1im that it doesn't have one~
introversion versus social engagement. Thegapwas real in
1hesensethat the audiences were quite split and the networks
of exhibition were fairly distinct." To ,11 large degree speda.list
art photography was bound up with an idea of both artist and
medium possessed ofa<:oherent and given<:ore, conven-
tionally defined. Vanguard Jrtwas dest3bilising that artistic
identity and this was intimately linked to its ad hoe and
indirect destabilising of photography as a distin<:t medium.,,
This was most dear in the uses made ofphotography by
feminist art and the revolutionary impact it has had on
thinking through what is at stake in the visual. Feminism "
brought a demand that art addre-ss the historically and
w hurally specific functions ofimages; both within and
outside of art, they are atways expressions ofsoc;-ial values,
ideologies and power. It was fominism that most emphatic.ally
prompted a widening out oftheories ofart and photography
to a theory of representation in general. And since
photog,aphywas a medium 'in gene,al'. serious questions
needed to be asked about what a theory ofphotography was
and whether it was possibleorusefol to have one.
Once it was grasped as a thoroughly social sign, lhe study
of photography began to be informed bya weahh of
theoretic.;1;1 perspec;-tives. This began to happen towards the
end of the 1970s. Two lcey books of the period were Susan
Sontag's On Photography (1977) and Roland Barthes' Comuo
Lvcidc, {1980).11 Barthes' thoughts on photography stretched
back to the 1950s and combined with his otherwritingson
literature and mass culture they have informed nearly all the
subsequent theoretical approaches to the medium. Semio•
ties, feminism, psychoanalysis, philosophy, phenomenology,
cinema studies. literary theory, institutional analysis. as well
as advanced art theory, all brought important and stimulating
insights to the thinking and making of photography.'' Many
write,s and c.,itics have<:ontributed to the now advanced
understanding ofphotography in art. including Rosalind
Krauss, Craig Owens. Douglas Crimp, Abigail Solomon•
Godeau, Griselda Polloc:k and R,gis Durand. Still more
writers are also artists, many ofwhom emerged in the
1970s and early 19Sos (Victor Burgin, Martha Rosler, Barbara
Kruger, Yve Lomax, Allan Sekula, Mary Kelly and JeffWall).
This has helped broach the often artificial division betweef'l
practice and theory, breaking with the still popular idea of the
artist as someone who works in a realm 'beyond language'.
Out of this grew what was called 'postmodern' art. a key
moment in the3lignmentof art and theory. Like conceptual-
ism, postmodern art addressed the sod al roles ofrepresen-
tation, but by the late 1970s these roles had changed. With
a shift in economic structure Western industrial countries
found themselves with an image world dominated by
television, consumerism and entertainment. This was
no longer the imagery purporting to be visual fact that had
so informed con<:eptualism.«> It was a new, a<:<:eftuated
environment ofdistrae1ive fantasy and permanent instability.
8ather than mimicking or reworking the cheapness ofthe
$tlftV ( 'I'
,. lumpen descriptive image, postmodern artists began to
dissimulate its role in consumerism and tntettainmcnlin
order to examine aitically the apparent disronnection of
ihe image from the rec1I. (I shall discuss this in detail l:ne,.)
The economic boom that had produced this cultural
situation also produced a buoyant art market that could
sustain such postmodern work The market has since
ebbed and Rowed but a long-term consequence has been
that art institutions now have a much less erratic interest in
photogr.iphy. A firmer base has allowed artists who use
photography to develop long can.•ers. Signature style, still very
much demanded by buyers and curators, is present but it is an
effect of sustained concerns, approaches and subject matter."
Against the backg,ound o( photography's sometimes
oveMhelming possibilities. artists have tende<J to pursue
particular lines ofenquiry over longer periods. Many now
t-volve theirptactice incrementally and diligently, This is
what has characterised the work ofthe fast decade or so ...
However there is a second sense in which
recent wotk has become slower, Popular
image culture has accelerated and
become largely electronic, so that photo•
graphy is now grasped as a medium
charactetised by slowness. Where once it
might have been the pinnae.le of cultural
speed, it now seems a more deeply
contemplative medium, detached even while it describes.
This has left it with the chance to reflect at a much greater
distance and with less anxiety than before. Its audiences
are beginning to approach it in that way too, These are the
conditions under which thoseolderdifferenees between
specialist art photography and artists using photography
have begun to dissolve.
Memories: and Archives
From its very beginnings photography has lent itself to the
logics of the archive. The nineteenlh-centurysystems and
templatts established for ordering data, acquiring knowledge
and assembling histories found in ita highly adaptable form
ofinformation. More than that, the ways in which photo-
graphy has been developed and deployed as a technology
have been largelydictate<J bynrchival purposes. It is a
medium ofthe particular but it is also a medium ofcollation,
comparison, repetition and distribution. It has become
central to the archives oflhe sciences. the legal system,
education. medicme, commerce, industry, art history,
entertainment, news and thedomestic family.
Despite all these investments made in it the photograph
remains, as Allan Sekula put it, a •fragmentary and incomplete
utterance', 11 It actually means linteon its own and relies on
a bro:ader textual and discursive apparatus to bring out its
latent possibilities. It is also a highly mobile kindofimage,
liable to be pried from its original location, to outlive its initial
purpose, or to exist in many places at once. Aphotograph
might be a fixed image but its meaning is much less stable.
M:ajor museums have been repositioning archival images
as art since the 1920s. Theoffic.ial canon of art photography,
assembled and promot~ in thettntury's middledec.ades,
was put together from very scattered sources, Alongside
photographs made self-consciously as art there were images
made by profoss1onal photographers with artistic ambitions
(such as an photojoumalists) and photographs brought into
art from a variety of functional archives bycur.ators. in the
latter case the ,ationalewas rarely that o(Marcel Duchamp's
Readymades. imported to problematise the definition ofart'•
Rather, there was a desire for a more seamless recontextual-
isation. The emphasis was on highlighting singular projects
and artistic ambition at work in the fields of the applied
image. The case of Eugene Atget is a well-known example.
Atget was a professional photographer who made utilitarian '
images of Parisian streets, buildings and industrial design
for any number of purposes. The carefully artless, automatic
quality of the pictures, with their inadvertently haunting
depiction ofthe empty city, attracted the atl'eruion of the
Surrealists. Ultertheywereacquired by museums not just
(or their subject matter but as a unique artistic innovation.•~
'Atget' was an invention ohhe museum.
This repositioning of photographs as art by curators has
continued, but in recent decades the archival itself- with
its images and tationales-has become one of the- most
widespread subjects (or artists. It surfaced within Pop art's
reworking of mass media imagery and then more r;1dic<1lly
in the 'non-art' strategies ofconceptualism. The systems
inherent in archives corresponded with the conceptual
interest in bureaucratic forms, seriality .ind the everyday.
The usually hidden structure that gives the archive its
auth,oritywas madevisibleand visual in artworlcs that
borrowed its formal procedures in pursuit ofdeconstroctive
 investigation of the social forms oflmowfedge. Art could be
.i space toe:xaminc the meanings and impficotionsofthe
archival, rather than simply turning its images into art works.
In general this has taken three forms, The first is the
researching, collating and re-presenting ofim3ges.
Emblematic here is theongoingAdos(1962-} assembled by
the Cerman artistCerhard Richter. It takes the form of more
than six hundred separate panels orlmages that have been
important to his work as a painter. I ncorporating news
photographs. snapshots, studies for paintings. potnogra phy
and kitsch, the bewildering diversity of the materi3I is
arranged in standardised gtids and presented in a roughly
chronological order. In its grand scale it moves betwten
public history and autobiography. social interest and private
interest.'' There is a formal order to the work but Richter is
under no obligation to m3lt:e it add up. His g,ids offer the
promise of coherenc.e and authority but the diversity ofthe
content refuses it at every tum.
..
• The format of
the grid has been
employed by
a number or
artists who have
worked with
archival material
(includingA.ndy
Warhol. Sol LeWitt, Sophie Calle, George 81iikely,Joachim
Schmid, John Oivola and Susan Hiller). In $Ome respects this
can be understood in relation to the general turn towards the
grid in art in the 1960s and 1970s. with its fl.1tteningout ofthe
picture plane and the embrace ofconstructive systems.•i
It is also an anti•hie,archical form that flattens time and de•
n:.urativises images. Rather than offering anything concrete,
the grid of photographs offers raw material to the viewer as
potential meaning, in a manner ;1kin to the archive itseff.
As the sheer weight ofimages accumulated across the
twentieth century. the task of making sense of the relationship
of photogfaphs to history and biography became deeply
fravght. In addition, the rupture in historicak onsciousness
caused by the Second World War drf!W many European ar1ists
to examine the way images can both aid and disable the
continuities ofhistoiy. mcmo,y and identity. Hence the often
melancholic and enigmatic character ofarchival subjects in
irt. This is present most acutely in the works ofChristian
8oltanski. In his projects that use found portr;1its from family
archives and newspapers, 8oltanski collates and orde,s the
"
material, giving it new purpose but preserving a sense of
dislocation. In a culture in which the portr~it is soohen
made to stand in as a sunogate for the absent person, his
ma,shalling of photographic faces is read inevitably on some
level as a marshalling ofdispossessed people, a theme
cenw1.I to the memory and culture ofpost-war Europe.''
In its formal systems the archive is organised to meet
the need for immediacy. It is depthless. all things becoming
relativised and available instantly in such a way that the
temporal gives way to the spatial (and with the coming of
the electronic archive the spatial begins to disappear too), '9
The photograph's internal relation to time is offset by its
distribution across a flat field. So while the archival m,ght in
theQryma~e the writing ofhistory possible it also frustrates it.
The photograph makes a promise of a history itcc1nnot itself
keep. There is ceftainlya sense in which the disarticulated
fragments to which so many post-war artists have be-en
drawn can be read as a metaphorforthe unruly processes of
memory and the traumatising of historic.1:I continuity. lndef?d
there are strong pa,allels between photography's emphasis
on incidental details and the involuntary memory fr:)gments
that are the raw matenal ofpsychoanalysis. It is a matter of
putting the parts together and inserting them into language:
a task that is left to the viewer of the photo fr;1gments.
(We will return to this later in a considerat,on ofallegory.)
The second strategy involves the fecreation of the atehival
image in ways thiit allvde to theconstruction of official
knowledge. All ea,lyexample is David Levinthal and Cary
Trudeau's Hitler Moves Eost: A Groph;, Chr0t1iclt (1977),
a witty yet serious remake of the popular illustrated history
book. It consists of actual testimonies ofsoldiers. documents
and archival photographs mixed with carefully shot model
set-ups of Eastern Front battles. The images mimic wjr
photography but reveal their own artifice at the same time.
There is no simple rejection of the historical photograph here
but a ,eviewing ofits often unquestioned authority.
Several artists have considered the place ofthe archive
in the formation of national and racial identities within
colonialism. for he, Sea fslond series(1992) African-American
artist Carrfo Mae Weems madeenlargementsofimages
originally made in l85oof a slave family who worked a
plantation in South Carolina. They were taken by a nf!turalist
SVllll(Y
as ethnographic studies (although many such images
circulated among the white population as illicit fetishes).
Wttms' blow,ups ofthe pocket•siz:ed daguerreotypes
overwrite theseclassificatoryviews (right profile. frol'ltal shot,
left profile), transforming them into a triptych portrait format
which shifts our relation to the sitters ~nd the status oftheir
histories."" Warren Neidich reV1sited the official vetsions or
North Amefican history in his Conrro, Curtis: Early American
Cover-ups (1985). He took photographs of Westerns screened
on American television, toning and printing them as historical
pseudo-documents. Theimagesof'Americ.an Indians'
emphasise how m11ss entertainment is a problematic: source
of popular history, while the title ofthe project alludes to
Edward SheriffCurtis' tum of the century depictions of Native
Americans as a noble but doomed 'vanishing race'.'' In Diory
ofa Viccoritm Dandy (1998) the English artist Yinka Shonibare
assumes the role ofa black nineteenth-century gentleman
ofwealth and taste, His h.1xu1ious tableaux ofleisurely
extravagance were shown as billboard posters on the London
Underground. bringing these unfamiliar scenarios. and thus
a consciousness of black history, into high public visibility.
The third approach has been the explo,ation of the
inte,relations of collective history and private memory. Where
popular wisdom presumes these to be separate things, the
photograph always moves between the two, blurring any easy
distindion. Mohini Chandra's Album Pocif,ca (1997) brings
together images from her dispe,sed Fiji Indian family in a
symbolic reunification ofpeople sc.attered around the world.
Mari Mahr's poetkcollages. which include objects charged
with personal memory, hiot at how the need to narrate a past
irl<fe.ases when the continuity of a life is disrupted by
movement from one country to another. Allan Sekula's
Mtdito1ior1sor10 Ttip~h (1973-78} comprises a small group
ofimages from ii typical family album (his own) accompanied
by an extended text. Sekula lays out for us just how much
social info,mation we glean from even the most fleeting and
casu~I reading ofphotographs. At the time ofmaking 1he
piece. countless books ofsnapshots were being published in
Europe and Americi for the popular market. These were often
no more than random trawls ordiscarded dornestk: life
presented as weird cod·sociology. Avoiding the exoticism ;.md
easy ,enigma that can be generated by recycling just about any
photograph out ofcontext, Sekula's aim was to slowdown our
reactions to just three related images to teveal the deep
tonnectionsofthe ritual image to our undefstandingand
misunderstanding of the world.
In all ofthese approaches it is the hidden structures that
support the photograph as historical knowledge which are
drawn out by attists. In this way a critique b«omes possible
ofthe unconscious ofthe archive, ofits partiality, its
inconsistencies and e.xduslons. Artists have tried to come to
terms with the sooal use ofthe photograph as a supposedly
adequate stand-in for history and memory. The aim has been
to 'brush history against the grain' and re\l'eal the archive as
a contestable site in the construction of social meaning.,.
Objective Objects
In 1969 Roland Barthes visittd an exhibition of shock
pholographsand was left unshocked. Looking at the images
he could feel the presence ofthe photographers governing his
vision, blocking any'direct' access to subject mauer.»The ft!W
that did shock were news agency pictur-es 'where the fact
surprised st,'.mds forth in itsobstin;1cy, in its literalness, in the
very evidence ofits blunt nature.,,.. Barthes had earlier talked
orthe press photograph as a 'message without a code',
a message that suppresses ouraw.ireness ofits social
construction sothatvisual information appears to ·speak for
itse1r.» For h,m the most forctful images leave the viewer with
what seems like a raw encounter, His final book Camero
Lucido (1980) was a long speculation about his response to
the directne-ss ofcc,ta,n photographs.14 These were mainly
nineteenth-century portraits where he could sense the sitters
the most and the photographer the least, He prefe,red th-c
•evidential fo,ce' ofthe brute image, with its insistence on the
ind~exical character of the photog,aph - the fact ofits being
'caused' by the subject m;i.tter. For him this indexicalitycould
be more powerful, subversive even, than any creativity or
artiness ofconstruction, The photograph's forte was its
authorless, mechanical quality that turns the existing world
into a sign ofitself, not a sign ofthe creative ego," In this
sense its power resides in the ve(Ytraits that make it
independent of art, independent of authorship."'
If art always foregrounds the author, how does the 'straight'
image function in this context? In 1964 John Szarkowsk.i
of New York's Museum of Modern Art presented 'The
Photographtr's Eye', a show attempting to set out a scheme
for the aesthetic judgment of any photograph. He was
interested in the broadest range ofimages but was looking to
convert them into special objects n,ther than accept them as
social or automatic signs belonging to the world. He sought
.....
todeflneoverarching criteria that would bring all photo•
graphs into the museum under the same fofmalist 'eye':
The Detail, The Fra:me, Time, Vantage Point and, most
ambiguously, The Thing Itself." Among many portrc1its
chosen was one from 1865 oflewis Payne, a murderer
condemned to death. He is handcuffed ..ind photographed
in a manner that later evolved into the standardised police
photography ofcriminals,~ Sza,kowski underlint"d the ability
and judgment needed to produce such images. stressing the
individual achievements of photographers as problem
solvers. We need not dispute the skills requi,ed, particularly
in portraiture, but we can also see the straight photograph as
a cultu,al convention. an industrial standard. Despite its
subtlety Szarkowski's influe ntial progfamme was too
preoccupied with assessing images as formal objects to
become fully engaged with thinking about photography as
a field o(soc.ial practice.
By the mid 1960s vanguard artists were beginning to
engage photography more as a medium oftheworld th;,n n
some-thing to be aesthetically redeemed. As we have seen,
taking up the artless image could expand the remit to social
investigation, challenging tradition;1I definitions of the artist
as make,in the p,ocess. This is the point at which the term
•artist using photograph)' first emerges, and 'using' neatly
alludes to the interest in the utilitarian, functional image that
stands in for its object, conceptually at least.
Joseph Kosuth's O,1eand Three Chairs (1965) was one
of a large numberofthree·partwo,b. These 'Proto·
investigations' as he later called them, took up with a
philosophical rigour the complex relation ofobjects to
representation. Comprising a chair, a photograph ofit and
its dictionary definition, the work disarms any assumed
transparency ormeaning by complicating the notion ofself.
evidence. Aligned with its representations, the chair also
becomes its own representation, another sign ofitselr.
Mel Sochner'sActua/ Size (Fou) a11d Actual Size (Hand)
(1968) were bl;1ck and white shots of the artist's body
parts photographed on backgrounds marked out with
Letraset measurements. Printed actual s ite, one-to.
one, they pointed up the inherent scalelessness of
even the most apparently objective image.~• Asimilar
economy ofmeans informs John Hilliard's Couse of
Death? (3)(1974), a deft deconstruction of visual fact,
Hilliard offered four croppings of the same straight shot
ofa shrouded body. each with it's own title - 'Drowned', 'Fell',
•Crushed', 'Burnt' - laying bare the reliance ofsupposedly
objective images on an anchoring text."' In contrast to such
deliberatelydrygestures there is philosophical humour in
the early photographic work ofmany artists with similar
concerns. In his earlyim11ge nohj (1970} William Wegman
simply flipped the negative ofa portrait ofa garage mechanic
ulled John. whose name we see reversed on his overalls,
John Baldessari's Wrong (1967} presents an amateurish
photo of a ma non the stre-et. The photographtt has
committed the 'error' of placing him in front of a palm tree
that appears to sprout from his head - even the casual
snapshot has rules and conventions. The English artist Keith
Arnatt stared into the camera wearing a placard announcing
'I Am a Real Artist' (Trouser-Word Piece, 1970), a statement so
blatant it immediately raised the distinct possibility that he
might not be. Photography lends itself to the simplicityofthe
subversive joke because it is so quid and unlaboure<f. As with
SUttvfi'f
" language, deadpan visual humour in particular can undercut
objectivity. We a,e asked to grasp the transparency and the
artifice ofcommunication at the same time. SNious or jokey
(sometimes it's hard to tell the difference) these works
deployed words not.as a simple supplement or poetic
addition but asan integ,al etementofa reffexive practice,
confronting the photograph's powers of description with its
radkally open meaning. Investigating the interplayofimage
and language that produces the appa,ent seamlessness of
everyday culture has been an importzint strand ofvzinguard
art. ll stretches back at least as far as Ren~ Mag,itte's painting
of.l pipe underneath which is inscribed 'Ceci n'est pas une
pipe' ('This is not a pipe') {Lo Trahison des images; The
Treochtryoflrnoges, 1928) and forward to other works we
will discuss later.~
8y contrast the inffuential German photographers 8ernd
and HIiia Becher have extended a commitment to objectivity.
Their systematic documentation ofindustrial architecture
__,,.,
J:eci. 1l 'eM /1.M UM f1Jf12, .
and vernacular buildings began in 1957 and still continues.
The images adhere toa formality built on a conventional,
uninflected use of the camera as a means of description.
P,esented in number they allow various constructions of
the same basic type to be compared and contr.isted in a
straightforward, unheroicway. The inter-war NtwObjectivity
in Germanycertainly played a part in the genesis oftheir
practice, while its seriality and emphcisis on the informational
wNe the criteria by which it entered .art in the late 1960s."'
However their project cannot be fully contained by either
frame ofreference, precisely because ofits historically
grounded insistence on subject matter. The New Objectivity
emerged with a modern, progressivist promise that was
broken by the Second World War. The Bechers' work exists in
an era devoid of utopianism. Moreover they document types
of building that are soon to vanish, in an era much less certain
about progress. They keep faith in photography as a medium
ofobjective description, yet the project has an ambivalence
$ URY(T
that t-ends more towards melancholy than optimism, in
--
a manner similar to the archival projects discussed earlier.◄>
What makes their photography unique is that having entered
;ut on the basis ofbeing non-art, it still rttains a utilitarian
(unction. Books oftheir photographs ire bought in equal
quantities by the art worfd and by architectural historians
for whom they are important sources ofinformation.
The Bechers' project chimed with the concerns of
Minimalism in its rcp,c-titions, industrial forms and avoidance
ofexpressivecr.i.ft (it has more of a signature content than
a signature style). This has also been true in some ways ofthe
serial wotk of their ex-students, including Andreas Gursky,
Thomas Struth, Thomas Ruffand Candida Hofer. Gursky's
photograph ofa stretch of industrial ~rpet (1993} is about
as close as a descriptiV't' photograph can come to the bold
reductions of Minimal art or monochrome painting.
The photographs ofmany other 3rtists also owe a debt to
Minimalism. particularly Lewis 8a1tz's frontal im,ges of
vetnaculararchite('tural forms made during the 1910s and
1980s. For Baltz, much like the 8echers, Minimalism has been
just one ofa number of possible discourses through which to
cons•ider the open ended character ofhis work.- Lynne
Cohen's calm descriptions ofinstitutional interiors grew
directly out ofthe influence or Minimal att when she moved
to photography from sculpture.
Beyond the Minimal, photography has had dialogues with
man)' other kinds ofsculptural object. Stifler Nothmiuog
(Quie<Aft,moon) (1984-85), by the Swiss duo Peter Fischli
and David Weiss. is a series ofquidt photographs of comic:,
makeshift sculptural forms assembled in their studio and
made permanent only by the camera. The equally theatrical
100 Boou (1971-73) by Eleanor Antin makes an even more
performative use of sculpture and photogr.1phy. In these M\y
images we see an army ofblack galoshes apparently marching
across North America to New Yorlc. More recently Gabriel
Orozco has extended this principle in many works such
as Unril You find Ano1her YiUow Schwalbe (1995), made in
thecityof8erlin. In a less interventionist manner Richard
Wentworth's ongoing series of photographs Making Do and
Ce.uing 8y are observations ofthe sculptural fabric ofcity life,
whete inadvertant relationships between objects are made
significant by the attention ofthe artist's aamera. Photo-
graphy is exploited here as a shifting mediator in which 1he
art resides equally in the image, the action and the objects.
Although this protean character has become oneofth e
photograph's chief characteristics in contemporary art, it
has its precedents, The medium"s compelling and unnerving
ambiguities lay at the heart ofSurrealism in particular.
The Sc.ufpture.s lnvolontaire.s of Brauii and Salvador Oali
{1933) were close-up photographs of tiny and improvised
sculptural forms made from everyday matetials shaped by
the hand. They are a radical indication ofthe way photography
can ttansform nondescript objects and matter simply
~~~
~,~~ t~"'.
What is common to all of these explorations ofobjectivity
and objects is a turn towards everyday things, to the over•
looked, to the fabric of daily life lived in an er3 ofthe cheap
and industrially produced. Be it Kosuth's common c.hair,
8afdessari's snapshot-s, Wegman's manual worker, the
Bee.hers• anonymous architecture. Gursky's cirpet or Cohen's
generic interiors, a relation is found between photography as
a vernacular medium and vernacular subject matter. This is
an important part ofthe more general shift in the role ofthe
post,war artist from absorption in the artistic self to abs<>rp-
tion in the world ofeveryday things and (epresentations.
This shift has by no means been exclusive to photography
but as a social medium it has lent itself toii the most readily.
TracesofTraces
In 1970 New York's Museum of Modern Art held the interna-
tional surveyshow' ln(ormation'. It was a ptedktion of what
the curator Kynaston McShine and the organisers thought
would be the concerns ofthe art ofthe fo llowing ten years: ..
art as data collt'!ction and experimentation with rorms orthe
evidcntial.•1 The exhibition catalogue contained a keynote
image called Dusi Brttding (Eltvogtsde poussitre) that was
made a full ha1fc.tnturyeadier. In 192othephotographef
Man Ray visited Marcel Ouchamp's New York studio and
saw a sheet of glass lying Rat, gathering dust. Far from being
a scene ofneglect, Ouchamphad been cultivating dust as
a stage in the manufactoreofhis mixed-media sc.ulpture The
Large Glass. Man Ray photographed it, made it semi-abstract
by cropping down to exclude the studio and gave it its title,
although it also went under other names, including Viewfrom
onAttoplont. Soth artists signed it and it occtipies a distinct ir
minor place in their oeuvres ... Six years on from 'Information'
the critic Rosalind Krauss looked back and saw that the
evidential in the form of the index or trace had indeed become
a preoccupation ofart. particularly in NorthAmeriaa. More
than that she compared the tom quite explicitly to the
~ incr~aslngly influential work ofDuchampand empha•
sised Dus1 Breeding as an important precursor,•'lhe
.~ image condensed many of the ideas that were central
tothevangoatd art ofthe 1970s. In this one photograph
there is an expfor.:ition ofduration, an embracing of
chance, spatial uncertainty, ambiguity oforigin (it has two
authors) , institutional instability (it is an art photograph,
a photograph ofan artwork and a supptement to it), a.
blurring of media boundaries {photogr.1phy, sculpture,
performance), and pethaps most significantly it is an artwotk
as pro,cess and trace,,coCranted, all photographs are traces in
that they are cavsed by their objects, yet as such they have a
particular relation to the trace as subje-ct matter, and this has
been a continuing source ofinterest for artists.~\
In an early essay in Artforum the writer Robert Pincus·
Witten reproduced Oust Breeding next to one or Bruce
Nauman's photographs from his series FlourAna11gemertls
(1967).S' Over the courseo( a month Nauman manipulated
a heap ofcommon flour into various shapes on his empty
studio noor, documenting the changing forms and, by impli•
c.ation, his sculptural adivity. Nauman has often deployed
the camera to make slight forms visible and available without
having to make them seem permanent. He exploits the
double relation photography has to form. As an apparatus
the camera is always on the sideofthe formal and the rational.
but it c.an pteserve the formless irrationality of base subject
SIJR'YEY

" matter, like a sign hung over transient actions or minol' lhings
to focus our attention."This capacity to give permanent
expression to ephemeral forms and behaviours is what
attracted many artists to photogr;1phy. It could contribute
to what Lucy Lippard and othNs called the 'dematerialisation
ofart', not in the sense that art disappears but that it adopts
fugitive and ambiguous forms ,t-4
In theear1y 1970s many artists became interested in the
forensic as an aesthetic ofthe trace and as a titual procedure.
For example Edward Ruscha took crime scene documentation
to a parodic extreme. He hurfed a Royal typewriter from the
window of a speeding car onto a desert roadside, and an
accomplice proceeded to record photographic,lty the effects
ofthe 'incident•. Ruscha's artist's book Royal RoadTesr (1971)
fleshes out the sober images with bureaucratic description,
measurements and annotations.nThe 11bsurd act is tumed
into a comedy ofdata collection. John Divola's Vonda/ism
series (1973-75) takes a comparable approach. Breaking into
disused house-s, he turned artyvandalwith an aerosol can
before using his camera to make two-dimensional
documents of the altered interiors which are rich in narrative
implication.Absent cause is also the hidden centre of Mac
Adams' Myskriesof the late 1970s, a series of mini-narratives
in which ma,ks and traces become clues in condensed
detective scenarios that owe as much to 8 movie Hollywood
as the police file.
Exploiting the idea that the camera could make an action
outlive the moment without actually replacing it, photography
became the means by which the spirit of pt-rformance could
be kt?pt alive. In the sequenceJumps (1969) VitoAcconci
snapped with an fnstama.ticumera held 11t arm's length while
taking leaping strides in the woods. The resulting camera
shake in the 'bad' images became a trace ofthe action and
the consciousness that created it. Similarly in The Nat1,1re of
Balancing (1979) Mary Betti Edelson is seen on the horizon of
a. landscape standing on one foot for as long as she can while
$1,1!IV(Y
---
the time exposure captures her precarious wobble.
Performance art is irreducible to its documentation since
it is about the 'here and now', about being in the physical
prt'?senceofthe performer. Howevet, a photograph of
a performance has an advantage over moving images In that
it can record the live event for posterity without supplanting
it. It can illustrate a performance while preserving its integrity,
It is al so more readily disseminated than video orftlm
documentation. The photographs of Carolee Schneeman,
for example, performing Up to artd Including Her Limiis
(1973- 76) are certainly iconic images in recent art history,
but the intimate essence ofher performance eludes the
picture.The photograph ofChris Burden clutching his arm
aftert'he pedormance Shoot (1971) is an ext,aordinarily
visceral image. His voluntary act of being shot in a gallery
~fore an audience remains reponed as a ttace rather than
substituted.~ Part ofthe effect of this documentation is the
creati<>n ofan aura around the h1storkal performance, which
111111111111.il.!J. .i.!
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in some senses returns them to a more traditional definition
of an artwork as, in Walter Benjamin's phrase, ·something at
a distance, however close it may be'."
Within these self.initiated experiment$ itis important to
recognise the ethic.al and political dimensions for artists of
the trace as damage. Eleanor Antin's landmark work Cotving:
A Trad;tionol Scufpture (1971) was .a series of140 pseudo.
scientific, full-length shots ofAntin's own bodytal<en over
thirty-six days. In this time she ·sculpted' herself towards
a social 'ideal' by dieting to lose ten pounds in weight. The
wo& points to the ways the beautiful in we-stern femininity is
so often fantasised as that which ap~ars spontaneous and
'untouched', eluding orcove,ing traces. Fred Lonidier's The
HeoltlJ and SofetyCamt: Fief.ions Based on Foa (1976) was an
ertensive project that combined photographs, text and
videota~ to document occupational injuries suffert-d by
worlcers in North American corpor11tions." As well as
exhibiting it in museums Loniditr displayed the work in civic
and municipal buildings, encouraging a direct participatory
debate with his audience.
The trace in artcQrresponds with the double need ofart
and artists both to (eel connected to the social world ;rnd yet
to view it from a certain remove. As an evidential medium
photography has in some senses become that remove and
the trace in the image has become a complementary subject.
The structural similarity of the trace and the photograph
allows for J degreeQf reflexivity in the medium: the photo•
graph both as and ofa trace. But there is much more at st.ike
here. Art's earlier re,presenting of performance and the
probing ofthe photograph as evidence has been accom,pa-
nied in the last decade orso by a very different i,wocatio n
of the trace. One ofthe most significant tropes in recent
photography has been the turning of the documentary
photograph into an image made after something has
happened.Although the world still comes to us today as
photographic evidence, it comes in the wake of Mlevision.
Whatever its indexical primac)', photography is now a
secondary medium of evidence. It is no longer the sole
mediator of events or the sole source of visual authority,
Its slow slipp:ige from the centre ofvisual culture was well
under way by the late 1960s. Photography was already
beginning to be supplanted by other image technologies and
in some respects it was this decentr.1lising that opened up
photography to art's investigation ofit as a social medium.
(Prior to television, when photography was 1he medium of
the day. art photography aimed to distance itself from mass
media.) This is the source ofthe eclipse ofthe ,ea.list
reportage or·events' and the emergence ofa photog,aphy
of the trace or •aftermath', Ceding the present tense to video,
reportage photography now exploits its status as a mis:Sed
encounter with the real by recording t,aces which are
themselves the mark ofthe real. This is increasingly visible in
magii-ine editorials in which photography returns to the sites
and the people ofworld events. like the trace, the phot,ograph
now also comes after these events." In art we see a parallel "
procedure in the works ofWillie Doherty, who steps back and
away from the conflicts in Ireland to record obliquely their
effects on places and the popular psyche. Anthony Hernandez
in his extensive series Landscapes for ehe H<,meltss (1989...95)
circumvents the visual stereotypes of rough sleeping in Los
Angeles in preference for a documentation of its in-between
spaces within the city, Sophie Ristelhueber's images ofthe
remains of the military destruction in Kuwait were only
possibleaf'ter the GulfWar, Few reportage images were
released while it was happening. The realityorth~conflict is
implied but it lies outside the time and frame of her images
which are at once deeply personal and utterly impersonal."'
Here photography comes not just in the aftermath or events
but in the aftermath oftelevision. The directness of traditional
report;1ge is replaced by indirectcommentary. lhe ttace
becomes allegorical.''
The Urban and the Everyday
Photography is 'time-bound' in two senses. It has specific
temporal relations to the world that ,esult from its indexi•
cality and its spttds. and it comes into existence within
the temporal upheavals we associate with modernity. Its
relation to the everyday is a product of the two, but it isn't
a particularty stable or simple one. Until the 1970s
photographic representation ofdaily lifewas dominated by
a model ofpicture making derived from ,eportage. The
decent ring of reportage within masscultvre had far reaching
consequences for the depiction ofthe urban and the everyday.
The art-photojournalist emerged in the 1920s and 1930s as
a figure moving benveen the editotial page, the photographic
book and the gallery. Typified by the calm descriptions of
Walke( Evans and the 'decisive moments' ofHentl Cartier,
Bresson, this photography took advantageoffreelanceworlc
to pursue a journalistic poetics of the image. Out of this
situation grew'street photography', perhaps the only genre
entirely specific to the medium. It had certainly become that
for practitioners. writcrS and ct1rators by the late 1950s and
1960s. Despite its enduring images and its still firm grip on
popular perceptions ofwhat the medium is all :.1bout, street
photography came to something ofan end in parallel with the
decline ofdocumentarypHtctice in theearly197os. While it
was being sidelined by television in mass culture, in art it was
being shaken by conceptualism's inquiries into tht! ideok,-•
,. glcal determinations ofdocumentary and the structures of
photographic meaning."' Photojournalism began to lose its
grip on art as it lost its grip on joumalism. Street photog,aphy
had produced some extraordinaryimage·s over fifty years
(and in many respects it couldn't have got much better within
the increasingly narrow parameters it set for itself), But the
negative consequence ofbecoming a self-conscious art genre
was a lapse into formalism and a move away from social
engagement into privatised and obsessively subjective ·styles
ofset:ing'. As it waned it fell into empty repetition ofits past
glories and a tendencytowuds exoticism, with a sometimes
patronising attitude towards its subjects. Manyofthe more
politically committed a,tists and writers were fru~arated that
the vital. creative and radical potentials of a photography of
the cvel')'dayhad be-en squandered or marginalised or merely
aestheticised. This became the subject oran intense critique
inw,itings and artworks.
Mattha Rosler's highly sophisticated The Bowery in Two
Inadequate
Dtscdptivt
Sy,t<ms (1974-
75) was a series
offorty panels
of photographs
of dilapidated
doorways and
shop fronts paired with seeminglyendless euphemisms for
drunkenness. Thewo,k was also published in the form of an
artist's book. The images quoted the visual clichc!s of the over
familiar documentary or poverty (she aptly called it 'victim'
photography}. Rosler's subject was not New York's Bowery
district in any external. measurable sense, but 'the Bowery' as
a product o( the commonplace photogrtiphic discourse about
hardship,•• in an essaywfitt~n at the same time Rosier argued
that ·Documentary photography has been much more
comfortable in tht companyo( mor.alism than wedded to
or
a rhetoric or programme revolutionary politics.'" Her
contempo,ary Allan Sekula warned that 'the subjective aspect
ofliberal aesthetics is compassion rather than collective
struggle. Pity, mediated by an appreciation of great art,
supplants political understanding,'"' Museums and book
publishers presented photojournalism most often in
exhibitions and formats that divofCed the images entirely
from their context, so that they became repetitive objects
SURVEY
offormal contemplation or instances of'great photography',
---
A growing exasperation with the-ways in which both mass
cultur~ and art had contained photographic realism, keeping
it apart from the political, fod to a much needed rethinking
o(doc,umentary.
In addition to these political and ethical dilemmas
documentary practices had to confront the fact that everyday
li(ewas undergoing a radical change in character, a result of
the expansion o(international capitalism. This was the onset
ofpostmodemity. The modern utopian stories that c.ities had
told themselves we,ewearing thin, Urban life was becoming
sociallydivisive, subject to unstable markets, and expensive.
Also. with the growth oftelecommunications and the decline
of urban manufactvring, significant city functions bee.a me
electronic and thus invisible to the camera." An undet•
standing of the city had to (act:what the critic Michael
or
Newman called the 'unrepreselltability technology and the
ineffability ofthe multinational corporation that can no longer
be idefltified either with individuals or, any more. with its
monumentil glass,bo.xoffices.'b Even so, cities became
highly photogenic both in their garish wealth and their
poverty, As a recorder of surfaces photography could either
luxuriate in these seductive venee(S or attempt to connect
them to the structures and forces beneath, ·we must be
insistentlyawa,e', argued geographer Edward Soja, 'of how
space can be made to hide consequences from us, how
relations o( power and discipline are inscribed into the
apparently Innocent spatiality of social lifo, how human
geographies become filled with politics and ideology.'Q.
In the 198oscultu~I theory began a concerted effort to think
through these spatial changes. Fredric Jameson suggested
that the postmodern should~ grasped as a rapid evolution
in social space, and that 'we ourselves, the human subjects
who happen into this new space, have not kept pace with
thate1,1ofution; there has ~en a mutation in the object
unaccompanied as yet by any mutation in the subject.
Wedo not yet possess the percept1.1al equipment to match
this new hyperspace. as I will call it, in part because our
perceptual habits were formed in that older kind of space ...
the sp:ace or high modernism, 'ltThis bea,s verydirectly upon
photography, a medium so closely associated with the
repres;entational norms, the ·pe,ceptual equipment', ohhe
high modern city. Photography was only going to remain
a significant mean so( ef'lgagingcriticallywith this new
envfronment ifit could revitalise itse)(.
New social and aesthetic possibilities were sought m :a
number ofdirections, For m,1ny artists the overtly constructed
image, owing as much to cinematography as photograpi'ly.
has allowed a depiction of the particular while alluding to
more general social forces. For the series Heods (2000)
Philip-Lorca diCorcia elrtended his earlier photography of
people in public space. bringing flash lighting to the street
to blend the reportage ofthe anonymous citizen with the
embfematks ofthe popular portrait. Ken Lum's work of~he
1990s has brought a naturalistic form of staged portraiture
toge1he1 with text we read as speech to dramatise the minor
crises and doubts ofeveryday urban life. Perhaps the most
inAuentiat artist to reconnt?ct photography to social
dese<iption ofthe everyday has been JeffWall. His phot0<-
graphic work began in the late 1970s bvt has had its largest
impact in the 1990s. It moved away from photography as
direct witness towa,ds a dramatising of a vast range of types
ofsocial situation experienced in the contemporary city.
This is achieved by combining the descriptive characte1-0f
photography with the theatrical possibilities ofstaging.and
an acuteawateness ofgenres from the history of painting and
cinema, Like Lum. Wall 'casts' his citizens, rehearsing aod
refining na,rative gesture before staging the preplanned
scenarios on location. He is: based in Vancouver and many
of his works are made there. This •secor1dary city' is a place
with few distinguishing visual features. With its residential,
industrial and administrativedistticts it has a look and (eel
common to most developed vrban centres around 1he
world."' His street tableaux ofsocial tension and daifyst,uggle
are true to Vancouver, butVancouvc, is true to many places.
This suits the movement in his photography between the
particular and the general orgene,ic;. It also suits the
increasing internationalism ofcontemporary .1.rt exhibit ion
in the sense that his situations and settings are always at least
partly familiar to his audience. Works such as Mim;, (1982)
and Umirle-d (Overpass) made nearly twenty years later could "
have been made in any number ofcities and present
scenarios experienced by millions. This: in itself speaks of
the social and artistic consequences ofan increasingly
international e<::onomy and culture.
By contrast others have engaged the politics ofthe. every•
day through complete specificity to site aod audience. Peter
Ounn and Lorraine Leeson's Doclcfands Community Poster
Project (1981-84) was a collabor.1.tion with a loc:alworking
community who were being pushed aside by free market
capital. Their neighbourhoods had been devastated by the
collapse of the docks on the River Thames. The images,
reminiscent of1930s political photomontage, were used
at local meetings and displayed as public billboards as a way
to raiseconsc.iousness and galvanise collective resistance.
Most city spaces have taken on .1. highly corporate image
culture with their advertising ho,i1rdings and retail signage.
Publicly displayed images arc generally advertisements that
gloss over the. realities of social relations.
As a result many artists have looked to
intervene here directly. Vidor Burgin's
poster P4ssess.ion {1976). Oennis Adams•
politic.al photo·sculptv1es that mimic
street furniture, such as Podium for
Dissent (1985), and KrzysztofWodic:zko's
night projections onto symbolic
architecture, are all attempts to disrupt the incceasingly
alienating urban environment, with its cosmeticvCt1ecr of
commetCial harmony, Likewise the late Felix Gonzales•Torres
presented his highly intimate but universal image ofa recently
v.1.cated double bed on billboards across New Yotk City
(UtHitled. 1991) . Made soon after the death ofthe artist's HIV
positive lover, it is a private, wordless image with meanings
that vary depending upon the viewer's gender, sexuality and
stateofhealth. These are all works that attempt to reassert.
in the face of waning democratic participation, the always
political and contested character of social space.
In g<1:llerypractice there has been a signific;int re•
emergence ofa descriptive photography of the built
environment. Fot example Thomas Struth's formal images
demand ofthe viewer 3 readingofthe urbin surface as a
social document. The multiple determinations ofdty space
can be glimpsed in his careful framing of mixed a,chitecture.''
Taking advantage of the possibilities of the large format, his
)0
detailed and res1rained photographs offer themselves up to
a slower, penetrative understanding, revealing a genealogy
ofcity space that is unavailable tous when in the street itself.
Although very different in approach Jitka Hantlov~•s urban
series b~ohner(1994-96), whose title means occupants ►
inhabitants or dwellers, and Boris Mikhailov's large project
C(l'U History (,998) are each attempts to forge a reOexive
mode of documentaf)'that can blend the poetic and the
political. Both bodies ofwork resulted from the social
upheavals o(E:urope's recent history: the fall of the Berlin Wall
and the collapse of the former Soviet Union. The tensions and
revelations in their photographs take on a broader resonance
in the light ofour knowledge that the circumstances of the
people depicted have been so directly shaped by the complex
economic and politic;1I forces beyond the frame.
Som~ artists have approached the everyday with sttategics
that owe much to the methods of sociology and ethnography.
In Signs ihai $Of whai you want diem IQ $Of and not Signs thai
say what someone else wont$ yo11 to say (1992-93} Cillian
Wearing produced a photographic version of the st,cet vox-
pop, stopping people to ask them tow,itewhatever they felt
at that moment on a sheet of paper. '!'he resulting portraits
ofcitizens holding up their messages to camera are both
a revealing snapshot oft he ,elation of public space to mental
life and a reflexive commentary on popular sociology. In 1992
Jason Evans made Strictfy, a series ofshots ofyoung black
men in suburbia d,essed in a mix:of spottswearand the garb
of English dandyism. ihese images were an example of
8ritish fashion photography emerging from its elitism to
re-establish itself as a socially relevant form ofimage making
that could also have an audience in the gallery. Evans's
practice spans both art and non-art spaces ofexhibition and
publication. In l986 the French artist Sophie Calle gave he,self
over to chance in deciding to follow a man she met in Paris
(Suite vtnitienne). Assuming the role ofdet~ctive and voyeur
she shadowed him to Venice. Documenting his movements
SllltVll'
and grabbing photographs whenever she could, Calle kept
a visual,verbal diary ofher vicarious existence. Such chance
encounters recall the desire fo r a free formwandering In the
city much cherished in French counter--culture by the
Surrealists. and later the Situationists with the idea ofdtrive,
or drift: a revolutionary harnessing ofthe random as a way
to break up urban daily habits.11
These attempts to describe and alter thl? contemporary
urban e.xperience have certainly been a turn away from the
classically defined modes ofreportage but it has not been an
antire~list turn. Rather these newsttatcgic-s hint at how artists
are struggling to come to grips with the complexities ofthe
city and the possibilities ofphotography, without fal ling prey
to the superficial surfaces ofeither. As Victor Burgin pointed
out 'the city in our actual experience isat the same time an
actually existing physic.al environment, and a city in a novel,
a fllm, a photograph, a city seen on television, a city in a comic
strip, a city in a pie chart, and soon."'
The Studio Image
In contemporary art the studio has no unifying identity or
purpose, and photography hasdl?velopl?d many relations
to it.'4 Nevertheless something ofan indicative ttansition
in attitudes can be traced ifwe look at two connected aspects:
the studio as a markero(changing artistic subjectivity and
the st1.1dio as a space to construct alternative environments.
Modern art is steeped in notions of the studio as a quasi•
sacred domain, a mix oflair, prison and playpen. In the
twentieth century its popular peteeption was shaped by tht
growth in the publicity of art, often through photographs of
artists at work. As Barbara kruger remarked, such images
often 'exude a kind ofwell tailored gentility, (while} others
feature the artist as a star-crossed Houdini with a beret on,
a koolcy middleman between Cod and the public.'nThey
were almost invariably men.A whole mythology around
masculinity, creation and the studio, which had developed
over centuries, became increasingly extravagant. It reached
an e:xtreme in the immediate post-warycarswi1h the intensive
promotion of American .ibstract painters." Forexample t-lans
Namuth and Rudolph Burckhardt's iconic images from the
late 1940s and eatly t95os ofJac.kson Pollock looming over
canvases on his studio floor were widely published and
central in establishing not just Pollock's reputation but tile
image ofartists in genetal/' This was painting as perform;1nce
for the lens of the mass media,
The perception ofart photography at this time had little to
do with studios. It was dominated by mystic landsc;1pes. art
photojot.irnalism and an aversion to most things openly
theatrical.'"Thestudio was strictly commercial. for industry
and elite glamour. However, the splicing of photography into
fine art practice that began in the mid 1960s resulted in ai
sudden mixing ofstudio images and approaches. Thete was
a double shift in the understanding o(the space of making.
Some practices such as Land art and perfo,mance art
_.,.,----=---
dispensed with the studio altogether, to be pursued
environmentally, returning to the gallery or page in the form
ofdocumentation. Secondly, the studio opene<l up to new
;1ctivitythat made the space a visiblcworlc:ing site rather than
a contrived stage ofpublicity. Photography allowed audiences
to entefthe studio metaphorically, not so much to see art•
works being made, as with Pollock, but to see studio activity
as art. Once this was possible artists didn't need necessarily
to be makers of pecmancnt objecu. They could be maker"s
or doers of things to be photographed."
In Port.rai,ofthe Artist in His Studio (1971) Hannah Will<e
appropriated the privilege arid space so often accorded to
male artists. She depicts herselfglamourously cross.-dre-ssed,
ironically~rforming a bookish aloofness. This deliberately
understated but telling image was made at the onset of 3n
intense exploration by many practitioners ofthe relation
between social and artistic identities. Extensive series of self,
portraits made in the 1970s by artists such Lucas Samaras,
the young ;1nd then little known Francesca Woodman, and Urs
LOthi. e:xperimented in different ways with the idea of the self "
as something performed r;1ther th;1n revealed, an idea that
became central to lhe art ofthe following de.c.ade, as we shall
see. The studiocoutd be used to rewo,k mainstream ideas
ofthe body and subjectivity. Ifit was traditionally a sp;1ce set
aside from the rest of se>cie-ty. thCl'I it could be a place from
which to look at it awry, to question its assumptions and
suggest alternatives. Thus the studio moved from being a
,eucat to a vanguard space, where a real engagement with the
social world need not mean an obviously realist imme,sion in
it. Constructing rather than 'taking' photographs could also
open up makers and readers toa dose consideration of the
construction ofmeaning - studio images are built up from
nothing and so for ;1rtist and viewer everything becomes an
active sign within the totality ofthe image.
In the studio one could sift out and examine moments
of social life in order to understand them better. The work of
Jo Spence from the 1980s is signiricant here.'° Although it had
much in common with photo-performance
work of the 1970s her use of the studio grew
out of her development ofphototherapy
(photog<aphic psychothe<apy). This was
3 process th;1t addressed directly the role of
representation in the fixi ng ofour social self.
image, Spence was among a growing number
oftheoretically informed artists acutely aware
of how the state (medicine, law, education, etc.) and mass
culture (cinema. television, magazines) interpellatc us. tell
us who we are through coercion and suggestion ... Looking at
how this socialising ofthe self actually takes place could be
the start ofunderstaoding not just oneselfbut the functions
of represenliltion at large.a.Through collaboration Spence
exploted the origins ofher own consciousness of class,
gender and her body by re,enacting situations from her past.
She photographed these to externalise her tho1..1ghts and
memories in order to St'e what kind of ,~actions they
prompted in her. Accompanied by explanatory writing the
photos would be exhibited as a suggestion to the audience to
take up the practice themselves. Hert' the studio (which coutd
be any adaptable space) becomes akin to the analyst's cou-ch,
a sanctioned arena where the prohibitions ofsocial life are
remporarily suspended in ordet ro voice or act out reptessed
feelings. Spence often worked fast, in a carnivalesque manner
as close to lhe speed of free association as possible, so the
 photography was keptdelibenuelysimple, This 11lso had
"
a politic.ii dimension: to be democratic phototherapy needed
an accessiblt ttthnique. However the insistence on the
transparency orthe image to the performance often negated
thevisualityof the photograph, which in some ways restricted
its critical and creative possibilities.
The American artist CindySherm3n began her career in the
mid 1970s and has worked almost exdusively in the studio.
She is perhaps the besl known and most inOuential exponent
ofa photography th3t thinks outwards to theatre, art history,
fairy tales, fashion, advertising.1nd most ofall cinema.
Sherman was at the centre of a wholesale re-expansion ofthe
etaftbase of photography in art. taking in lighting, acting,
costume, make-up, prop de-sign as well as role play. Implicit
in herwotlc is an understanding that the photographic images
we see daily make use ofa wide range of languages and
Mchniques, very few ofwhich are exclusive to photography.*'
Herself-portraiture grew out of photo-performance but
curned aw.1.y from depicting an artistic identity to address and
rework different images ofwomen from the breadth of m.1.ss
culture.'- Opposing the myth that the artist is inherently
special or singolarSherman asserted her'selr as an endless
accumulation ofculturally received personae. This was not
a 'laying bare' of the selfbut a performance ofit as a vast set
of poses.ind imitatio,1s le-amed from popularwhure,
The studio became a parallel space in which to stage social
identities.~ Sherman is often described as an interesting artist
but not an interesting photographer, in the sense that her
techniques are knowingly second hand and shedoesn·t use
them to search for uniqueness.~ Ukc many a,tists of her
gcnerationwhoweredrawn to photography there is a
reluctance to talk about the medium n such, which is not
surprising given the moribund and ,egressivediscourse that
had monopolised specialist an photography by the 1970s.
Yet this misses the point.As well as having a remarkable
understanding of representations of the body and the
SVRVO
feminine Sherman has been an extraordinarily versatile image
maker right from the start ofher career. Her photographic
accomplishment is not a secondary issue. It is fundamental
to a practice that understands the image as a seductive
surface and a site of psychical investment for the viewer.
Sherman makes clear how the comp1ex photogtaphic
construction of the image and the complex construction
ofthe selfare indivisible.
Asimilar movement from the de-skilled co the re,skilled
can also be seen in the interactions ofphotography and the
sculptu~I. Btuce Nauman·s early work Failure to Levitou in
the Srt.Jdio (1966), like his Flour Arrangements of that year,
scrambled distinctions between photography, sculpture and
performance. Such improvised and perfunctory images junk
the glossy look of the studio and the heroic artist,They are
impromptu, messy situations in which the open poverty of
the gesture becomes the success of the work. In photog:r.1.phs
such as Exploding Paintbrush (1976) Robert Cumming m.1.de
I
(
use ofa similar anti,illusionism, parodying popular science
and in this case painting as well. Since 1975 David Haxton has
made photographs o(the sculpMd remnants of the sets made
for his fllms. He<e the image is both autonomous and an
offsh~t ofhis other acti\llties. Around the same time the
French artist Georges Rousse began to transform disused
interiQrs with paint and physical incisions into the
architecture. His photographs do not merely record the
transformation. rather the spaces only make pictorial sense
as tfompe l'oeilfrorn the fixed vantage point ofthe camera.
Everything is done with the final image in mind. Similarly the
studio tableaux of Boyd Webb grewdirectly out of a mix of
sculptute. painting and performance. From the late 1970s
he carefully evolved an idiosyncratic and opulent visual
language, rich in narrative allusion. Using found objects,
mass. ptoduced items, fabrics, paint and sometimes people
his images blurthedistinction between two and thtee•
dimensional composition. between record and artwork,
 studio and stage. James Cascbere also began making photo•
envitonmcnts in the late 197os! His images of model
1 to the transformation ofall art through reproduction.•
architectur3I interiors are condensations of the popular
memory ofspaces. These simulations make manifest what
sl!em like our mental residues of environments perhaps
visited, perhaps only ever seen in other photographs or
fitms.• Hannah Collins' Thin Protutive Covttings (1987) a re
atmospheric spaces constructed from the most rudimentary
of matefials such as cardboard. These environments are
made physical and uncannily enterabte by the bodily scale
of her highly tactile prints. More overtly extravagant in
consuuction and use ofnarrative is the work ofCregory
0-ewdson, particularly his series NoturalWonder(1992 - 97).
Concoding surreal e.xterio,s in the confines of the studio he
brings a heightened materiality and hallucinatoryvisual style
to scenes of strange ritual. His series Hover (l996-97) and
., Twilight (1998) extended this studio sensibility to images
made on location.~ His is a practice indicative ofmuch
contemporary photography that collapses the older distinc•
tion between the artifice of the interior and the 'real' outside
world. It is here that photography has come closest todnema
in its scale and conceptualisation. This expensive and labour
intensive way ofworking has become possible only recently,
with an established art market for photography and support
systems for elaborate working procedures. As in cinema there
are things that are only achievable in photography with time
and a lot ofresources. Even so there is o(course no equation
between scale of production and artistic merit Simplicit)'
and extravagance are equally important possibilities for
photography now, both inside and outside the studio. And as
cinema has long understood, thesimpleand the extravagant
constantly haunt eac.h other as effective meians of expu~ssion.
The Arts of Reproduction
In his influential ess;iy 'The Work ofArt in the Age of Mechani•
QI Reproduction' (1936) Walter Benjamin insisted that any
achievement ofphotography as art would pale in comparison "
Photography's silent functionalism would be more significant
than its artistic potential. If photography became art it would
be within a culture it had already shaped in advance of itself,
a culture ofproliferating images. Mass media and art rep,o.
duction were relatively new in Benjamin's time. Debates
centred on questions of replacement and substitution:
should or could the mechanical arts usurp older forms, and
copies usurp originals?" Neither has entirely transpired. It
seems that no medium is inhe,ently relevant or anachronistic
to art (it depends upon what is done with it) and the original
has become ever moredesirable in a culture of reproduction.
It is certainly true that popular understanding ofart is filtered
through reproduction and that the easy translation of
photography to the page has played an important patt in its
increasingly high profile in conttmporary art.
In recent decades artists have been very interested in
reproduction, not so much in its relation to originality per se,
but in relation to everyday life. How could artists engage with
and comment creatively upon an experience ofthe world that
is increasingly mediated byimage$?The answer came in
the form ofallegory. We have discussed some allegorical
approaches already but the concept deserves particular
attention. Few used this old art historical te,m until it was
reintroduced to help define post modem visual culture.
In 198othecritic Craig Owens looked at how artists were
playing offreptese(ltations and codes against each other,
bringing different image forms together. Photography was at
the centre ofthe artistic use of a range ofstrategies including
quotation, parody. pastiche, appropriation, repetition.
scriality, montage, collage. intertextuality and dissimulation •.-
Allegory had not returned as an accane form or a private
language but as a thoroughly contemporary mode prompted
by mass culture itself."
Conceptualism had b~n Interested in an examin3tion
of the photograph as authoritative document. By contrast
the practices characterised as post modern looked to its
increasing use as artifice and fiction. In part the shi~came
from a newp,oststtuctural oitical framework ofcontem-
porary art theory 3nd philosophy, but the primary reason
was that Western visual culture was beginning to be
dominated by entertainment, distraction, and the imagery
ofconsumerism- a 'society ofthe spectacle', as Guy Debord
S\IRVl,Y
.. had called it in 1967,..
Intimations ofan allegorical approach to mass culture
had al(eady been present in Popatt since the 1950s. Robett
Rauschenberg's mixed media collages and AndyWarhol's
photo-silkscreMs clearly recognised a saturation o(everyday
life in mass media even if they often seemed tobe metefy
fascinated by it. At the end ofthe 1970s however 3 different
sensibility began to form. A number of artists emerged in
New York including Barbara Kruger, Cindy Sherman. Sheuie
Levine, Sarah Charlesworth, Louise Lawter, Sylvia Kolbowski,
Richard Prince and Robert Longo. whose work took up directly
the imagery of consumer culture with a more ctitical engage•
ment. Advertising, fashion. c inema, celebrity and even art
culture itselfwete borrowed and thought th,ough as the
domain-.; ill which values. opinions and identities are
formed.tS That many ofthese artists were women examining
the depiction or sexuality and objectification is significant.
They looked at the ways mass culture tends to reduce
feminine identities to images, displaced onto objects and
photographic surfaces in a mix orsexual and commodity
fetishism.~ Sylvia Kolbowski's series Model Pluuure (1984}
comprised rebus,like grids or body fragments appropriated
from fashion shots,.,, Her recombination of familiar elements
could invite vitwers to consider the social construction of
their own desires and relations to looking. Similarfy Sarah
Charlesworth's series Objects ofDesire (1983-88) isolated
singJeelements - pieces ofclothing, masks, scarves, dresns,
faces- in rich fields of saturated colour, pushing the logic
offetishisticdesire so far as to estrange itself.
Mediation and the process of reference became the central
concern or ea fly postmodern art. h11971 the critic Douglas
Crimp curated the groupshow'Pictures' at the new Artists'
Space in New York. This was a Scey moment in the defining of
post modem practice, introducing the worl: ofTroy Brauntuch,
Jack Goldstein, Sherrie Levine. Robert Longo and Philip
Smith."' Longo's The American Soldier (1977) was a small
painted aluminium rcliefhangingon the wall. This figurative
scvlpture of a man in what looks like a freeze frame ofan
ambiguous physical spasm derived from a frame of Rainer
Werner Fassblnder's 1970 film The American Soldier. Longo
went on to make a short film that comprised a freeze fra me
ofhis own recreation of f'assbinder's scene, then a series
ofphotographs o( people aping similar gestures, then giant
graphite d~wings from the photographs. Taken as a whole
this series of related works constitutes one of postmodern
art's most sustained intcuogations of the multiple
possibilities ofthe single image:'*
The investigation into art as a cultvral institution that had
been an important s1rand o( conceptualism also took an
allegorical turn. The archetypal work he-fe is Sherrie LC'vine's
point blank reproduction of photographs b)' celebrated
modernist ·masters' (1980-82). Her works made 'after'
Walker Evans, Edward Weston and others are same-size,
conventionally framed copies presented with the discretion
and institutional power of the originals.
levine's gestufe dramatises both the
technical questions ofart reproduction
and the relation ofwomen artists to the
heroic and generally male art canon.-
Over twenty years Ort the work still has
the capacity to trouble viewers because
the artistic legacy it critiques is still with'
us and her gesture is so simple.* She presents the single,
perfect copy through a screen of mediation that is entirely
disc1.1rsive: one cannot 'see' the intervention at all, it is
a fundion ofcontext. Like many works that engage with
reprcduction her images find their most powerful expression
not in the art magazine or book but in the gallery, the site that
most values originality and the singular object.~ On the
wall her 'rephotographs' b«ome auratic in the-ir disruption
or aura..
Si nee the 1960s photography's relation to painting has
move?d well beyond the anxious debates about replacement
to be-come a set of subtly nuanced meditations on mediums,
techniques and cultural meaning. Sylvia Plimack Mangold's.
detailed drawings and paintings ofparquet 0oors made
a suc:cinct link between the labour involved in painst.aking
photorealist art aod thegendeftdwor'kor deaning (she is
one or relativelyfewwomen artists who have worked with
photorealism).00• By contrast the German artist Gerhard
Richter has 'used painting to make photographs· since the
early 1960s. His reworking ofvernacular images as 'blurred'
canvases permits a consideration of the social role ofpainting
in the age of the camera. Freeing the viewer from the indexical
immediacy ofdetail (a tyranny particular to the camera
image} he also grants us an important distance from which
to consider the o~en numbing ubiquity of photographs. Allan
McCollum's Perpetual Photos (1982.-89} are semi-abstract
blow-ups of paintings photographed from television screens.
Lurking in the background decor ofTV shows as ifin the
background ofour consciousness the paintings are dra.giged
into visibility. bringing tayers ofmediation with the-m - the
surface ofthe television screen, the grain oft he photographic
emulsion. the gloss ofthe final print. Andrew Grassie is
part ofa younger generation ofpainters working from the
photograph .... His serial works mimic the replications and
typologies ofphotography. Why Pain, Spaumen? (1997)
is a gallery ofofficial portraits ofAmerican and Soviet
astronaut s derived from photographs gleaned from the
internet. The paintings bring together questions ofthe hi story
of technology. the electronic archive and the history of art.
The continuing vitality ofthe exchange between painting
and photography points beyond any simple: technical
definition of media that would fix their identities once and
for all. It seems that there is no single relationshipbetwe-en
photography and painting precisely because there is no fixed
nature ofeither medium.
integral to the allegorical arts ofreproduction has bee-n
the idea of the fragment Collage and montage, the most
immediate uses offragments, were taken up by the historical
avant-garde when the volume ofpopular imagery helped
produce a m.:1;ss culture against which the artist oftef'l stood.
It was not always a politic.al or ideological stance, but it was at
least artisanal. rewoddng manually and privately what mass
culture produced mechanically and publicly. Dada art of the
inter-war years had used photo cut-ups as 'reality fragments'
to construct a critique from within the imagery of mass
"
culture."" An arto(the photo-fragment has continued but its
imperatives are different now that daily life is itself sooft~n
experienced as a shifting collage.l<lf Images .ire consumed en
masse and in their half-connection, half-cont,adktion they
produce no coherent picture ofthe world, and often serve to
obscure one. They are experienced quickly, partially, and
derive from a vast range oreveryday technologies: television,
magazines, cinema, billboards. newspapers, the internet,
snapshots and so on.1(11 Artistic collage and montage thus
risk becoming just a mimesis ofsuch incohcrence."°'An
Important response to this has been a critical poetics ofthe
fragment Since the 1970s the English artists Yve Lomax and
John Stezaker along with the American John Baldessarl for
example, have found ways to use fragmen ts as concepts or
stand,ins for types of thinking about theworld. 'rhey bring
these together to highlight the gaps, contradictions and
connections in the way our knowledge is formed. In series
such as Sometimt(s) (1994) l omaxchoreographs an atfay
of photo/graphic elements to generate new •pictures of
thought',.., Baldessari·s Man and Woman wich Bridge (1984),
reproduced overleaf. is one of many ofhisworks that use
images as metaphors for mental concepts. Such works show
thatwhileourdailyvisual experience maybe in pieces these
isolated parts can be brought into suggestive tension.
Allegory brings to the foreground the discursive c.haracter
of the image. emphasising its origin in yet other images.
As a result it is here that some of thec.losest links between
theory and practice have been forged. Mc1ny artists working
with allegory have contributed important writings on the
photographic image (including Yve Lomax, John Stezaker,
Barbara Kruger, Sylvia Kolbowski, Mary Kelly, Victor Burgin
and Olivier Richon). Close alliances between art and critical
writing certainly helped to establish new agendas and
introduce theworlc to its audience. Severi Iearly champions
of post modern allegory saw, or wished to see, an anti-
,. institutional Impulse in its tmbraceorreptoduction.',.
With its Insistence that metaphor and allusion are central
to knowledge rather than aberrations or adornments to it,
allegory seemed at first to be an inherently trnnsgressive act.
Borrowing and ,ewo,king were diametrically opposed to
traditional ideas of singular authorship and signatutc style.
But this underestimates the creativity, and originality, that
allegoric.al work demands from mikers and viewers. It is
not a creativity based on myths of private and spontaneous
Cfeation but it demands its own skills and intelligences, its
own subtle understanding ofcommunication. It has done so
for centuries. Allegory has re-emetged as an artistic norm
rather than a per"Version, widening the possibilitie-s of art in
the process. And in photogri!phy allegory has found an ide.11
medium. It is neither pure nor discrete but impure and hybrid.
It absorbs and seeps. There is no domain entirely proper to it
and so it must always impose itselfon other things.
'Just' Looking
The hybrid nature of photography becomes particularly acute
ifwe consider artists' approaches to questions ofvision and
looking. ls there a way of looking specific to photography?
Optically, perhaps, but given the diversity of its uses it is
difficult to imagine a mode of looking common to all
photographs.
In the ,92os and 1930s, whet1 ltwas becoming clear that
the medium was transforming all .ispecis ofculture, Modern-
ist 'camera vision' was often exalted both as an end in itself
and as a revolutionary potential for the arts and sciences."'
The camera wis thought ofas an 'extension of the eye'. an
organ invariably singular and understood in physiological or
mechanical terms. In the 1940s and 1950s al't photog,aphets
honed forms oflooking th;,t they felt were technically
particular to the medium. The result was a heightened
visualityo(surfaces. volumes and instants. Since the 1970s,
however, artists have been much more interested in how
SURVEY
looking is structured through representation at large, how in
a highly visual culture images .ire not merely seen; they
condition how, why and at what we look.
Culture licenses certain kinds oflooking. Since the
nineteenth century the medium o( photogr.iphy has helped
unde..-pin a visual order. Its optical and perspectival character
was deployed within a world view which naturalised seeing
into s:omething supposedly universal and neutral. Vision
and the image became central to forms orknowledge.1.nd
powe-r organised through familiar binaries: culture/nature;
subject/object; male/female; white/black; heterosexual/
homosexual; healthy/unhealthy: reality/fantasy: sane/insane;
and soon. The first term in each would be privileged as
positive, the second marked as negative or other. The 'point of
view' of the camera could be wedded to a specific ideological
point of view, fixing a visual •common sense' ofeverydaylife,"'
Until the 1970s the social dimension ofvision had be-en
largely unaddressed.Al't history for example had always given
plenty of thought to
vision, but confined it
to phenomenology
and the psychology of
perc;eption, assuming
an ideal spectator: 'the'
viewer. There was little
space for differences
between vi~rs, and no space at all to consider the inter•
connection betweet1 vision. knowledge. power and identity.
Vari<>us social forces, coming initially from feminism. brought
about an urgent rethinking ollooking through critical Wfitings
and art practice. Photography was at the centre ofboth.
How to make looking explicit rather than t.lcit? How to make
photography look back or look at itself?
One approach has been to use the photograph to invoke
difTer-entcuhural modes of looking. That is tosay, lookingcan
itselfbe allegorised. For example cinematic gazes have been
rewo-rkcd by John Stezaker's Film Srill CoJlages (1978-84),
Cind'yShermar1's Untitled Film Stjfls (1977-80), Katharina
Sieverding's Nochrmenscli (Night People, 1982), Hiroshi
Sugir'noto's tong exposures o( movie theatres (198o-), Shirin
Neshat's location stills and Larty Sultan's shots ofporn film
sets (1999), The static photograph allows an estranging ofthe
filmk, opening upa critical distance. Deprived o( momentum
the Ii ngering photographic frame can allow our customary
absofption in dnerna to be teased apart.'., fora medium
10 reflect on its own ,elation tolooking ,t must somehow step
outside ofits own procedures."• Interestingly, when dnema
has itsetfwanted to fellect on the nature oftoolcing it has
often done sothfough the figure oft he photographer. Two
of cinema's most celebrated medi1ations on looking are
Alfred Hitchcock's Rear Window (1954} and Michelangelo
Antonroni's Blow Up (1966).
The absorption or consuming of the audience that
chatacterises mainstream cinema made it the focus of
intensive-critical thought about spectatorship. In 1975
theorist and fllmmake r Laura Mut,...ey published her landmark
essay 'Visual Pleasure and Narrative Cinema' :-:1 She drew on
Sigmund Ffeud's writings on sexuality and Jacques lacan's
writings on vision"•to a,gue that 'In a world ordered bys-exual
imbalance, pleasure in looking has been split between
active/male and passive/female. Thedetermining male ga2:e
projects its fantasy onto the female figure. which is styled
.1ccordingly. In their traditional e.xhibitionist role women are
simultaneously looked at and displayed. with their appear•
anc:e coded fo r strong visual and erotic impact so that th,ey
can be said to c:onnote to-be-looked-at-ness.' Psychoan31ty1ic
thought offered 3 comprehensive and radical understanding
o( the roles of representation in the formation of identity
and sexual subjectivity. Whe,eart had prev"io usly celebrated
(fetishized, even} the subjective as the 'mer'ely personal'
psychoanalysis outlined how thc1t the sense ofselfwas
socially formed with the image playing a crucial part in the
process." It bec.ime clear that looScingis never neutral.
1
There is no 'just looking·. It is always c1ctiveand motivated.
It is insepa,able from desire and desire is inseparable from
power. There may be a 'raw' desire to look sha,~ byus all but
this is soon managed and shaped through cultu,e. Mulv.ey's
thinking inaugurated important debates about the politi,cal
economyoflooking, Over the ne)(t decades many psycho•
analytically informed writings on the image appeared in
cmema Journals (particularly Screen in the UK and Camera
"
Obuuro in the USA) as well as art journals and exhibition
catalogues. Lootcing became a subject fot many artists,
particularly those exploring questions ofgender. sexuality
and identity."'
Cradualty ii became possible to think through a range
of vital questions:what is at stake for the female gaze?
For the queer ga2:e? How are racial identities formed through
the image? How to ,esist through dissident visual strategies?
Is ¥oyeurism inherent in looking? Oo we always occupy the
'c:orrect' position intended by images? Is 1here room for
variations in spectatotship. for counter-rcadings?"'The
writings on film were often highly spec:ificto the apparatus
ofclassical cinema, bu1 they opened a space for yet more
questions about what photography might and might not
share with it: What is the character ofthe ftxed loo~ of
photography?'"' How does this fixily oper3te in a culture
that replaces rapidly one image with another? Can a single
photog-r.iph hold the attention?.., ls there
a photogr3phicapparatuscomparable
to cinema, or does the dispersal ofthe
photographfc acfoss so manycultuf.al
sites demand diffe,ent approaches?
Combining these dispersed gazes
together has led attists to address the
cultural separation of modes ofvision.
h1 an untitled diptych (rom the photo-text series Zoo (1978},
Victor Burgin compa,ed the voycutism ofa 8ed1n peep show
with the ,egulatory suNeillance ofa prison system, bringing
togethe, questions of gender, power and desire. Mitr3
T;ibrizian's The Bluts. (1986-87) is .an interconnected set o(
tabteaux blending popular cinema and staged photography.
They describe encounters between black and white men and
women through the imbalances or power that are struc:tured
through loolt:ing:~• Keith Piper's mixed media wo,k
Surveillonus:. Togging ,he Other (1991) layers different
institutional ga2:es (police, surveillance and the histories of
slavery) todisdose how black identities a(e so often restricted
in se....cral ways at once."• Here the power ofphotography to
helpenfo,ce the social otde, is seen to derive from the
cultural repetilion of images as much as their fixity: similar
representations seen over and over produce the visu,ll
stereotype.',. Richard Sawdon Smith's w-orkwith Simon
Kennett (1997) explored the body and self image in relation to
SliRYEV
HIVandAIOS. lnonepiecewelookatSimonvia an image
that blurs medical scrutiny with the contemplation of a fine
art ptint. Simon gnes at hi sown marked bodyu i(caught
between different ways ofbeing for the camera. Here the self
is undefStood as something formed and largely performed in
the field ofrepresentation. Identity is not so much •written on
the body' as an effect of a 'stylised repetition of acts', When
this is refused or confused by ;m image it opens up a space
for th inking and being otherwise.'~
To foreground looking is to introduce complications into
pictorial space and viewing positions, This is clearest in the
photographic use of the miiror. It has been a consistent motif
throughout photography~s history, although its presence has
had no single metning, It is adaptable enough to articulate
everything from vanity and confidence to tfansgression and
refusal. It can confirm the photograph as a supremely natural.
analogical sign orridi~llyundermine ii. Beyond the classical
themes or narcissism the mirror has in ,eccn1dec.ades
be<:ome a way to dramatise our fascination and scepticism
about the image. John Hilliard's highlyreflexive triptychs such
as Dtpres.sion/Jeolousy/Aggression (1975} combine the
uncertainty ofthe reflected image with the tiansfonnatioJ'lS
induced by optical focus to move the viewer through a single
scenatiowith several meanings, In Fleck Aufdem Spiegel
{Speck on ihe Mirror, ,978) Dieter Appelt obliterates himself
with his own breath on the mirror's invisible surface.
Ftancesca Woodman's intimate explorations ofthe mirror,
particularly in the series SelfOeceit (1978-79) are charged as
much with doubt as discovery.,., Stylistically her work has
much in common with the spatial and psychical disturbances
or Surrealism. The iedis<:overyofSurrealist photography in
the 1980s brought to a wide audience many extraordinarily
intense images."' Never fully cefebr;i:ted either by
Surrealism's own account ofitselfor later art history its
photographic work was brought to light at a time ofg-reat
interest in looking and desire. Perhaps most significant have
SUI\V(Y
been 1he setf,portraits ofClaude Cahun from the 1920s
--
and 1930s."' So often in Surrealism the woman's body was
prese-nt in so far as it was 'imagined, feared and desired by
men' but cahun (the androgynous pseudonym oflucy
Schwob) insisted on constantly mobile, tcansgender
identities operating outside the confines of heterosexual
norms.'" For instance Whoa do ycu wanI ofme? (1928)
replaces the mirror with a double exposure and a triple
ambiguity: What do we want of the image?What does the
artist want of the image?What does the artist want ofthe self?
There have been few more important questions to the art
of recent times, In Wendy McMutdo's Images from the late
1990s it is children who seem to encounter their uncanny
doubles. They look at themselves with all the intrigue and
fascination that we as viewers feel in contemplating the
seamlessness ofthese digital compositions.',. For McMurdo
photography, the mirror, the double and the digital are
ove,tapping modes or te-produc-tion to bec.ollapsed
dizzyingly into a single frame.
JeffWall's Picture For Women (1979) rest ages the social
and picto,ial arrangement ofManet~s famous 8arr:ft the Folies
Btrgtrt (1881- 82). In his version it be-comes a spatial and
visual conundrum in which everything is visible but
thoroughlyambiguous."' The wom;m in the image looks into
a camera placed centre frame, perhaps via a mirror, but Wa.11
refos.es to let the camera 'be-come' the specta.tor. ir'lsisting
on its disembodied presence as a ieflection. In direct jddress
th!! look of thtsubject in the frame is returned, buttowhat
exactly?To 'us'? Toa machine?1P Either in front or behind,
whit does it mean to identify with the camera (ifthat is what
weactuallydo)?'" As with the mirror, the meaning ordirect
addt,ess is not fixed by the apparatus alone. It can bean
assertion or individuality, a demand by the subject to be
recognised. In a documentary image or a Hollywood film
a look. tocame(a can brt'ak our illusion ofdeta.ched looking,
but the passport photo and the police mug shot insist we look
-- to the lens in subjugation and conformity, where wt: are more
viewed than viewer. Thomas Ruff's PortrQits {1981-2001)
seem to explore this. Expressionless in uniform light his
sitters return the blank i nscrutabilityofthecamcr.1. They
show us their faces, their visible identity, yet their images
,emain bamingly reticent. The sitters aim their gaze at the
camera: we see it but cannot fully receive it. Roland Barth es
01,me close to defining this enigma when he suggested that
direct address ·separates attention from perception. and
yields up only the formet ... an aim without a target.''J~
The subject oflooking contin1Jes to preo«upy photo•
graphers and artists because within this abiding uncertainty
about what it means to look and be seen. about what a
photograph acn.1ally is, lies the possibility ofother visions.
The Cultures ofNature
As an invention ofmodernity photog,aphywas central to-the
de-sire for a control and ordering of the natural world. It could
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. expansion; it was given a privileged place in the natural
s<iences: and il could talce up the nineteenth-century
traditions and attitudes ofartistic depiction. The camera
was undtrstood as nature's industrial other but also as an
apparatus with a particular affinity with organic forrr1. It could
produce 'natural signs·, images as apparently unmediated
and spontantous as nature itself. For the post-warsoc.ieties
ofindustrial capitalism howeve,. nature has become an
increasingly contradictory and fraught ideal. Artists have-
inhetitcd it as an attractive problem rather than an
uncomplicated giveo. In art, as we have seen, the medium
of photography has itself been approached in a similar way.
The result is that nature in photographic art has been a
contested subject, represented by an uncertain medium
for an often equivocal audience.
Pictorially, muc.h ofour thinlcingabout nature derives
from the genreoflandscape. All geMes evolve incrementally,
absorbing and resisting social change, negotiating between
"
the past and the present Landscape has evolved particularly
s lowly. much slower than our attitudes to nature. As a result
the genre has often seemed unable to 1espond.l)\ This was.
beginning to be foll by many artists in the late 1960s and early
1970s for whom neither pictures nor sculpture as tradition3lly
defined were attractive. partkularly in their artificial
separation ofobserver from observed. The various forms
ofland art constitute an important response to this.
For example the work ofHamish Fulton, based entirely
on walking, has txtmplificd a broadly held desire for an
immersive, processual ,elation to the environment,
There is a solitary romanticism here but not at the level of the
photog,aphs and te.xu which document the artist's journeys
through different terrains. These declare to theviewe, that
the documentation will always fall short oft he physical
experience. This is not nature transformed bycraftytechniquc
into a seductive image: it is a pointing beyond the autonomy
of the frame. a characteristic ofphotog,aphy in mvch
land art. Robert Smithson's Mirror Dispfocemenisofthc
late 196os formed part ofan exploration ofenttopic
spaces on the borders between the urban and the
undeveloped. He placed a set of mirrors temporarily in
the landscape to reflect the surroundings. The resulting
images are 3 literal embodiment ohhe poverty ofthe
photograph as a means of environmental representation.
Like the documentation made of his celebrated earthwork
Spiroljetty (1970) these photographs are ultimately fugitive
impressions of actions and site specific thought processes
rather than unified pictures for aesthetic contemplation,
Smithson's use ofphotography was expressive ofa kind of
archaeology ofourlcnowledge ofnature, a need to discover
not what nature essentially is but how it has come to be
vnde,stood, how its representations have evolved, His was
an artwhic.h might engage the natural in an intimate, physical
way but only to bring us dose, to a disclosure of our always
unstable, always mediated relation to it, This was an
important realisation - an understanding of nature would
require a ,cflcction on the nature of understanding.
Within the genre oflandscape, photography m3nifested
this condition as a tension within the compositional frame.
It turned toa depiction of'negotiations with nature'.
In North America this fitst emetged in the mid 1960s as
'social landscape' photography.'" The touring group
'° exhibition "New Topographies: Photographs ofa Man-Altered
Landscape' (1975) was an important marker. It took its title
from nineteenth-century studies commissioned as official
reco,ds of the Western states.'J1 Those images were imbued
with an iconography absorbed from landscape painting and
expressed the kind of idealised spatial domination for which
they were made.'" The New Topographies photogrnphers
adapted this to reflect on the ultimate consequences ofthat
domination: suburban sprawl. industrial blight and the
reduction ofnature to a leisureameniry, or real estate. They
assumed a deliberatelydistant aesthetic of formal description
in order to ironize and ptrhaps politicise the predicament.
Theeffectwas a dissonance betwee11 the 'beautiful picture'
and the land as a site ofconflicting sodo•political forces.
It dramatised the gap between the viewe,s' contemplative
distance and their social implic.ition .as citizens."'
Photography ofthis kind has continued notably through the
influential 'new colour' photographers who emerged in 1he
1970s. such as Richard Misrach, Stephen Shore and Joel
Sternfeld. Misra.ch's eleg.int photographs ofdisused milit.ary
bases in the US desert blend a re-served desctiption with the
aesthetics of the trace. somewhere between the classical
landscape image and document.1ry,
New Topographies included the work ofthe Cerman
photographers Bernd and Hilla Becher. Their teaching led to
a continuation ofa strand ofa social landscape photography
in Europe. Manyoftheir ex-students have moved away from
the practice but sorneoftheworkof Andreas Gursky, Thomas
Struth and Axel HClt1e adheres to those aims. More broadly
the desctiptive and pictorial attractions ofthis approach have
led to a renaissance in social landscape photography which
began in the 198os.',.. It has been helped by the move towards
very large prints that hold the attention ofthe gallery viewer in
a very different way to the precious and small formats oft he
past. This has allowed photography to assume the scale and
modes ofattention formerly ascribed to painting.
SURVEY
H istorically the contemplation ofnature and its represen•
tation has been highly gendered, particularly in modernist
---
photography.'•' In the work of Edward Weston for example,
there was often an implicit conflation ofwomen and nature
as subject matter. Afascinated scrutiny of the luxurious print
masited a fetishism of the surface ofthe female body as
form~-.• Here and elsewhere in art and mass culture 'woman'
was positioned as essentially natural within the field of
representation.'V Mote generally this field is underpinne<I
by an everyday language that is permeated by a feminising
ofnature. Barbara kruger's montage Unri'tltd (We won'l ploy
natur.e royo11rc11fiure) (1982) is a categorical refusal ofthis.
Her appropriation of the rhetoric of advertising is significant.
Cons11.1merculture is now the main source of popular imagery
of nature, not art. This is: because the primary function of
advertising is to present factor)' commodities as ifin harmony
with the world.'" Awhole generation ofQ.lltural studies
students and photographers has been int,oduced to this idea
Small is Not Beautiful
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through Roland Barthes' famous analysis ofan advert for
Ponwni. a brand offood products sold in France.~
Condensed here Is the popula, mythology that masks
ptocessed product as natural harvest. The goods are 'there'.
denoted in the image but whal really matters fs connotatton,
the endowment ofextra qualities when a product cannot
justify itself (here a rustic 'ltalianicity' for Panzan~. Sarthes
predfcted that as commodities became increasingly similar,
more emphasis would be placed on what they can be made to
connote at the level ofthe image, what qualities can be
attached rather than brought out. 'Naturalness' is the most
mobile of connotations: an apple represents a computer
manufacturer, a fish may symbolise a financia:1 service and the
imag,e ofplanet Earth from outer space can embody just
about anything. Nature, suggests theorist W.J.T. Mitchtll, is
'like money: good for nothing in itself, but expressive of
a potentially limitless reserve of value.''•' Richard Prince's
appropriated cigarette advertisements (l980- ) seem to
 r~eal this. Framed as high gloss images of'Marlboro men•
these estranged icons trigger chains ofpotent issociation,
connecting myths of national origin, cowboys and the
American West'" Pdncc's subject matter here is reference
itself. His is an archetypally postmodern gesture that see~
nature as fully conditioned and contained by culture. Much
of that containmMt is the result ofour saturation in the same
kinds ofimages seen over and over. Smoll i's Not Beautiful
from Vik Muniz' series Personal Art.ides (1996) makes a neat
joke ofthis. His fake newspaper reports the official banning
ofsnapshot cameras from Yosemite National Park. California.
This is a place with a popular image monopolised almost
exclusively by Ansel Adams• large format monochi-omesk'..
In a mote ace-rbic assault the English artist/adivist Peter
Kennard wedded postmodern appropriation to political
photomontage. The Haywain, Com-table (,821), Crui~ Mi$Siles
USA (1983) was made at a time ofg,eat concern about th,e US
weapons base at Greenham Common in England. Kennard
---~•-·■ri:li pasted nuclear
missiles into a
! reproduction of
John Constable's
nationally symbolic
p;)inting. '" The site
was picketed by
women proteste,s
ror nearly twentyyears. becoming a focus for popular debate
;1bout nuc1ear arms and the meaning ofnature in post•w.ar
geopolitic.s.•
The geopolitic.al and, more generally, the internationa I,
surface in many recent representations of nature. Sometimes
this is explicit and sometimes it can be glimpsed as a bad.
ground condition. Allan Se5cula'sepic Fish Story {t989-95)
is one ofvery few photographic projects that have attempted
to repfesent the vast scale of global economics.'" He loo.ks:
beyond the familiar opposition or city and country to m:11<e
visible the mantime as the missing third tefm in the
contemporary world pictur~. He is mindful of the ocean 3S
an over,romanticised space ofunknowable nature. Instead
he reveals the 'the social in the sea', the space of the now
intercontinental movement of goods.,1,1 By contrast Hiroshi
Sugimoto's elegiac and mysterious seascapes (t98o-), pare
down his view ofthe world's oceans to a consistent. simple
horizon. Seen together they emphasise the fundamtnta1
connections between the world's bodies ofwater as much as "
their particularity.
Global movement can also be felt in photogriphicwork
made at much smaller, localised levels. lngfid Pollard's
PostQral Interlude (1987) was made at a critical moment
in British postcolonial culture. Her seriesorwatercoloured
photographs speak eloquently ofthe common assumption
that the visitor to the English countryside, or the beholder
ofthe landscape image. will be white. The often ungraspable
relation ofthe global to the loc;,I can be seen in many ofthe
works ofCabriel Orozco. Cat.stmd Waie,mefons (t992) is
one of his mischievous interventions into daily life, In an
apparently casual snapshot he brings together two separate
kinds ofnature -pet food and fresh fruit. It is a sculptural
incident in a supermarket that sells produce from around
the world. His gesture is a self•consciouslyhumble act but
it reveals something ofour contfadictory attitudes to our
current management and representation or nature.
And the nature of representation,
Afterword
The ways in which artists approach photogr,1phy are now
informed as much by its rich legacy in the art of the last thirty
years as by its everyday uses. So ofcou(se there is little
consensus in the current onderstanding ofphotography.
The social functions of the medium have mutated and shifted
a great deal over the twentieth centuty, particularly since the
late 196os. As a result., ourunde-rstandingofwhat photo·
graphy 'is' has also mutated ;,nd shifted. If the definition
ofthe medium is permanently in question itis less because
ofsome ineffable essence than because culture continues
todo different things with it.
Thus photography continues to fascinate, both as a set of
image.making technologies and as a means of social
representation, Significantly, its place in art has grown mofe
central over the last thirty years as its place in contemporary
culture has grown less central. Rather than becoming
marginal. its eclipse by other image technologies has given
photography much needed space to breathe. As a result its
creative and critical possibilities now seem wider than ever.
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SURVEY
-
MEMORIES AND ARCHIVES Upon its invention

photography was pressed into service as a tool of classification and ordering.

Medicine. colonialism. real estate. the legal system and even the fa mily album

used photography as a supposedly neutral form of knowledge. By the 1960s artists.

philosophers and historians all became interested in how knowledge is produced

and where the ideas and forms of representation that regulate society come from.

Coupled w ith this. the twentieth century had accumulated more im ages than it

could effectively manage. Popular memory. history and the photographic were

becoming inseparable. The works in this section look at the ways in which art has

approached the archival photograph. These include anarchic attempts to disrupt

classification, m editations on the re lation between photography and memory, the

interplay of the private and the publk, and the pressing need to look again at what

official histories have left out.

Ger!\U dAimu
AtlU
196t•

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.
I I (\H t1110, , I t':Otoo~•IIII

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.' $t X 41 t• (l'(l . S X t6,!t In)
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Art.i,. .. 0ti9olno•oie<hlr,ce l96?.

~
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Md Rld'l1.,r, oY,1'I photo;f'l$>hS mNt
. u ~lvditt !Ofp,inv,is. tis work i,
lnfot-mtd by an W11Hf'St11ndlng ot
pllo(ogtaph)' .HI ~IC>glie "-IWMtl
priY.,. ~.tMp11blie hi_.,

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.a,pboc,11 and lh• social 00(\lnw,,t_
It w.u first p1.1bllsht<f,H I booll _.d llb.o
txhlblltd H .IMll~wotltln
1972. wl!h3'1 .,,.n. lJ, llld ~In ill ,m.
wilh 43) panelt.

WORKS
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t nd bircl lfltllfotmM;on ol lt>e fdH of I M ~ do• ul fA ln5lf\lciloM. .,_ c:atl
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Of njlfll,ctiotl, Htft. MrH$ 124 ~ • ~ M _ , - thous.ffld blm and while
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l~nlh.llcollaborl~d 'IOI~ lh♦ ~ <'•rf.OOl'llit G•ry frudnu on !his book o1
~ p h s. mopJ.. o~di#it-sW11thlY,tl.~~It f'IWOl'kthloNNtol
11\t ill.ustraltd bhlory boclt to ch.lrt PQ.ri milil• ry~ on tht Scwltl ~ cfuf'lng
!lit St<olld'Weoiid W~r 'Jht pholog~ Witt, openly t.11kod. Tor·.llud modtb trid
IN<k11~nds w~ ~""11nnslorm♦d th,wgih g,aln')'. INl.y~ mls.-.-itpowd
i~•s which mimick" lht elle<lS of (t,)Of~ ph<IIO,,.,,.,,,, TIii$ wort ,nt,,clpalNI
pos.tm~w·,cOIIC'ffflwllbsimul.-lioll~llw~oflkl~dic'liOllll'llllot
'
, pmduclionotk~

• I

{Jffa.
p ;,
I •. ,

JUtl&l!!
(,,u,t., totuilJ
,...
,. r,.. O.n lt1.

Gthtifl ilhtr prlflt

I p-fl!ll frOIII t~ $ftlH. {,I I( 91 c• (ZC >o: ~!, ln} U(I!

Mahr CotlSINds Mt al~collagtt by brirlgi!,g ~th« t.rnity photog~pht..

~objt(ltW5Pf<ld'f ~$NU. flwsoatt HMmbledand pholog.-.pl,td
t.obe<o~ llllil'Mttl Wlt!WOl'kklh ..,...,__.,...mttflldMstloltt nlgi"Ntk
iwrnlivu. The tfbte.,ux erf,,1(e imagir,aiy~ ~I/wt of drPMS tM dim
mtmoriff.. MIN umt lO Ellgl.ar,d lrom ~ in 1114, '"'°'· Htr .-otk ~ with

·rn•
l'l'l\ld'IOllht ~ n MtandltMah.ffolpost-WM ~ 1 • prdff~

•
fffUS(n• of odd ,nptCtJvtt,, Kiltl and comcllWllons lwld • ~ O'fN
of form and memory r ~ INn 'f'Nt' timt W ~ .
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111 X 16. !, c• t•A X ~o 111)

Col l•ctll>'>, [tllt4U'I "IIU... of
COlll"90,rlr/ f>hOIOfrl>"J. (IU1v.t
o.,mrrwin;~,•~•fOl'mol
~ c d doo.l!'Ml\l.llry phologro_ptiy
Mlich n ~ eWr.n, IObt objtdlw nor
lndulgff In attillct WI tx;plotff • (ij)l(t
In "4'..,.tn, M~tolhltweft~tMS
Old i9t. ...tltrt ~ Pff,Mnt is OYtf'Wrilltn
by the p,~ The - • n 1Mttllt ~n1s)
~is!Ns.-ubjedo11M~
p,atl ol • s.trlu. ~bor..... "'411\ 111,t
lrlli,1 II\ .,._ltlng kid rtctetllnv, h
f',(dfll(lt 01t,., pUI ,n4 p-nt lile.

W1thoultrtin11 to~pohl11M90
olhttown~cdl.lP't,tht
tffllb!K ~rbNJ> will\ovl ~Mt. U i\
It ,,. All llt~ltd.~i,rfflly
~11.f"tl kllbne~k!wttkhCummin9
adopts!M~olM>IINgln,uy
W1tnHS. Ntt1i. H.:irm" ~ maon•~
CNfl<lttwhOffMtUhtt' 9"fflmootl-

-·
ift lllt ~ging cf lwr rNI lile U..t $he

• P•ltkk 8otglers. DM/9M Qlmmi11111

0 . ~ t M l ~,.t.rlG.\llttyol
Wa'ld$or.0Mlrit.1ffl

W(MORtES AMO ..._.C.tll._fS

-- Sophi e '6.IJJ.
Hit Sllno (lletlll) "
1986
Sfrlf\ or ••ut .... -..1111, photo PO~tr.lU •HII tfltt l)<lllt h ond c4l,i.,,
plloto11rt1111•
'lt~lOol Ol . .11110IIS
·i:o, m,, IN n,,o,st t>ttwtfful ltllng Is ltliJ ~ Mt btoUwt'-in•LfW s.aid 10 tnti
,1•· a boM, 11 )'OU IQ, 111 glYt ,t IIO )'OU.· 1 hlod M'Ytf' SffA ~ .n a ,-ChJtt, II ""
t lli\111«,r~$4<d ,1,1rt.«, $01 (.tll'"' lhr.. 11\MIJ. •M• MWI ..-_ I.,_ lo\ld'I ii. ill
1be ~"II- On w,11~,.dayl lbtN .,, JW9l'I ITlfflt, t boul h IN..1 lklcm lo lhe
1'V a,nd Ilook at lh.Jt boM.
'1M 5N must bo bffuUM loo. They ltll ft'lt It ff blut llnd 9fffff and~ v.tltn
1ht ,un rtllt<'l• In ~ ii h1,1rtt ~ t)'M. • ~ bt ~inM 10 liook -.·

Calle t,pcb'""' iwoplo who Nd btffl blond t,jl')U birth~ IN!ridNS of ON\11)'.
Ml~ol. 1114-f'l'I Nd h'9hly 'Mull lff'll)l"ff5ieM. Rom ll'lfft • lriJ)tydl tot NCh PfNOl'I
wu rt1•<k OOttlPri.rr.t hi• ortltf phol09~'hitpo,1t,1il, • It~ rtc0fdin9 tilt•~
dnui;, ( : ~I'<mlt WU ~ U bt1ulih1L * im,;c, c«rts.p«1dif:I; lo•1\at
-dH<ri~.c..:t•sS'(5ttm.tllc~llMltlod-,muthloconctpb.t,ll«tbut
..iso botTowl from l!w ~ of s«""°9'1.J1nd e l h ~ f1'0ffl cot~•tion
thttf t /Nt'9M • (OfflbltlMiotl OI Ct. .Nt S~ltf'1'141'111 tlld tl"lttf,_.. twidt~.

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"

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l'.rl'H/ill(fl {lluN111tt'

1'94•9$
MtUt ' i took. offal. ~he~ -~(I YMtt Dhoto,r•~'- lotfttlo11"'1
i6-.~ >I ll C11 {10.!, X 8 t11J
llle-.,n t,rt.91Y,tlt9 lltf e ..,1111.1101i,110 1t1ltllff ~01110, COlOCM, 1994
#ilMWlfid'lt~ btoughl into• &1119i. ~ iMUI.LIIIOf\ovtr l,XOol ,,...
~•PM ol Pffplt 1tkt1> • om • •"°'Yof , f'(t,r,.at $0Urtt,. i111;1.Ydng d«vn!Mlt
from b S«orod wowsw, r. wl>ic" ~ ti.c1 u.-sd in prtYious WOfb. • _ , ,bo
pubtbti.O. ..s shown hftt. .,_ .M.'I , rtlst'i book prinbtdon ~ •Illa ~ptt. fn both
-fo(m1111, di"trMCtt btt- lYJI" ol ~ i . ~ .:ipp.,._..1i... s«nt pit.'lurtt bul
~ ' " t l~lwt iii Othtn Tht tl/O(it,it$ Ol 11\t twtnlitlh (tf!Wf'Y .,, .-.-:td bvl not
dndlyim1111ff, IMIH d lht$e6'1iber~m!xtcf1111d'-l!idt1lli6ed~hot09f.-,,C-
lo 1C.nd a'I (l)fpt09I.- cut ,drill from hl$tory ..-.d me,mory,
---

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0l••U16M Uth!llt

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de 1, ,ute Ptrh~
• l't.

I 1,#tn Y-(My ltfsi:les) k • Mrios

c«npna"9 lndMdu1Uy fnn'lt d phoCiC,s,

/
l •nd 11'1 aoMot...,SiMa-1,-grMHf. ol tt,t
whid\ r-tltt" to lht i ~ pinntd t,y
I I Slf1"9S W lht 9'11,ery ~ TM 1nw9o,s
I1 :ite M1rnyo41eiNW•nd flWte bodf

I ~olPfOPltol~rloina,M.~

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m -in.thtwholtfflMMblt~

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irolo • llllftitlt panom ol ass«lilliOl"lt,
~ 11-flll'l'ltnls lllt body i11l1>
~m.td p.wb- 9Yff. ~rt. 9eni11ts.
moultls. Monds. «id so<lf'I -
INI 1M '°
lm.t9ub«-.1vlwlll~ffllt(llol
~n..1,. TIit MM/IMM Of the'~ Oroulld
lhtwork k«fflts tn iflVOklllW,Y tis-lir,v
IIMt~wmu~tttbvtt¥1l>Wf'rfllin
IMMI~

WORKS
.. Ol)P<)tltt

lot l!OllA&/I ,110 0,,,.1Zllll

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(i:ltt•HJ
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ifll lnHrlDU:;,,

~~ ttot-13..lsac~tbf•IH
A/tic¥i·American ~ .cer.u
.-l~ln~byphOI~
UONt'dMdfllM,n,aker~,t.
Jo1111Ql.Gl.&
Th• ltdl,..._ <:,ompri$n. publk,ty $!Ills
~lldys
lndllbvm ~fffl'Nt.dlnPf(lod
199~
t l)w lhe-M, c11,11 ~ star·• Ufttf' l!'Wn
kllllll ,11 ..e, prlO'h
lypt<as.t Hollywood ,oltJ 10 \Mt, ~ in
l o,-IO'U ,,.._ tilt Contln11lt1'
·r.o am,·,•• Wff H h9'" "'hly l.wpfe:I
1trlo, ZO . !i x 2~.5' U
P t ~ tllt. proo,fdin11 •compln
U x l01<1)f1t
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IIOfV•II r11~, CNon s l ~• clphtr
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Th-lm,gKOOtti.ko,ntbe,lt)t)s
Th.- proje<t dtffl•ndtd »i lht ruourctt
•f'Cfliw$ of Warntr 8rollwn lllrn stud•
ol pNtOg,.phy 111(1: f i \ m ~ uMl!I
Thttl u rqN MSMiral• ~rt$ ot S(ttltf «ifl. (J1'W; pni,p,_,, i q r ~. Mtl,
~oftffllllmtcld.)ys otwMll.t•r1
li;'lting. m,u.~ 1outlons •n<S prillling
s;o~sl'.«$wtre~k•n• dc.iUs. &oth •~lliblttd .,.., publis.htf in
r«orft ol ~ fflor-~ obje<ls
• book,ltw pl\OIOQ~-~•lso
bul ~ !tine ~•phs wtr♦ fftNt 0111r1t 14 Oufl)"ll'·s inftuentl.i tiNc,.... Mm
ont 10 x 8irlctlpbi.<11"-'ltfi klt~lin11 J11t IV.HfroltlM Wo.m,1r,(1'9#,
~IIGM...Oi#oll~!Mff
~ - . tlu~9'Yfff'S,?")UP!ng
tflt,M f\01 Wlilm but Wt,pe, /}fA'M,-_
( ~ ol~.ssJM, l4ilr«.. • nd
~~•1odnw.i1,nlion
» IM Mm ind&IW'(• ~rdiw,;',o,,
cl I ~ • of the world. 'Uk. $0 m,ny
of tllt im111n•OI'! which we b.)59 our
cont,.mporarr-otr~ tllMt
pl\otogr;1pl'ls olfff a r..,~1Jlion,1
gt00nd 1~1 ha,• t,1m~ty born
of ,..,..,lfd 'nO'Mftt
, 1M million$ 01
$\lffii~ Sffll ln:,llltWflt(l)tr,1thl,
inW'1141YISUlllndtirolwhft wt~l
toMttal '
• Johtl Diwotl, CM!i,,uily. Itt7
 ..

tk

,,,~
Moll! n l QWlll.8,6
A.II),. J♦ cl~ct ldeUll J
1991
ru..c rt•tOtc #l'IC\09r,1111~, 1n,cfl11tt.. )
01"'11)1011) .,, .. ,11111
~ ~ phol09~ ol mem""' of t,.,-Fiji: ltldi-fn famlt,. wflo now INe
In dillettnlcOWltrits~!MWOfld. Thtlm•gcs are plbctdlacirtgirw,.,,rcb
11'1 tht-lr tnmts. so th.tll ~ 111• ~un " ' .m, S~stll'l'lp$ I nd Ntl0¥writtffl
ftO/,ff. T,c,gtl!l,ft 1"-~phStotffil •y~1,1ni~Oll ~tclflM~

Whilt ritwtf't, . . dfnlf.d"" ach/llt ~ lhf)' .... alolt lo (Ol!j\11'♦ \IP

tn ~in#)" phot09niphit:~ ... the~t'¥1)k.ff • ~•rowhich lhtir
own htslOfies ll'ld nperltncos e¥I ti. ~ •
- Molllnl Ch.t1ndn, 1ll1ttntnt, 2002:
 ►

Mu:1!t611
As. Y'lt Ulltl tlfO

11\0utthe rollotk s~r-~ll'<f •H~ll•t. ~'"~to9r.plls

Ol•tn~l~nl Vtrltlllt
Dffrl"tln1Ma<M II\Sl.ln.tlon11lows1M~ lochooM tht&l!itol~IJM
"robotk wm pkks,. a s~p5hol ft'Offi a eontalflf' ~nd p(fftntt ii 10 Olt ......,,
Holdino I l\ll'ld Mf Ill> 11\t ~ f . igtll Stnl,Of'f,. lhf 111niciptnt an imtM1 k IOMYe
lt\t pt,ol09r)!Pf'I in an trdwM bolt. The robol Is p,ooramn'M'd to Wtd imt9u
c'Of'llinuou.tt"ut1lt» iMtrud~ otMtwiM, so ltlM IOW.1lctl iwsM\'etftS IO ~rlidi,.tt
In ¥1.x'I ot dewudlon,

N[NORl[S ANO AA.( :IHV($

 "

JO♦~III• $,C:1!1$10
Arclllv
1,6'-,!I
,.,,IIIO')U~II\ W"llltll OIi t>Ntd

•OX SO U1 (16 X 20 111) ~Cl!.

f,v;,a f('p ICIC, 110, 201. 1tf?: IIO. 1)0, ittt: 110, 629, S,9\
S<Nnid collt<l& .w;y,J-, totwi• Ill pholQOr~-..mbli11g thOM onlo '""'..
dn1illtd b y ~ type -tknil)' ~ -pot~rds. t'!tttbrily pholOt. and
so ot1 • and ltletl' SNNd 1-ldwin1t~ns.tic:s.. wch ♦5 compci,ltlor,. tiQNlity ,114
SIU. No ~ffllpt Ii fNdt lo 'lnlffflrcr. lw)'Ond lho ~ ol ~ •11d (o1~-
v....,.r, .,.ifW'lltd IO ~notl/W'9 ~ (1)111♦~ting 1/1♦ iffl"f", lndMM11)'
« , t wl!ol♦ trrOf!VN~. Ordpilt .,_ u11iqutfltH ol ♦-kl'I I~♦ wNt ♦ff'ltfOtt
Is lht 5)'Rfffl;ilit. stri.t~ ol ~ • p h y in m:iu ~ -

WOltKS
 ►
.. K,ren UIUl,8
CoMffl)('rt'l •r\. fro- lllt Yhltor,
l'i98
tflll(llre.t fltlllt IOllntN on llldilllll•
91,!, )( 9\, .. \'S rn X 36 111}

~ ~ I U Nilt ol ~ p l l , . VIM f,onnt p,arlClil AudtmM'1. •" tY.,•yur

p('Ojt(:l 11~plorinv ~ Vf\lOtfpinnlfl9' Clil wt111~ ins1111,1lol'IS. ltfl0tl'·s c o m ~
p:irody the sll'l>clurfl ¥Kl hkr-,chles oflradlion;:it £utopNn muwums. A l'l'IOtlkty

;,ppo,,rs m some lm"Q05. wch as •his- M.gl'.!HWi,9 o1w1NMfs of tht ~

lnWikflil Is anhootl9NCU$0Ul6i~. Thlf, ~wuphotog,tplltdttll>tkt.nft
trQruy In P•rit. • Pl>f.lll'u)<ftM eon...,._. of a ttit,,,~ slltion. wtikh it~ quo~
t11d~pn1t~•rctiitedll:'t' of«dtl' m0eums. ~ . - y M hnamtd
•lw- ol lhe books bffklt lllo monby. by t.11htrlneU.ll#t. Tht ctht:t book Is
U H.a,M 6t rAtt(H.Mr,dolNG by Ptlillppt °"9ffl, an crllit.ot .,._.1'14'1'4!)1Ptt
Lt~do B«tlOllhtM~~'M',/"-fNi,O,ltyofllltfrt(ldl~
MHl\ 10 •PP<'tC~lt titllt ol ~ •r1 mtdf alll(Jt ci,., k!lpre.~nis-":i.

(",df4,1 ttOill
SlbHol~f<;ue \'Hlontlo ,::, fr•"<•. 1'1rH n1

"''
C-ti~ llff"t
es • es ea ru.s,. 3,3,s 1111
H6ft", Strid of fotmM phologr,lfltls. ol lbr.trit's ~be' lht 5P-'IMI 01"9-'lliMllon
1
ol kncl'NI~ lh.at .. dkt4ttd by boolo.s ¥Id documoflts. Llb,,ariH art IIOI ot.tf
11.mdlonal but MSOc:ulb¥1lly 59"1lt1u,nt bu,11111'191, ~ M ktlowltdgt tlovdy ~
ll'llt ~ · loffll e, Olf(lfOtll( ~IO lt,w arehi!t(tl.nl rttt,il ~ ~to <Mn9t,
ThtM"inl.,,M!y ft&<rlpl,... pho!Oif~~ up tht inttrio,.. lo be f"l!illd In lerms
ol lorm. fundlon.-,ncf$«ial.,-mbollwr1.l.Aethebooll,~~ri11Pl!NJbonpM
In • pre•e4Ktronk. mtieh.llllc..t--. ofcommunlubon, so IMl'9 Is• tlnldu,..1
~thtrtklWMtlH61tt'tWltOf$ tndlhUub}t(lM♦~

~fMOJUES ANO All:CHIVES

~1111♦ 1 I U 1J.&aA
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St11..,tncu II, It. fJ. t9 r,o- 1H'I( '"H•*'•llon
S:trt>I NI ~♦pll♦d htt I♦~ ON IO<- lwtf'l1Yt•~ Hff lwo d,,u,;tiw.
♦1'14Malretbt m1in ~ Thei~f4119fc lrom ponr.ts¥1ddom,nlksc~nes.
~ t i ~ •d t.ln'1sG;IPff m.ot o n ~ mixklg ~ and monochtonw.
In tditilion 5.llad,,J o/ rlmtbbs Wit fol'm of ~ioM lrotl'\ tllrot a-,«ht'OMfd
slldt~1Mnc:i'l91Mitl'l♦Off Mf')' l♦n MOOl'ldJ.~~ by l tl'IUltd
$0i.lndV♦(t( OI whll ( Ollld bt I dfl#TI or l,ffl'fbfft. Tht Offfr is tiroldlydnnol09QI
.ott-11~._.obMl"'le~lnS!rtN', l• mUy.lbtworldarotMdlltt.-ll'otf
~ plly. The prtSMl•IIOl'l llMte,$ tht ~ 6o comld«l',o,wr, bhlot!H •rt
con~lrotn tugffltfll$llndho>#p~lt~phyl$AIWtdOlr-.'10dll
(otrftlll>on$. In boM( IO,f!'l lllit im~u (♦~(- mi - flOI (~•• .,, : h ; .. In"'"
ofWligtlllolw<1rd!'lkf♦~1,pt,ee il .-ntd upb u,-M inl~

WOllKS
 ►
..
OBJECTIVE OBJECTS The 'straight' photograph-clear,

frontal. centred- is often understood as the least creative and thus most artless

kind of image. It doesn't draw attention to itself and often substitutes for what

it depicts. Photographers of the N.ew Objectivity in Germany of the 1920s and

1930s saw it as being in tune with the spirit of industry. The Surrealists embraced

Eugene Atget's empty street photographs because their immediacy was so

disarming. In Camera Lucida (1980) Roland Barthes described how he found

the straight portrait the most profound and moving k ind of image. because it

appeared to give such direct access to its subject matter. Artists embraced the

straight photograph at a point when art was shedding itself of the expressionism

associated with modernist painting. It was a utilitarian image made with a mass-

produced tool. It blurred the distinction between image and object. representation

and reality. It could document sculpture. it could be repeated. or it could simply

record. The ambivalence of the straight image has made it one of the most

prevalent forms of photography in art.

1966

It x JC,; tit fl J< j . ~ In) <1oi..:, 1'1 ttl (199.!t 1n) txte11ot0
CotltttilltlS, tt1111nt lt•t l!i.lHU., t<t911n ♦ Suell, C•llfotnh:
l . .l!Ot/ltQ1111 IIAtlOl'IJlf' (ltl fU!l(f, htl\

~$flt, (ll1o tr(I "l(h♦ ""foldln9 11\f kOI<. aff6. t"4 Otit ♦ H

St,oo1it19hm• m~1>9Ur. lwtch1~1'ip1,tdklh .wtsolH~,-5'1nMI

itout.Y.ard. Ttw im~• ~ .s~bWI " , 1onv strip with lho COl'Tffponding slrfft
fltlmbtn tfpC's.tl btnCMh. This - a«otdiotl•lolded Into. s/MU book lo &l 1M palm
ol lM h.iond, ll llU IN I~ of . (iftofffla!i( nd(in9 $hOl, lht CMl'ltta ~ ~··
ttlt ~ fMCNl'l~~....l,hi11dillttfflettoU'oe ~ This IJ oneol ~ -.
nwu~t'dphotobook.smadebttwNn1'631nd1911.bctl1Md•~
"',yditywbjtd deeKribtdt,yb litle,1,nd1he ~,1,pt,y.allhol.l9hairtclull)'
COl\$ldt<td,. ~ d lht \JltiWl,n kick ol wt1,1N CH:w:ribtd In I 1~65 Mk:,rum
ln1tMtw U 'l.+<flt'licM A tl. llkt ~t,.__,,♦phy',

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Olloto9r1plllc e11 l u9"'f"t of dlctlon1rt dcMlt1o,i,,
01"11,cons varh!>lt
t., this urtywork Kosull\ p t ~ 1 dlalr •ndtwo ,.,,...._1111Mt ol ii-•
~ot&M
o, 1 dldkNty de6nltlon ,ild a ~ p h. 1-pholoUM •net lllt dl,a,ir .,. ~
wtltrNS lht ~l'Jf)h ""6td lo bt ffllff of.,,. chlir in • . Mllwnng lhe ~
tt it• fjlfeirie Mit. lNs• - ol • number of Ko,l/lh", ProJo.Jnloff~tiMs. ,1 n.m.
~ r, t r o ~ lo• fflolltd ffries of-1(s wilh ._rtt pans ~ " 9 lh♦
•-n&:,11\dc,o;flltMrtUl>OflSt>ttwet n~tds, ~ liftdirNg,M,,

D••~
Moeo hr .i..trlu (4'fttU I

l 19"·10

Homes for t pinch. colo11r 11'1:I II-Itek 111d "~U tl pl'rotc,i.rapll,, tuu
101.S X 81, S U (10 X l).S, 1n) OHII

America
0,(;11,AJW I
111,t1td v,rHOfl Pt-04-<t<I ,., i910 of 11i,
1111 tor ,c,--h w..,;ur11e
,,tot·• orl9t~•• 194' :,nt••

Gn~lfit l<OOIII( lnsla!Mlic ~~ .nd ~ ~xl dcsc~ ,ww modul¥ lt\Kl

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Esqolr-. 8ol:lh 1M words lndlho ll'nlOfS mlimltkod lht 1tno1.1.,. o f ~ propffly
dWtlopt,1' ~ HowMr wtltl'l lht -,i1wu p;,Mi,.htd. inArfJ U.g.w'nti11
lf64.~·-~wu~mpromht d. Thetdt:or~hisi1N9"wllh

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-r--. . ,_~_...._.,_ • W4Ul.tr Ev,ns pho(ognph. Gnti.rn •bo llhowt;d ~ p h i ftoffl lfllis utlff u
:.r-..::::~e...:!': • s l i d o ~ M rnouMtdpllotograJiM •nd M •P+Otff'IOClc-upolh•rlkM
he~ hof>td IO pub11$1'1 ~ FOi A.m«i(,1 dotln'I re CffllfOr1,tbl)' 'Mlb tlthN"'
prlnt♦d,.,. « lht ~ ~ ) ° " ' i iwH - « ~ rnosl IM9nilkw pteCUf$0fS of
I.hot ll'!lernl.lollon,-h~ b e ' - IM two-..tictl ~ d ltOtn h t.tc lttOi -..rt!$.

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'-II A~t ht h llllt lf,ff♦ly tilt
s1a.11• ...,...,.,o, ..
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ISO X 114.!. c. n, K 4$ lff)
COHf{~llln, t."lt\ricy lot.i♦~

of AM-du• Art. lle11 Yo••

l)iJ r n ~ pho0c,g,r-4pl\ ol 11 air p¥k

mitt noneof!Mctr.trla lorllrtMO.. lltM

~w-.. fl'\ldt, yH . . . ~ lsp,lnl♦d .....

•flnt . . ~l(Al'IW'H. Thtlibl

~ fftfflS intended lo be
mt,vcilw. but II Is. d'-ttd lrom lt1
ortgin.:il COl'l!h1,. ♦ llook ut,t,d IOt ttt

ltkhil'lg, S.lm»ri lre♦led lbt tut.,..

•fffd)'m11de' ,nd hid• sign ~IIIW copy
lit out for lwn. This wo,k, part of• sfflt'I
~ ftPNHf\1.t d 11 to,1tnl"9 poli,'ll r.,,

lllt tttlst. ieotllwnds UWfflplions tbwl

~ I is '9004 ~ and~phy.
tl 4l5o Otllier. mo$tmlll dlstlnd:IOM
bttwton.,,. dsulll W tllitvtrbat.
Thtdwiotolilftl9f It, l)'Pk.tlOllht kind
tl,tl <:Of'ICtpt11,1l-"ll would \!ff wt.tn
~ l)Mto9n,pl'fy 115 Hffllplary
ollht-6111tH ♦l\d ll'lt~

AN ARTIST IS NOT MERELY THE SLAVISH

ANNOUNCER OF A SERIES OF FACTS.
WHICH IN THIS CASE THE CAMERA HAS
HAD TO ACCEPT AND MECHANICALLY
RECORD.
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t•11,1ons u,i.111 ..
'A !lMh "°"9 II,. f\oo,, proportlcm; I IC 21 unil.S, pl'IOtotJtaphod. P t l o l ~ prWtd
to lht 1(1~ ~lit Ol lht objkl$, ♦114 pM~ f ll.)(twd IO thf R.ool' IO lhM 1M •fNlltf. .,_
pmtdlr ~tUotntwrilhlh,tiroOj,tffl·
- V\d,of 9ut9S\.unliltitd~1ion•xL lf67. u ~ i n lf6t ♦s/lf!o~
Tfle solo spedlkilyof this tw1ywot1c 1,,j 8urgln contradlds lbe usua1 rnotillty
o1 pl\Olographlc lm.igts Ht-tt 1h• idit.i !"-1• ~ r♦placff lls obltct 1$ INdt
liltnLM'!U♦ltillf 9 ~. . . -.-.tlfplt<ltoltlt_..lO 11\flV..,'l'tpit(td° .....

rdfft" l The UM of blkk ♦-~v.tliw iriwgn ~ f f d ph«Q9raphy ff. ptOCtU

llol A p t ~ ra'lhff lhll, • d ~ lbe illus.onfsm ol colour.

80t'lloC • ml H11 h lill!ll

tl«nhWdl.'d . . . 8tcil«
j Anonyme Skulpturen
I £4,t T)t)Oloo;e IIICt~lklvWI
l ~ ~ publle.Jlion" Ill/is boolc ltld "" •;al!,bllion of IMlrWMC In lht MIM)'Ut
1,,,,~,-, S\ulphtt" (A.,~\ SCotl~11110J
1910
llool oi oi•ct ,...., ..111te pilot~,,,.,~. ",,no. tlotllll61ma "'"" ptlllttc
d11nJ,c,n
,.,., ~rus 1trl•9, o,,u.1co,1
In 'ltllorm.aeiOII' ,)( Tht Musevm ol Mllodtffi Art, NtwY611<, lh• work°' IM ~
be<-«ne wloetr~ e . . d in lht conltl(I o f ~ I nd Mil'li~ .,,, Sitlet lffl
l:heyhfd tN6t MNlpt,ctio,y•phs of '"dusliW S'lr'uduR,s and~rn.cutar ~ .

\ Tiwlt ~
.-.,..,. •PP"•'
. objoc:~ lnM\)ff •IIconform IO 1M s.m, photogr•pllk · · -
ii\ Mrift of ,,,. lllftt l)ft ol $1Ndu,.. The 8Khors' lfNl\)H .it• M
Wn si11nirlc-.anl.s r11<ords ol V'le hislorits of labour •<'14 irldu~ .-id IJ'ltfrt,ool;;s ¥1
~u mud'! for their .atdw.t u ltwlr ♦rti51lc: import,~Al tht ~d ofttlt
Mqut""-" ol ~ • P M it! Anon)m• Sftu(oM.nlM Btd!tl'S publlshtd tht lolow\ng
tMr1 Slfltmtllt
'The ilh.lttrWOf!J.,.. ~n of. ~._.lion of 1~ buildinos whieh. ..,.,i
from the -,i. the:11'.ff c1Ntt 'lrilh Mra. i ~ pv.wr ti.tlons. hlgh·ltrlMM P)WIS,
radb ltlOKCf>N, oil PU"'fH', $'\llln; 1/J',fftS, n,IIMnts. mMhJWOtb. t.dor, ti.fls
•nd ~~. II\ lhlt book wt .how ob;.tl$ JttdomlNntty IMIN!Mfl1'l In di•r.c:w.
~ ,Nptt•rtehtN!wltf; ol~ul.tlionW~tP'O(ffMSofdotYllopmtnlate
oplk:4Uy...;dtnL fhty.artv,tnt,_.ty~wti.r,anonymityi, ti;~IObt 11\t
sl)w Tlwl't pecullar¥".lts origln~lo not In spllo cC. but ~use ol lht '-<kol 6"iin:

~
I
 l'MA
REAL
ARTIST

.. .. '

OtJrctfVE OlJECTS
 lt/t •~d N-H$11f
ktltf1Mtl4JJ.
lro11,er•Vor4 P!tu
Ke ith Arn•« l')ll
TROUSER" WORO PIECE Shcl .1111':1 .,-1\Ht l)PIOUl'9U:A. ttat
1 .....h. 100.$ lC 100,;. t•
'It 1$ 1)$VOIIV thOuQhl. •nd I <I.ore $•V V$U<IIIY rightly thoughl, th<1t WhO'I
(1',i x }t.i In} ucl!
Oriti trught c-allthe 111111rna11vt1 use of a te,m ,.sbas,c- •1h111, 10 understancJ
·.x·. we need 10 tnow whet ,1 *-' to be x. « to t>e on x. ond that J:now1ng (o-lttctlon, ha '-'*t')'. lt<"<lon
ltus ai:ipuses us ot wha111 ,snot to be x, l\01 tO De an x. Bui with ·,ear In one~ o1 rifworl(. A.rn.,ll-
,1 i$ 1~ n • g•tlve vse 1h01 wear$ the 1tou,e1s lhO\ 1$. a dtfm11e pboOognptM-d 1tn II Wfft_a,1n11 h
sense euaches 10 the asse111on that so,oetll1ng ,s rrtal.a ,eal such-and'· ~ ifl ,notlwt 11111 l1'1'119t Wh
svcti. only m nie hgl\t of a spec1f1c way m whu;h ,1 might 1.>e. or might NP,od\lOM on OM liltt ol I trMII c¥'\i
have beeh. not ,eal 'Areal duct· d1lle,s hom tM siMJ)I& ·a dock· Ol'l\yin
wtu1, tti, 1e:r1 - • ~ rrom SMN
11\o: his used to 8)Cd1tde v~r,ovs waY$ ot l>ell\g no1 a tHI duck. • but a
Mid StnsibiA-. b)' 1M an~ pl'llloso-
csummv, e 1ov.t1 l)ICtu,e, & deco-v. &c.. and m0,t&Ovt• I don·t k.flOW iun
how 10 Mke the nu11uon 1tt.it u's a 19-oJ duck u.n.Jo.ss I lmow Ju st what. phtt Jl., A1,1$11n "' WNNd Cft 1M
on that oa111wlar occes,on 1he speake• hod rt.,, mfnd to exclude . ....... Alnl,r\ lfg1,11(f 11h1114 prowt
llhOJ lunelion ol 'fMI' lS nol lO con111bu1e PO$d1velv 10 1110 ehbrac-ltt ll• ""NI ~tlhir19 b. ilis-»1,ylo
sat,on of anyth,ng, bt1110 exclude poss,blewavs of betng not ,e.it • and proye whal il Is not. lbt pl'loto;~
these w.,ys ore both nume,ous lo, ~,tc,cvl.or kfods o l thif)!Jt. and 113,blt:1 andAm11trs po,11 Mlopt l1141 ~
to be quite d1fle1en1 to, 1h,ngs 01 d1llerent lo-n<Js ft Is 1his ,oent,tv ol
lll ·wtigM.-..cf, prOM~fOll'ltllling
gone1M lvnc11on combentd with ,mmtn~• drvors11v in spoc.1111; oppbc••
dNrv.d11nwmplicett6.~lht
lions wlucti t,lves 101he \\'01d ·,ear the. a1 f11s1 sight. balllrng feature o I
Mvmg ,ie ,1he:r one , 1.,gte: ·mtt1n1n9; no,, yet ,1mt>,gut1y, ~ num~c,r ~I ntW.lityol AtNU's ~~I corii.ins
d,lte,ent me.anin-gs.· witiin II lhl Steds ol i l s - dolibL
John Ausun. 'S(lflSO ~rid Sft'l.$1b1hl) • ~li5.,._1~111$Mont111flOI.
llltnY,t.,.Mlthot?la llltttxlhif ~
, t.il? W-#1 his O'Mm:ffl9 lilt. AfN:11
~11ndtrm'NsM>fstlbttposllion
otf!,169tmtnt.

1tttt,1f'O tllAlJJflll
ll't Crhlc lfv<;lli

""
lU1Nt..: l)llot o offut. lltflOOfl~ ·~ i.,,..~p,IM ..1~& ♦f'I. . ., l)&IM
,1111 COllOt
34 x :, ta [U,S x 10 li•J
Thit, ~ ~ •• I (Orn.tlin,lion o4! IWo fiM'ICI objt<tt-• •tt of n-uy u,ndf 11/tf'!
1tl.tchtd lo lhtlowtr ~of11ntttdrlc:~ Tht tillt11U11dt,'°Mptr John,•
mtt.ll Kulf)ll.n 111• Oi& Smitts nKt). • IOO'tlbn.tsh v.i:tl mow-s kit btl,:!H..
8 - - !'Nking,. Into. l'niJIUplt, H•mmon pholo9(~d ii tlld Ntouehtd 'flt
pho(09t-.ph, from !hit •n otlMt lilho p,fM w.n m~dt wlli<h wH IM!'I ltfflinMtd
to 9f,'e il • 'phologr,phk' 91,o'H bllo~ lht ~ ol mort hand~
This s.ilpp.tgt t>etwffn ll'lt h,tnd:Mclt , nd iricMln.lt Mel commttdat pto<:ffHS
Is CNl'Kle,rklk of much oc H,ml1ton'1-,11.

WOllll(S
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AH 111 (lo\l!U
1'1.1
liflhtf• t.lh•r pr!llt
t$,$ X 3$,S t. (II X 1' 111]
AW• photo;r..,._,_ flll!'I; MCI ltdt d«111'11Hlltd Nf ~~ Pttiormtd kllonl.
~"'-dlhelv.am,nMn~Ubothfnil~nd~Phol~wH•nidtll
mtOUmbhls-"~IOIMIMsionbelwffn,u,r,wt,tml~¥1dilsOtfitrrtl
of lh♦ tolldityof .... -1d. All Nycrothu locb 18:t Ill• emptied c«IIMIS of. s.uil•
UM.imptrng ~ 1h1tt$ft~1rfiv1l.tiil iMM~.1'11.M'ttt Jusl.:a flMd
to w:t Rock«• mOff'loffll of vnwuioty. ll.tw.Mtms 10 im,t/N iftl!t 1r\it11cd(
lht pt1o109,...Mwu.!thotfNbdcc --'119 bom,wNiekl'.hts..

~$(ff

Uono.-!IU5
100 kou (Mull,)
1911 ·11
l frllf! ,~, ,,,1,, of ,,.i.11n uh,,•"""• or14111el11 u-ttCI ,., $1
t-hu l'>O . 11u, l!tlf\9•,t pdt1H4 flO\\<H.,,
tOS >< ti.S n (8 x 10 inJ t♦ eh

From '911 lo IttJ /vii.In rnfiled • """"of 51 phot09r;19hl, pnr1I~ as poslc.lfds 40

WOQMl 1.000 1ddrtts- The urds dtpld llt\y p,1lrs of rutib« boots • 'MIich Antin
""tw.d"•slnglt ·i,trUN' .. Ill lhty 'ltilvtf WO'lt flt Unltod Stllff ftOlft C.li'6fflit
10 Nt'#Vortt. Tht'f'..-ttffn!t1W~rdtlhoe«t1clhHdin11totThtM.nt1m,.ol NoOrmM
N-'fotll. whtrelhtunh- uhinwt,etydi~d lnMtxhibilk,n, The~!
boots 11$0tppt,,red lhttt' ~ lhty <:Nd M gl#'npwd ll'lrough I doolW.11)' pok'd H It
lls.1Mlfl9 lb 1tlt radio or ljlng on t mturw Ute,,, 11ll 1tlt lfN9,tt wttt ~ ! f f inio
t book 611,M pr.ft<II_

08JECTl'IE 08JEC1$
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lt61-1~
10 olloto ofht~ orl11u ot 1 tOti 11111 Ollf laa,;•. 111 .. fllh f'l , flo:it
'IN5wuhi.itphotog~lcplktl'Mdtby8crd!11tr~• ht~!Okut.,hirt
111d /n$t.1!latlM. II c.ondudtd •n 11'11~ in.,.tl!OWon into !he c:onnec:tions i,.twNn
pho109r~ "'~•/Id ~tdtt- RdlH !Nn takin9 \Ill ~,..pt,y M •
1r, .,.,..,fol m<Nns ol ~ Jdtu. BochMl's wotk lubd'f~llon♦d whtthott
IN, notion. socenl.-.1 to ITIIKh c ~ use ol pho',otrlfl")', WH Mfl po,.-,ibl♦•
The .,i.,. lt.ll:S .,. p!t:ll~ as txa;Millt$ c411,fn~iling Otl itldf.( ctNlf.. E-tdl Is,) (!VOit
• nrlbu!t d kl I ll NlholluU.. twl(f, W 8odwM ~ ntod flrM ol !NffhllnM41 ffid
"''~,.......,~Qnff.Tht ~ph.«1irnJ9tolthe1r1~ ·s•rn\l.ll!d
aqm.tlmMWrinqlalt. is ~ od 1tmuch"'"~l1$ K1!111Slto •dln
~ - 1-1,,....,.,.._~
~ ~ ~ ~ . ,,.~ #> -..o':1..,:~
n.;11Nt. ll s 1 ~o(f,Wtof MOC:hMWClfkUU.dA<IW1S<ttf'HMdJ~
w ~ ~ny r~ 1.i 111d i." lpo~tfffp,,9t 2'31.~&rffied1t• tonn
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1nd mtttlodof di-.~ t1111t'd lo his tnv,t~•nt v,,th p11o10 9 ~ • frff•

.,._, ...... _ _, /- i . tltndir>g wor\ whkh if lhe resultot Qftfv\ rt-1'.edioro•

0:....¥...,.. .... . .17A-A

Ou11eaJ..C!WJ,
A hH ♦=l AllHlft to Pll~t~roA ltuht7
191',
Cotl♦ tl11 sth,ir ,-rt11l
ltx U.S C:9 Ill x 14 111)
MlcNk if 1 5\KCfelsfutcommorcW.1 pt,,otogniphttboJI Is bffl bown lo,.,._. boe':s
-.cl pho!O•~ t r ~ ho Nil fflfdt sine. tilt 1960s. M°'Iot 11\.tri.\ in(tgrtolf t MIit
wt ot IWl~itt1,c,ip1-,. capcioo,. H..-♦.~. tie uplion ff the ffl~.
Thi$ is s liU ,1 photogrfP!k WOl1t. in lho !JfMO lbat Mlc~ls wrw on ~ phk
~ , l i l lcl pt-eMf\b itto us j>nl lU 1115 OII W t ~lll lsa ~~rl>(Snt.
As with much°' his_... this~ COl'ICf(M lilt kUy Of M objtclM!ywllktl tqu.tln
a.ting wl!h ~ n g ot 11ndtnia,ndil'l9, Ot$9M b gonU.. r,otlk""' lhi, wortt ~aros
$01M OOC'l'lm«l 9rowid with ft.-♦ ~tco- c,1ptl.lM phol09~« 1M tlMO.

08J£CtJYE 0 8J£t;f$
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1111 I I U M1totWJ
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1910
"'ll\111 Jlhtf 0-rll'll
)S,S < tt <• [U x 11 h1)
W~n , - . df...,.t~ IO t (Ol'ldilionl'w;Nyt~llclo llltmtdfumot
~ p h y - l h e c ~ ~ o l l h t ~, Rk"tlyl•1"4COMClou51ytxpl~
In llrl. ~ 'ftippln9' ~is<OIM'lonpi.« fl IJ9rTl~I n"lt~~M ~
~119u19t ls rud WI lo ri9ht W lht -.....dl119' ot • photoijrtph ii nQC &O On,ttr,
A rMtMd itNgt ~IM Ml ol 11:S cbj:ofdMly, prowldl119 it t.ctudei ltXI O f ~ dw,,,
H- w.;~ uMt '-fl9~0t in 111t Wffl of 111• N.mt tfi9 lo ~Npt • U'llplt rNdin;
tnd c.ompijatt our ~lion.,. lo tht tllbjt«

WORKS
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Johll IUIJ..16tll
(t11t• Of O.atnl [l]
l♦ t•

,11oiotr-tpt>~ tnd \f..<l 011 -.H... ..,td

103 x lOl- <• ('0.!, K 10. !, In) uci,
n.. Mi!M im.lll• hcroppt<I htre in four dll'lreol• ~ f.kh htJ • •tPt~ 1m,,
s119gn1lng dlll'.rt-tll ,...,-•IIYH Th, WOU<fed bQ6f .«h.ldts ~ Mnwilio~l,.,....
f!MCOlwt'llctldopc,ndon~rwitoryctpl.l,oM$0g~rar1!ee1totv.su.11·~ lo,tud
tl Ii,...,. our tuding H..,.rd -pc,nd$ «fl.llnty by undtfflllnl119 ,11,tab\t rNtlotl
l1>IM im•ot,11'11 ·~ 1910t KoUuirdtx.mlMdflV«lfriKhnlQI Ml"(.tOr phol09~
£«h'fY•Skol.Mtdlnt11m•Mt~l)'~d

OIJC.C:lt\lC 08JECf$
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W!9:i
SloMli;
110rl1o,t ltll;i. fr°' C•netllttl0-'11
"
1914
S.tt>if to11N1 ooltt!11 llhtr o<'i11l
n.s )( 3'.S <• (1.S )( ll.S 1111
From 197410 19808¥Towprodu«dlho ~MrittcompriM'dofdlttdift
phologt~ - ~randpl.l,nlydutrlplMl• ~ M • ~ KrOUdi.tgoN!ly
wdlevAr~ot\OO!taPfl(iC!d~ll l t ~ $itloC'fltw ifl'llgttlollOWIIM ~
ol w;tilght ptio:109r.fP'l't"fieQnttl~.-,~~ um\ldl lohiubj•t rNk
« d1olcocaYitwu .,.print itMU. Theuon~~1 o ~U19<Xm¥1u
1M ~ b u t ~ ~ M and obb1ora1cs IL llun also t.. UiM u I pwf on lti.
~ Ml'Ntfl'l trl ..nd tt ptock;c!iol\.- In IM- 1?70$ ~ wttt ~ ffllbtl$htd lor
v~photOQ~t. ind.o;ldin;lifnQd~. UlwkA ~♦pt,or,.prinl!Nbfl.
llfldtUOMlly ·c•nc:.t' thM pl.ltn .n., a fi!llt, eobon. Ktr. 8,mow KOlll'S his n'ttliwe
k\orcltt tocr...,_awottc.

WORK.S
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ll1HJ•• [U,1.11J.QII

c. ms
Cyt tr-.ni1t~ 11r\"t
~6.\- x V c-.a LI&.\. X Zl.\. 1f1J
E991~'•19t6 ♦xhibldonatni.tMuMwnolMC>OffllArt.~~wult-♦
tltuocuslonwllen th♦ tnuHUm dcl~dcolout~phyuatl Sewnty•nv.
im,gtt, w«'♦ Ml~ rtoM • group of 375 h,l,;M tNIUl'ld (9p$ton't tlom♦lllnd Ii\
Mtfflphi,, Th♦ .tioww<M~d~lti.l~t~ W~f~f'On~
Gvlth. Whit♦ llis WONl llwir~ wilh conc,eptual.t • tocu, on 11,,e fYtfY~ £1191~·•
im.gu "howtd ,n all'♦<don ror l1N9f nwldnq 'fl1lkh was oul ol t ttp with bGlt! tbt
cribUl.dl~ ol tflt liM♦ tnd lltl♦ tn:1dl1lons ol monoclln)tnt • n ~ph)',
Hi s • ~ 1tJ.o ~ cintMalie 111lniliff, h♦ 11\Nt loutlM Shilt riot J$M Huston's
MnitCIH:2>.lndluJw0!1Cwu•IMpirMionlor~..,&tm♦'tTfWS4'rlf,f{lt841,

'£991.etton'tVMol~ In bit ~phsh\11'1'9K'l,kular. inc:iffnttLH• ustt

ii so sub1:tf~ w• "'°
n o ~ -•re o( ii .s • stp,tn!♦ compotl♦l'lt ol f'lt P«><""
by v.tilth- ,_..,..an~ v&u,uy:
w TllotN,sWttllf. W,1~£{1fl,,Jro,t;IM~f:U{~dAw;,rfd, l998

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htli,l , ,.. . , lrolfl~, C,1llletlllt
191$
Gfl1t1" lllvtr p,'lnt
I~,,; ll t'9 6,,; '9 l11J
S.-!ll ~cl ~ p t l H W'K'I housing Ind c«nf'IIMNI ic1$ ...-C♦ lht tnd of IM 19~
but ros. 10 p,o-• whtn ties 'twOril wu if'ldl>dtd in tht 1'75 ¥'0uP t:,Jlibilion
'Ntw TO(>Og~ieti P'hoto,f.,tl,s ol ♦ ~,../11JMtd ~ •, whicl\ tool( ii., cue
fJ'Off\ nintl.ffnlfH;~!ury IOpogr~ photogr._phs uffd u Ulnd ~ &i!lz
~Md.,,,;lb1dtwd'Md1~on1M~nu«~npt.1Mffl,' ~ t n 1 . t
11nd wt•l'l'l1Nd co,pon11e slrudurM itM 1M AmofiUn ~ O.,pil♦ .,._
dtl.liltdv.l...l~!htWOl'k'f,..,..llil)'~dtclil ~(¥J9hl"'9in '1rff
~r!kWIMCilllo,,olj~~NOf«.filMo,mlor't#t.,..;lh~.
oonc,p1u111_,, or~raphk fomwlis.m. Tht rt'ffrved'fiw.( 1ppt0,Kh td!otd
Ill .mbiv~~• lowuds ltie 5UbjKI nwtttt

WORK!
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08JECTIY£ 081(CIS
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ro.~ '< ?S,S , . f3x ll 111)
Sil'IC4I IM 1910s Cohtn NS ~ p ! M d itlltnOt'S•.mply ol Pf'OIM, wflkh lcmd
IOMtlOl'!·publle~olwoltotl.isut•. ll'I IMlreffldtt>dlmitflllht~llpl\s
di-¥1# ~lion. U!fougll lb~. lo llht tdffllit$ tMI _. t1Mrttt, FotCohtn
phOl9'1r..v k ~rity• de!Kripli¥t. ~ l i n ; mtfillm 1h11tnCOUnlttt
U,.wotld Mel ,.,prestnts l. H('f - ol r,hocogniphy ~peel from lwf" fff'lier
MlnirNllt-1 W(M'I( ,H• r lft<lt911 ~ Milwnal 1rt' s ~ . w . d f'MtlCulous l'inis.h,
tfftfl'\bllng •nonrfnOlrl. acd'l~•l t ~

$1'1l ♦r ••,IYl1lU'J (Q,11tl

Mter11oo,1l (on•ihl
1t11, jl,

Colour ,110 bl•<li. t'"4 wMtt

DIIOl09U~M
<CD,S >e lO.~ t11[1611 It lnJ ttch
,. to,.. $tllhr 11,ci.1uo
[O\lltt Artttnoon}: llonour.
co-..,,o,, Con1ldtnct
In.,.
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,q,_..,.,....,-..,,,.,
hot-dloQe-lher rtmsbad(lfHMffl~
of objeds. tn lhffe ¥«ious lmp!VYikd
lill.AlbOM, $0Jlplur. blen~ with
p ~. Thtl'tfull k nit obJtcfs
equ~ffllof Potin9, !'N<le.U IMl'l'IOI'♦
comk tr, pseudo-d.lJsbl !ill.ff.
Ex!ondlng ltikwotll !he attbts mdt
tlutWIX~tlldminlffiulltd
nr.w,,111VIS)1:Go n....-1Ntoei.
similar to lh♦ ~•PM W 11 It.
.11 thirty,,ll'IM'!ult ctwoiro ~ in which

\ IN ob}t<ls t.JU. swJng, cdfid,o, Wffl l !ld

1tic1tintoHCh~ln•llnffr~o
tro11nd lht t lll'fio loot',

WORKS
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• f~r~lnl c--, rl tne t•tHt
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Rq h l»st known lu his 111\)hty IIN$ht d
s«Apluru thlll disrupt hlbllf. ol
ll<t'~ n-tfthwtii'ldvdt4K&llf19
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oflho~tthin9¥1d16:lmmicw:it.-
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to dtltit Ind II pcr(lftfflft lhal rn:,kn
9ltffl b W l ~ a nd cltbl>Ma!olf
OS!anL M>IS I profts.S!Mal pholog~ptl
o l t ~ U ~ o flM_.l
Sudlll#nmitthr,,ttt,t,r,Kityl~t•
~4tscrib..-l1'phol09~
libnff.-. P.:irado:.daity INyappear
WWl t't'l(W llltrill.:t v.fltfl IIWy 1r.
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rtpelitlon 1Mottn1 In c~ssl~~phy 11nd lndu~ fNl\l;dkhj,._, M ~
111.-.,gh11t~tr1hif~S<tiw•1t,,cmllow').Ch«opkktdtrldi,hol09r~
- ~ tlie fll(Ot,,V)ll't'fd• sllf!Mr - · ». Sc:hw«bt-1• • ptodl.ld ot the btnfflY
wdltist U~ Germany. b cleslgfl loo lo marrylht commodity~ cf high
upltalhm ffld IM utltllyot • prkllUI fflOdt ot t~nspon, It 1' t i l t ~ of• sp.cii'lc
momt,n111\a,,opt'sH<WlhbWy.Oto~·•~10limit1htpl.o,10~
wt,ntslht~~,_.. ofcolours IH'rYWl!dtdtr,'llle~ m.1ru1wt'oilt•~
10 tt. ~ MrnfflffS ot m:iu produchon.

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In ctos. ~ lfN9U Wff♦ llwf\ bled OIIIO tht sutt.K:t ol $hCI)' hbr~ fl'lodtb,
~iliotffiol""'"·•lftfN~l~♦Phyln~• ~ltWdc,1t1 bt
Y~d &ltr,uttenl'O\ltt,'i\ sidy vnliotls of mu111 molion, Aptlt,"'9 rtaolb lht
•• II Al, ~chnmopho!~otEli;tnn.-~M.tre,:Vlttosomtlhods
ofrecordln;mollonlndudocltphol~gun~bltof'~' the uqutnc:,t
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1ltl'\t•--lkt. WI\H♦ l... ~11'1#· ~•-<ifdt•~dt ~ ' " " " i n moveffiffll

WOIIMS
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fil11h"' ¥£6.!.l6
S1uy Ml•111U: Slle11ce
1'96
R", OfO!tttlOfl ~!Off. 60 •lr,., 0!011~ , io11na
ll!-en•1o-.l orh-111•
Wurit,g ht,,e npt°""" I/It tttttion ~ ~~phy 111d Dlt mowing itnao-,.
Ag,:oup c4 polk♦ otllc:- poM •i ii kit • tounll 11roup ~ Po&itlt i n ~
'turning onesotl 11'110 a ~ p h' - holdlr19 Otlffe'tl stillin l)tl)~r.tion for h ilnf9'.
~ Wo(lllg•• ,..,.,.IUJ It. vlclfO CMl'IIO and Mt" "Sdflff'S' ~ tt,ough lhtv-•
In I.cl. p ~ k'IIWtlnnt!OI ~ ,,_,, fl'Ol$♦ lftdltifli~ly. At IN- hour 9(l'S b't
hs.ubje<ls' alfl~~n,1-:,i. ~~pl♦d .,,..,..., ,,dcoughin9
WHtltlf'S cllob ol IN police H sut,jed:l b not ¥ti!Ary. Cam('r.t$ hWt In
tflWn(fltcl auu,.o,11)' and nm power ONff us. be II In 1t10 pbo(olxloth. tti. '-nit)'
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111~•IQ<'t ut1nlt
Aro~Mtt i""'""•• ~t'fffldl h ~ontothow•ll•t lht cu1.101Mryhei9hl
The' $lktt pl'Gjtaor is il~ m• cle into ,n int~ral p,,rtol lhe"51141 ♦11porltneo et Che
wo,11. k.any et Fl(>'fff's pi,Kff o«upy 4 ljNIU btlwNtl $Culplutt 4M phOI091'1plly,
1,111.;i,,g lhe lorm ol vls,,gt puns Jnd tt'OMJ» rotot udl"t'1ing Uit s Pt'dfk ,-.1ur'ff
O f ~ l ~ l t ~ M t l ll

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tlt-.lc (It t>tr Ctl\t ReflttUf'Ct]

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110 lC 1\1 ta [0 lC f.t In}
KMNtd ~lf..otModi~u,vMia9rt)'~Surt.X.. lo~.sidt1'--
"''.d)~ olfi;il,nU¥1t p,,lntif'l9in ~ s. TlM:ftdan91tal!udtl bolh IOl'flMO-
dvomt ~ 11nd lo 1M '9fl'f at€ plaud ~ tilt C,11'\fl'l b-y pl'lot,og,-phttt
10 Ml? c;,IOMt.t KCU'J.,. f)'IIO'urt TIit a tti$1Jtlf w,11 hn po,<~ out 111.i _..
5'ftC•lbt bla.ni t ~ s w • ~ • s t "'9ill1'1'1Mt11rtwc:,,k..Mll9uni!M ~
Is •'painting., a p,inlin9. Whilt lht m«loOChromt is a 1e<Mka1 posslbkil)' In
pho1opr~ 1' does not «cup'/ 1M ptMt.g6d i,4l,Ct ii doM to,r ~lnt;ng, Ktft wt ft♦
rtmincled INt prio,- to tal:',ng J phologtlpf'I IM Cffl'ttt'f m""" Ii,_ 'looli t l a blink 9"'/
Mdaco. k, . .p,alnling, M,$1/"kt:l,On pt~ I rt pm1m...,lion.
..
•
TRACES OF TRACES A photograph is an image that bears

the mark of the real. The light that illuminates the world is the l ight that records

its image. In th is sense all photographs are traces. However the world itself

contains traces or marks. These have been of enduring interest to artists.

A photograph of a trace is perhaps the opposite of the 'decisive moment'.

It is the mom ent after. It records the marks made by the world on the body

and by the body on the world. Both performance and conceptual art utilized

the photograph as a means of recording traces. More recently. documentary

photography has moved beyond the recording of ·events· to include the

aftermath. For all their diversity. the works in this section share a certain

forensic quality. engaging w ith the scientific use of the photographic image.

Jolin !U1!U.A

ONc&l t~(tqlloml!lpsbttwfftllheN1t11ral,lld the.vtllkill.1heobjffl#O

Mid.,.. M)tdivt ,~ llw VfM,1~$.t iH ht lllurnd 1M dl$df!Cb0n btfl<r,,ffn lound
evi~tM'fd~lrudMptrlOt~. Thqll'\kkt tKorotdb)' U,t~MttJ•PPf•t
1nt\'lllloN1yctllwlrme.r,li,vl!S~lw. KH lhoe.wntra •~ d ' ~ w ~
IM)'~ macle ospt<Wfy t« in Tht photographs ptfftf"l't lht ,rnb'9uOU$ slt tu,
o(ttlt ttM.ff. II\ fact 0 ~ Nd tlllll$4'Ub«>Mn ;,-,o ~ f f Octlcltl'nnt d Wlding,s,
...tlleh he 'vill!Hl.i..,.- ( t U ~ be!t'l'I pholOO~ lhtn'!

1RAC£S OF TRACES
-
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't!te ~CA!tCI
J\ICP~

1969
t tro. t"' l,Nfl>t'IU Of$ l>lHI\ tnll "~Ht ;"Ot~•nlll
OlllfnS,!0111. v.rhbl ♦

A«iollcl fflldt lhKt ~ k ra,lfmacioc ,n.,~ ,t the momffll ht hit 1h11 ground
ln•Hritttl~"fbtMdjumps ~•wocdlM~th. Jwn,sNIHlhit
cotlCtptu.,t,c-tdkt of (~rl')inf oul • pr••~ !dot WJth flt ptrfOtMatlef
of tcliont INt !like Into .«O<ll'll lM boctft ~ -. 'Cuntr• Wkt. il 11,11111)'
~H • Of"lundJon ol pbotognoph)' " "u$t iiobKVl't'$ the sub{ed INller
aAd ~tr,m,lhitphy,iNll'~•«tM pholoif~. uno:le~llw WNt
ol o b ~ Svth 'l•lhitn' el ll1t boctj trt <~r.chmltk of flWdl. c,t A«.Mcft
pfffonna.n« work.
 .,

GllueppeU!la[
$vtlqtfl !1 Pf011"'1t Hlltfpln,..
[Unrol I 7011r ,un/UOlld
19/1
t,iqr,vec , tont
Qk.,,.,,11ut!on 1111010,r,:,111
11'1 ll'lt $fotll ol lM Mo P<wff•
fflM~~·,u11lp1un,lk'ld
pllol09f'Phk-"'ff.M'Cl>Hforatl
NffiMUII p.#ltyil)v.bith the not is I
m.au.tot6Cueh~ph)'Slul<011M<1b:I
~ llw fl'l,ll(trial ~ M l, Ot!to

;,~n ~ lht¥~ tptl"tl'l•n• nlly

1n9rwed ffl im~• of his &\9tfptinb-
1nOH cf lllt Ftrtr,kill~•ofhls
t i t ~ - . . . . , . ~ l l lntoltit
Wtltl to (w lior,,si6t OCilt( t,IO(ltt, Otl
, mr btd. Tht .ction ...,.,, dotlim~lod
il\photog~ Sine. l'701M.rti5thn
1,1M,d Uit ,.-gniphk fMbf ol""' hand
.-id fi119trptin1J in m•ny woitt.
lRActS OF tRAC(S
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l tll(t .IWllWI
n ... r 1'rr•~<Jeooent,

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tl.11.ll, sc,Hrflf~Ufl
kl<umiin kinntd •M rflCol'mtd
tmngt,,...tl"611r«il"liJ~Ro..
~•phlng h<n- •-month
~ -Evid«-d Mt'e ¥1: m:i"Y oonttrm
ltld lnfWm 1'5.1.iw-r1e • ritual
1WrNlpunnirlgi,a11...._.., t11form\Ks
l'!llltrilb lr'ld bc!hlwx.ir. and it.
6tflrr•lot~~••-'~
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., ... 11.1.Uits
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1410
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C11lleulon, Stodo11Jl V&n •01>s:r.•,u•1P>, ll11dllov,11
AtWIO .......tw sob.tit• Dlbbt!J pl\ql.ogrlphtd. Mldow of IM v,nAtibffnuseum.
~ tl lMtninui.. Hf'tv.i,_ lrom CW#f'llloMk, m•klngto~phswhkf'\
ot!N~limt andiighll'NlhemiidaUy. TMpitcew,s~...,.tdua $tiidie
~•tNllnU-~phk.~lht9ridoftlltwind<,,,,ls~¥1d
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Oibbffl' WUvoulcWttdk'l•dv~l'ot'e•ndu.wttd4«ordirlgll)AK!MffW
CO-Gf'l1ifllt!tt,, ThW H~k: STlll'(t ~ from IMlt KtwNnc.t lO a $Nfflll'lgly
blind~8)'Sl.tm.

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lit.AC.ES Of TRAC(S
 Jhc ti~
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"
1118
t ttldln sll~tr o,1nu
lO. ~x 2~. ~cw, [ex 10 lll)HCII

fri. /f7U<1r!fi t<1r1n

Mystfflu<f.• Mritt olootl(tn!,-lt-d
dip1)'dl• 1nd ~ in wl!ich 1114:rt •~
j11Jl.-..,..twtt loMl ln moliotl
M ~ U ftrim.or inltlgu,. Thitir
lablcw $1)tt dmfl ffom lbNtrl',
~ptrlorm,nc.111 ll'lddt!~
l\<tiot\ Hw.1h1 ~ • p h i tl &i9nlhM
it lboo to bt re.d n • tonl.tl~ of signs.
Objtc1$. Qff!Urts and tr;Kfl - pitctd
togttMr 'tlf ttlt ~ .II\ t11• fR(ti$,
Mte.,.nl$ffl• of phOlc,r.,,,.,," l'IIMIM
•nd fYi"-• m ttYNltd.

S\lhn 1LU.U.t
tllltltlNI
1912
$' lhctttn p11, t . cl)'t •t!d 1ron
C11;r11• OIi hllrit
109 X 16 U fO X 30 hi}
TWw$itnt;ti•r•~of Poptrt·•

•m,irt VM ol wtrJ!Wfdo.-n~ Pfl)dudl.

~ rt ~
n... bum M1tt, llowtvtf, indiu!t ~

Ual't &>at on lllollt Po'!a UM ol a tffl. iron to makt cfroct•nd

(~1,n,1 konk tr..cu. .ntrodl.ldng Ml'l$tf, of Wnt,
proc:t$$ «td ptl1orm,nc:t Whleh di!ltt'
1'1i
C,thUn •th,, prt"tl lrom lhoM~!tdwi!h ph0\09f~
to.\ x H.i ea (8 X 10 1n) t,tlll 'Low' dormeslk WOnl r, ~ made
CIJ!l"ffllllg'• ~ p l l i c . ~ ltom ills.tfMniblt trom . , , . ~ ol m1ki119

lhe 1110SoftffilooklM lonnol w,trl· lll;ll' 111. UotwiK. c,mrM is ~

ffl0fll$ o, dtnwMl~1iMt,. A P,O<I U 'Mth a nondHulpt labrk. This work

• plitlapi.. ~u•bkll'llWOlAd ('Ondt!U-tt m,ny of lht ,on«mt .nd

M lotlowtd lhrough .ff)d docvmtn!H strar.itglos of feminist ,rt ptKII« that

m~•lty.Allhoughfl'IQCht~ i.1tt ea,,n• • <Nff«ffl$4 N 1"70,..
~pllyOC 111• ptriodopMcllot
61,-1klU1d Kocbk '"11.tll'IMlc ait,p,sholt.
C11!M'!ing uiff • .ctmiettly e)(.kli1111 10
dindlp!Alt~mtf-1. Thisdff~nHha
"'1ic Wkeon!M~Kit.11 inwhld\
viswl det-1!1 ls '1111U•~ d.)11

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t'f.&iro(fyle l~ll •16
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Of Pt,.fore1•t• l11 811,tHII, !'IJfi

·,A
Sdln&tm•n·• W... WOl't( ha$ ...,_d
two.,6tf dmiiallon. iftcluding M his:lor,.
In 1M form ot pho107f;Jpt'$. AJlb:Ntj\
lhlt p;.c. WH ffl.l)'ff a5 11.-. Video lo
tn ._,.nu lllt ~•PM .,..,ltll
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t,1Jb~le d. p!'l!MfV!nll U'.lf il'll~(lly
oflht j)fffotmM>Ce.
·11ptoMldlffdudl'llgH« Limits
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ltm ~114tdWla lt'ftt,1Jr9f,oli••
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tor•• 'IIIOIOM.,, 111 lrtl!O
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tnd Mou'4tdlhtl'I\ M'llotNl)H...tiitfl
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pttfOm'lanet ~ p M -5 !hen
.-iihibiltd btnwlh 11\t ~.,pht,
tiMTq ._1mc11n bttWHro lht 1r-o
nim--oe1nd15 ~objtd.

I RACES Of UU.C(S
 "

M•l!Lal>ll.li
Untitled, r,N lllf su... u ' ' " "
1')18
•he~ f~4 , 'llt♦ ~loot91r-t;li ,of
1111,et• •Uh t♦H 111 ; eO 9f0$
\6.S X f.O <• (X, X 16 lfl)
(Oll♦( t '011 , $f.!\ ft♦ ~Cl'lCO 11.it♦III

Ot~M,\t\
Tl\itir,oi--.011 n111nk<'ol~♦pht
lhtl 4,xvment • 11roup ol lnli~
ptriofmll'l« Kllons. Mencitu ~
Wf)'S o, CfflStNCllflg • ht rmonlou,
f'Nllot'1$hl:p btlwttf'l l\.r ~i(al attl
4ondN11!n.r,11hotrlh1n ~ hffok
muteryOW/'f lbt lanchc•~ Usfr.9 her
~tt,tH tl!tlt,r II poslt)W volll!'M or
f ~!M ~. lh♦ ~l vlff,._t\ll"tll
pr«es.su to mike an impre»ion ol lwr
body's nc.e in the tlndK.-.I.,.. two. 11\u
fett,t!tt t was apptwd 10 lht ground
~ ~♦t• haclbtttl~.IM tr•t
ofhff'formr,maint dvhi!Minlhot,-
lll'llH '111'1:kh 9rew there. In c4l'tff wed,
sne used maitrials s«h u d#)t fir. or
kt, 11$ 11'n.,_111t~♦ph♦ N._..

• ~ r y ron:t. At 6k\lmtnts lh.-,

record the 11"'7i119 0'.11 ol s.ol.it.try rit~ls
olMll•~•nd~
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J♦ ff uu.
TIie Ou1 ..01tc1 ~
19r9
lrtnsi,art'>C-, 1n 11,1itt>01C
1!9 x l~ (II CU,$ x 91 111)
o.plcling 11\t ~ 1111 « t1,,0 ·1n~lbm of • -man's toOm. !his 1hrtt-dim11nMONl
HI Wilt two dim.,.J19MI «ampotlbOl'I toteh♦ QM♦111 .,.. Uitttl;lltfl'IUal'l<Od.
D i ~ b O'Ntn,,fty mim~.hd. ,0 I N ( ~ appear I.O bt Chine♦ ChUII$,,.. ~ l t d
..s WtntiorlMly ptKtd. The st.t9in9 ..tiow5 llw'fifl'W'fl' lo c«1nec1 lht
ilbnioniwn
CC pflolog~'MII\ pain,. , . , ~ Oft 11w ~ ol lliuslota • ll;urtfle
tllWOl!\lnb l♦" ~ o n - - c t i t ,101~ M 1,1, nd•ln lorllw mlu"-"'J
0<04MIIL,..._ on IN Pelt ol 1nli-ill0Jtion W~ l ~ f 11t 1it9litnptt tit initriOt 01 tlil
5ludio through lhtslc!e6x>iw.y. Thet.rr, KM olh~_.,lil1$\ht"1._·s
llflld of'MIOI\. It WH llri! li\$~ 11e d lllAI\ 101he glas.s 'cOffldow of I,,. Wffl ~ Ncrt♦
~ , y i n \ ' ~. ~ tht~ttYtlN par1~illus'lotlof1rea1sp- . ...tine
opposH•
11mphui~ its ori;in tn W1T1mtrci♦I • ~•
llotdon M.1.JJA·(! .lU:
O·H'iu a.,o,w,
1911
Ctcun,_ print
IOI.~ x 16 c• {'40 x lO t•J
ftl 1 &suMd ol!lc• tM.,¥1'>9 in AM,,-f,rp, M.ltiJ•Cbrk rN6t ut:•INfl"IMbkm
fO'QS,$"" w~ tnd ~ Hit pllo(ogrtphs push lh♦ 1,f'Mj ~ !tit dtwlpll-,t
OOC'U!nflll jus l ff his #dlilecb.-41'.llNVenlio,-.s br ..... 11\it P«Upl!ltl hMilJ of bvill
$j),l«. The ptiolo;rlPM wt coll~od ~lhtf. • pro«u llwt oeclart':5 tho worti of 11w
hand. Tho r - •16!1 t dgtl Ol lht fllffl ffl'llllatt 1M t t w ~ Ol lht lnt«n.tl '$1Neh.1tt
ol 11',f- •r<hilt<II.R Tili$ ~ of l~ff,. f'IIO'Nl9 bt!Wffft pot tNl\fnc. • nd
lm p t r ~. w•, (,,.r-tt~k of mvth of M.-11;1. c::a,,k·•. .ip.cilk ..,...

UIACU OF lltACES
 ..

WOAl(S
... ..,.. l>H>Osf!f
•
'-trl1u., &I.WU Uu.&t<I LO-"
Ut Ot-t♦ ll• fr-(19 ■ ,1u11r, ~lltt.111 WOOi,$ .u:, 11,.l{~t<-S
,. NIJO IIALL tY A lUll,.,. l'LM,l l[AII TIit l/10 or All OAT ',(All( Ill llll>Al
nit
J!a: bhO ■l!O 11111:t pllo:o~rar,!,i 011 0041(1, IUffll ,,.,
1l7 x •co c• tSO x !SIS h1J ouull !llt<• ■!'>O •Mtt pno~09r1i,n. ~•,.t
C•11t<:llll" Uhtr -.U~tl• 11.titua, C.rtttld, '°'''°""1 68 II Ill c• [JA.!i X t, lnJ
In IN WMl'llft Of 1976. Riehltrpl\O(o,Jr,phed _,. turtkt.,, tn • ~ h QI'\ A numb« ol tM pl\O!Ogniphs wtlkh lotm pan of 1.oiwf• (lo(umtntWM ofwtlkt
unvuhm~-tn9'n~di~ntndunderdtr.r-enl~«<KllboM. lndill'tr.nt ~i~i~MYftfl IIIN$ odlbt 1r.-;,r 1~umelmao,t. ~lho
Gor,.,,nl.iorwit~l)M ol ~'inllngs fot rtpt0cll.don _... s1rll911it lran$,p¥fflL otnlot do0Ymtlll$ • mqmtnlQl'I o wttk. lhf epMmtral lfo)Ot of.,,,..ttt Oft a dryw,11
lf'MIII and ttdll~ lllk onQtl Sllfltl'tu4$ ~ Ml'l$,t of IAXlutt ;aM lhf'tt• ..,.,dlht~ollh.t. . . himseltAllhollghl!llsim.~notlypiulolfflef«ibs
dlm~ty, ...... Vltl~•""9flli9hlllltlibMtd~.. ...trie:h ~ Otl \.lirgor ¥US olWld In much ot his photogr.tiph)', 11 oS tNl/lcf 10""' ~ II• " WOl'I(.
(OIJlflttMfffkinb-f • ~C..~tph. Ridllel'"stbsnt:I ~ weh.,111t' 111Nct!ust sp(uhtd Jnditl'lttrHMl.ldfto/1'1~~119 klot "-"tltd
wb}t(1 ~ . pti,y on lho wort;fd wrl..:e. wt,,,._ his ll;urM'4 p.,lnli"9,S !hat
deffie from pllotograpM scmoothout surtKit to ~ • • 1 0 • ptlol~ ShMtl
- ..
,

'.

SHADOWS AND WATERMARKS

A MUD WALL BY A RESTING PI.ACE NEAR THE ENO OF A 21OAYWALK IN NEPAL

1983

WOlll(S
~<tlht C6ll.l.lll1
Lt toroi <Iv Clel lf~ st,·• ~,l
1991
l e11~oeo9♦!'\I(' ll•IIIU M'-11\tNI on $'1uioln, thi•lnh.1• r,...
l&l x !»1) c• :7t.$ ,c U$,S 111)
C♦lltttlonJ, 1111~ff cl ' trl contt"~oo••t• ~• IIOlltrUI. Ct11♦6♦: )flo•1•
Arl Mi.,c,_, Jt~J'I
~ ·• <1oM1,1p~ofboditt t retnlolrvfll1»•n•lfflosedMfflllkKN
MWtlith lhtybofdw on.t0$!rxllon.Manyof h t r ~ dtpkl.PinM. •llrl~
l~I ~ bul ttUII\$. ~ 1ft '"" lorm Ot SCM'I ~ bNi - . p,U'lltttil'l9"'"'
pllol09~ ,m-.twn,'IIINcfl i• il.fflf• r«tptMI! w..en H-C.d"'teux brin9s
logcthor. ~Ptl'rith•9ffl~$l1N9to!t,YiiHd~h, ~ b etWffl'.'I
dliftrtnl '°""· This ♦llows the~ lo be ,"Nd 11$ phocogr•phle. ~ . wNk
.tU1,16 n9 IOontm,tlic: monl.tgt. whl<hfNt.H~ through ~ t~ ,
SO~III II WlUllli.lltB
,.,, "'
1991
11 ltl•clt 4~4'11111tt ♦l'IO COIOuf> Cllt0111G9t11lt prints N<1Mt'd 11111l111tlnl.a.
,,...o
l o,tlt.u ho-,~,. U•!h , 100 I< Uf c- 09.S x 0.\ l•J Ot"
R ~ pt'(lductt ltro••ktl, P"Oitw. ff\6rl)'OI whkh h..-. foc11ffd 00 "'""'
Htr 1ombr. l~gt• of lh, tw.v.!li dtMm arid OIi fittds wor. ~ immeodilttty ,)ftt,f
1bt O..,U W-4fin IHI. StlOt from lbt grotond ,nd !tit , {r, lht Multol!ffi)! lht lm,agitty Is
11 count«polnt~o IN ~ ol lt"lditloinal W¥ phot09f~,nd nwdia slmulaliM
Tr•fl.$1alif19 ,}$ bolfl 'wtllt !\ft""" 11ot1t· •nd 11<1·. F#il b , liteqt bUI laconk li!lt INt
JO.OW, viJ\1111 infonntiiwl 1,uth h rt4MNe $U!. to re1Nln unresolwd. 1~1#19 the
4'1,irf l o ~ As well .., lonnln; , o•lleqbbltallon, FMtwu eon<tiwld•
., bookv.ti..lh•hl~ ar,prlnttdMllllooclonN(h~,

WOlltltS
"'

(1114)1' ~

IIMHh~ '6, lJ!,

""
Clti.C"l'ON pr1~t
l?O. !, x lit.!> <• r.tt.~" 11.~ 111I
Unlik♦ Stltrman's fl!rtitr un11fttd film ,till il'N9", btf♦ lht ~ body If. ♦I/MS!
♦b~jtAl~pt,Mln lht11in9tu1r ~ .lts dle<'l,.tio-. ~ ... ~!♦d
♦ Kfflf ofMit<-telo~ Till$JtOYOktlrtHKbOnOl'l!NulM1Wv.tiichMtf·
portAilutt. ~rtk\Mrly f« ~ i n • ~ clomi~l♦d $0CIIIY, b roo!ed tlCII $0 mud'!
11'1 IM boctflts.11 nth♦ sl;ins INt lndkat, ib Prfltnc.. In ~is lrn♦gt ;a,,,11 Ollltri ol
chit !)tl';o.d SMNnan txplorNf lomlnin{ty ~ its tn<fl in sud'l o w,r 11\tl ~
• mininQ tw1:11, tttmtd eo kho 11\t ff♦rch tor IMntity. There ,re ~~1, ~
ol po,trahure W ♦b.o of ptriormtnN! "'1ld Cinffflllit ~I♦, Tlltro Is alw ,n
~ belWNf'l lh♦ kffnslc ff-l• ol ~ Olntft w brW\lf♦ di$plfy lor IL
 ...

fl!(l>lr4 a.:s~
,i.,~, 110. j1 (1141 (•nlol, fo•• ou,,t c.~ih
1989•91
c:01011, eo.,ple, 11r1nt
101,0:.X \fi1ta[ ◄0>1 S-1 t11J
Mik't<ti• ~ ~l$ • O™'d p,-ojtcl •-~ng lM l.tndsaipH ol t h e ~
WnL~r.toltbe~h..-.toe,JM(lonfNVKitflitfttlthtllUCINfl(!S1slln
lnNw•<lll.Miw-~am,-two«:,pie$Ql~m•e»iJltNINd~
IIStd f« usual shooting pr;tWC, . Uw bullfts ~»ing ,-.. lhou$h IIWffl Ht m10t-
1 nulftbtf ot iff'll9t$ 0C fffl,lnte P19H. lt11pt,ot~ thftf<n!lltt-.iwalallf9(1'Y
of. pat~ ...~ blend« po!'l"I09I'.,,,. <el,t,rityJlldCOI\Surntritl'I\. all
mal'kfll tl • fu!\l!Nmtn__. WWI W ~ t.
"'
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•.1•• IJ.lll
••
\f ·llO pr'"t ollol~fd
(10 >. II II•
..,.-,11ci11ta~~ill u,,n.r.,tffs-1 hi9hl.ycra1ll:danduf'ffilll)' r""'4
""'"-' lt,I phOI09fMII lo mN lhl$ ll'N~ ptxAOIJrlphlc PlfM _, p\,tc:ed ~•lh
~ < A i ~ In lo~ltS.,~,.•~wute1~ltldJS!I ~ ~ I N '
w"1/¥ 1 ~qunw.)£ U I off n~ phologflpl'lic l)tptr WU rtlflMd tnd pr«t»-d
n,....-n.lls l,,MtllOf lho fir1t hf'MHI uniq111 lrk1 i ~ .
,-,.«h0tst good'flflylo~lhlphol09r.,,m.whkhl,1~otho<IC!tw
fll4iol1Jed j1',_,lf1hoi)Q(,tfr~tho'ollil'Otld1n.d ttle l't'iNISOSmollc.'
-.W.M~~~•n SUplwn Fr~ 'Thin Air,Mfl'l'lfW.Ph6l09fW!M·,
~ ~ b < l :• 199'3

Vl1H1 ll:l)lli&ll
f1ttor1 Ill
1991
t1t1tel!ro... prlM .-01mtt4 ,n ,1.,..1.1.a
IU X 183 Cll (ASX 7Z 111)
Thi•1•0l'lloluw,Mp11otographswltl!.r11«~ng'llckoopitc:1, . . ,
R«w1~ tNdofinOltl)'nHrV\l~dfr~n lh1notlti1ndwvlh
nw:, were shot in 1 ~ lai«Ot')' ch,1rinq: • «fftl'ire. u ~ o l polilk.11
,ou,bll,ty. Since"' I 980, Oon.rty hi, locused en 1M conftot1 In lfflurd.
H~ photograph, .wotd lM lrno11gery typ.41td by fMClia c.Mtll)I ef INI 6'tl.UUOn,
p~il\tll,ld ~kfflotnp/'lyol' l~wtllJ..l.an6K,lflfftnflr~,.
... lllit UUS.~.IU.WW
~teouHto:
\991
C-type grlnl 110~na6 011 ,.,,.1111..-
ISO)( i!O c• (\9 x H t11J
81NS luxwnb11t9w,11ndtn !tit dly
al n~t~phOlogn,,hi1$~d
$1.1f'fktt L.iHr~#iH(lo-.potffll.islle
!i!M irn•11eol he-r ff<ood bocttohl'ortt
on thedty.tniqht. Thelit$1. LolldM
•HctStml>rcJ«t uffdlht\'lw,I
w~•n• t, /lffJht pl\010 9 ~
to~~atdliltdun.
MolOM',Y ~ ICIWtr t4ocks.. ar
jNrks ,111\(f ~9ff -re lnln$lotmtd
lntoSIJIUCiK rovo.lirf .«4'1 fln,,el!.il'tJ
•ndurbtn~. HOf'ttl\ie(;.lmtt,11
QOfflH In dOMf to, n<Wd- il"a'n,~
lnefl-line,, ofm-\M"~11ndt~
tMlted OUI on 11 ~ SIJll'oWU.

An tllo,w 1!UKMIQ£1
110. 11. fr• lJ"4SUPO ror t .., llo-t.hu
1989-9!,
Cll!tcllrON prlnt
1' x IOI.\ c. 1)0 x -40 1111)
this HMI dtpdl 111r-.. Lot Mftl" whtrt t(IV9h flttPfl't, lty IO J)»t U'>t nlghl
....,1"""'
t,w;sillly •net .-ftly Tht iml9ff not juti lf'lf lrtc:ff IN( art- left bMrid
W !l'lt o.,!1m,e • b ~ oftht ~•o. Mffl\andc,.t WOf!IS ~ lllotUl.tQ«Yol
'h hom,, t.n' •s • simple kitm ol vkwt ~1190. fhffo It otU11tr• •mlllguky
lrllll,tprot«('sbti.i• ~ - If bOlh a l)YlotollfNtt ,11c1W,l'(ptofptac•.
f1- IOfM 1CI"r ~ •-·.e.11519t~lbll ltifM l,pknart- ~ ~ ~ I O f
#l~~Hd»sofl)eoff*.

llt.4CU OF I R.\C(S
--

JOtl 11£llSOM.lll
111nar k•cltn, llo•lcl fl11111chl Ctnur, ,,.,. ,uur SllH~fr II: twun
1,0. t;,o~fld z,~o
2001
C: t1P11 Print
16 x \01.S t11 UO x co ,,.,1
M~o""'-1 WU,. . . . . ~•PMf" Ptfflllt!fd to clowrfle,nl .,_ ,tt.rl't'lll:t! ot ~
cot.p,.eQllhtWO!idTr,6'~1~ o,, 11St-p1,mW200l, "11•1MCityMuW\lm
of N.w Yotlt au!Mtd him In hb .tlempt to make• ~ p l ! l c tf(O(d Within Vlt
corcbwd .,..11:- as ground ttro. UMn9• ~'1J• loml•I e.m_,. he dO<umll-!llff
1ht 1i11 ,-uy, tl!Cordlfl9 IN i>ll110Nd physlut fflrironfMf'lt ,nd I N ~ ol lhot
liftmtn tn4 Mt -ktrt in M ~ 1 , 11'1 ~ ol lM f,J)f<laelt d ff'IO<Ylno ltt'lagU.
tht Dt«5NIY ~ , . , ol ,,m ~bphy 1llqwf"10 ,,_..,. I ttfflptrtd, MitfflOl'W
lund!M. In O!eir s:tlnneeu 1heeM ~ $ e<ho lht ~rttrtls !Mt lo1kw,. htr> lho<:k.
~ •16N} tilt worii:lng ttlt'OQ9b ot the 1numa1k mtm«y of the~

WO!tk$
"'
THE URBAN AND THE EVERYDAY
The city. modernity and photography are intimately linked. The modern city

understood itself through its own image. Street photography reached a peak

in the middle of the twentieth century in the form of art photojournalism.

The freelance documentary photographer. a kind of hunter- gatherer. found

outlets for images in popu lar magazines. books and occasionally galleries.

The flow and the micro-dramas of everyday life could be frozen and then

reanimated by captions and longer articles. 1960s vanguard art embraced

photography with an anti-documentary impulse. leaving art photojournalism

sidelined. At the same time Western cities began a wholesale transformation

in their appearance. function and demographics. This new urbanism was not

easily readable by the camera. The look of buildings and people could mask

their functions as much as displayin g them. Much of the city's operation had

become electronic and therefore invisible. Many of the works in this section

mark a recognition that the contemporary city can be understood as a kind

of palimpsest: while its surfaces may be spectacularly photogenic. underlying

them are complex social and political relations.

till ~

f,tlU'.n S.1h~t prll't

l!. x tl.S tt1 (6 x I,$ 111)
Thll im10t andilf. l«IQll'!lpa,tlpl9 itd tw♦I ~rte! 11'1 SIIIIUffl..-. ot1t 01 _..t
photo bool!$ ntl·publlshfd by o...~ns in lti.1910a. 1ht bocf( fo(l'n ♦ltowtd (>,,,'tfd
lo _ , .A.tncritan ~ '"k,u hom09fflW5 lh.ln its ardlbcturt mlgfll impl)'
... ~ I M ·p11oto-uwf s.tyt. e-mplO')'ff kl m ~ H .web IS- Ult. in~~
pm,~,-.., ~• . OIIAl'I Uptiofltd with «IU04ff. lrom lllf ~ dtpitltd.
fhq boo!(wn i n ~ I in two w~. It hlOhllghlt d p,Milllif19 U ♦ ~ t o r
~plltB urttuy 'Mlh th, comoelllion, arid limitations of lM,...,. M'lll ll-A
UM of IIN9'" withdilll)guo tl'l«U~ t.tN I I ' " ~ lo oxp«id lf'ltl poMit,ltllif$
of e,ombot1itl9 ll'N9' Mid lit'tl.
- Ill

•
:1' , \ I'
' '

--- _.,_____

~ '
I ''

It's hard tOhvnt ~ause you'te always trO$p;l$&ing all the houslng develop,nents whi(h oro lUl:ir.g ~ r
lho open fields . Sfnce there arc more people and more houses, the gomc is moving ftl rther out

WOII U

D
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t•• W,lb.l.,!.!1.QU
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19 x 28. 5 ea o.sx 11 111)
ColltU10il.. Ctt1,•• fot Cru\ht ltt,o\oqr,1>111 , h,CHII , ,\tJton•
FtltclltlW,-" ol 1hh ~ ....,~It
flt w«lu•ioft ofci.uk.M W"4
pho10gr~ 80lh tor,,n. . tnd •nlii-krm•lhl ii ~ w'llol 1\.M hllhttt6
bttn<OMirikrtd'Nd«il'f$Q!Sition' into1dghltydtMtdvlsu;,l5¼1titovgi.
- x ~ lr•mf"'9.w,dll'tt us.eolvi,~ob$1tclff
"ltd<r~ IMM,lolldOltffi hUmotOUS imt9tt.,. at1d lk•ifl•hkt ~
~ p~l~Mttlllwtflto<~, WUINfOl.lghtyltfitd ! f ~ I

~,1phk ('Offlp(IUt>OI\ tMI Chty.....ro ,. .rAfl'P"wli try l4fflU) mel-&phort

Jcr INobdu~e~lhl!isffiOfftl'll.i(t.
- ltwb Sfl,b:, 'Amt~n Phocogn1ptiy in flt I'70$". in AmMC.lln 1m.tgu.
PttoAogr,tphy 194$-1~ 1985

THE UFIBAN loNO TM( tVUl~OA.Y

--- ")

Jotl MfUJOIII Tl
Flhll A•t'""• el'!<l ~l'f'd Str,~t
1?1!
o,, t~•~H,1• rl"t
60 :,c 90 ta (t4 >( 3' 111,
M.,-.rOWN he.a~ 10 jWCrnlnt«• wllh WHI pl,c,t09r_,., t11C11 pri!Nfl°ty in New
v.fl.. lW Wt$ on, of J nwnbtr of ph01091~ ilxlvdir19 ltt t:"rlt'dlwl~ and G:iny
W~~--~rt<lbyRobft1f:r,nk.W~rEv,nsM!les,ptebltyHtnri
c..nltr•Btts$0fl, l'lltif wflflc be(-4n-,e •n .t:tmpt 10 uplor. lM lOffl'l.1,.-•~
ot,t,-tphol09r~v.tic:hl!hty~Ulf.<ot1klo,,Pf•• gen~. A,J, wth
« w•inib ~~~ch;.s.~d•n ph<,too,.,,,..,oftht urban-.-nenL
~ I I tocti.ngt«il~ ~ t~~nlly~into•lffs fnon!i(.
more dis11n1 sl)'lo ol pl\6"~phy. dts,idir,111rdli1<tcturt. cky ...sews Md l.rthc.,..
'Mlh ltlt ,-rteiision ot • large form•I pl,tt,e Ul!'J'MI

WOA:K.S
,,.

iiiWIISMMI
00<,flH WllllJ.8
1e,v.,u111, l'ltu 110. 10
1911
Slut ..... •IIHt 111111t" r,1111t , t tllt

0111C1nto11~ Vtfl ♦lllt

V.tnilbl,~~. ,O&,procw,JGrON(dv.flkh lhlsw«k is onefNrlwutfw

~ ol rho ,rtis1', ~ous V1rilbw ~ 1ft Otl90lll9 p,ojoct duting

Hutbl.-, lil♦tlmit trom lb co. .cepeio ; 111 1911.

'Throu;hovl h rtlNlnd«et IM -'st's ldttime ht .,,;u pho109~
doo.vnonL WU,.~ ol ..,..~pa(ity, 1M .,Afltnu od ~ ,11-te In Ol"\ht' IO
~ tho«r1ostautlwfllic:1ndir1du!-ftl'ftfll~ollN hlffl'IM ~ I N t

tnl'(Nl~lnthat-.[dil:iotwoCW."'°"'wi'llbt~Uylswtd
In I v1tltly 01 ~ l"nOCIMI ·100.000 IMOflht. *LOXl.000 .-pit·. ·10.000.0C0 ~ - ,
·.,.op1,~11.nwmtr,•1nnlsr. ""look..t&ts'. ·--...,,·.ee(.:
'In Howmbtr 1911 o tl\lmbor of pholog,._ _ . ma~ In N-Yotil City lo
docurntf'd~aspecbd•~• •h·tnotontWhr.-dotnty$N<led
10 ~~• AT LE.AST ONE P1:RSOH VMO l!DUHD5 THE ARTIST Of SOME;OHE
~E KNO'WS.~ t phOI~ ~d I cont.Kt p,ool print loin wtth lhls mttm.tnl
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,s ptntll, 20.~ x tt.S c- (8 x 10 i J octl
lluJ Mnt, WM IN4' t4 (1111 9' ~ •lkmplto rethink « . t u ~~nphy
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ffl¥l9". Rosier photogr.t,p~ed 1M cfoolW~ ,nd •hofllronlS °' NfW Yori('• 8owtty
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ctlo,et ot MJl.lrt.k and"' his tftc.fpliW(y fltn,tt \IM ol flt (.Im!(... The ""9dt$1y
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lnrldents kloriffllporwyW..
·w Fuf19 _., ~1'19 Englisl\.~ p~ng lot an oumlna!IM of 5«1'10 kind.
0tSOmt mttli"9 voW'I IOl'll.«lt and ht ~ M lhOoAd lflllb an ltnpruslon with
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-- ..,
THE STUDIO IMAGE The terms 'art· and 'photography' each

conjure up quite different ideas about the studio. In reality there is much
overlap between them. The studio is a space to explore the interrelationship
of control and experimentation. It stands apart from the social world but
is indirectly connected to it. Some works in this section take up the luxury
of isolation to explore ideas of identity. self and the construction of meaning.
Other works remake or allegorize the outside world. Some use it as a space
for improvisation, while others use it to carry out elaborate plans. The studio
is now much more than a space for making things. Art since the 1960s has
taken it up as a space for acting out. either at the level of the body or indirectly
through the manipulation of objects. The studio has become a mixture of stage
and confessional. a protected arena in which repressed desires and fantasies

are worked through.

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,1 ~ ol ~ 8ti1i$1'1 ~ M U and "5tnt>Cy 11'1 (Onl•~ry 8M1on,
This 1fN9t is from~ ttrly kriN of 11teriliHi1• ~ognph,t, W\Yotdr:h Ille slit,jl!(I
of IMll!utloNl ~ * and 91111 wlll.lrt wH (Wdh;I~. Phoiog,.phically Abdu'Ali.,1,
~hHIN$Ubjec:talllultywhi~rff09nls11"191ht MOKl#W't~our IIUOCi.td
wilh «. ThlMt~,o,tnilf~ltlo\ll'sukandlMsludio's~from tht
~worlduninlr~lhtoi~di~•~rykltrtftKbOnMIN ....
plr/t'dl,,j'lm19Hflltw f~liO!I c 4 t ~.
"'
0,t <kH•11c\1011 pfl!lt
ltt )( IU '-" C•* x 40 tnJ
e.woe... ~ •r.d phol09r.-,M
modols ol Mffilltdunol JPKU. Som,
Ve~det1rH1ptKffWl'fmt~
lrorn a ~tiOtlof ""f'l'IMls.
C.MOtft's'tpWllstfflQIYJ)M' Mb
l1mil.t,,r~.~hrnMrn
and C!Nr f!WIM, w ltwlr pttHnt.iion
It rtMOYtd lrotn tilt t'UI 1hrwgh
•fnobil~ of .Ult tnd lht tlrNoSI
ll'IOf'IO(:hromalic pllotog1""'1J_ ~
lbt m.edtts,utwhilt~•".ho& in
cdblr,.:ippeffll'l9bothw~.nd
ltdUWtt, Tht Modtl Is dtW'O)'td $Oot1
. ,tllotim19tb»bffl'I fn:,ld,t,

' "'1-tS lt!J.$.SJ

su,sul. .-.nt""d
1999
( l l l l t l l r - Nlfflt~ O'I tl1.111-hl ♦

1st x lH ea f " x 6&.'lo ,,.,

Rws.s.hlodt~lc.-alnff\9 WI
1rchilfflure end ~itin9 1111d bf9at'I
towotll.,.;lhil'l~ ¥1W
photiogn,phyln lht 1970s Ht\ltff
bw-'ncq, hi trt Mftlkt orM lot
fffllW~ r•••!l11tulttinoe i - 1 ~

1hfOU9h ptfflH SNlnlinf dfolW\1111 W

toffltlimH anlln11 irito lM bulll
<OnSl~ l'MI!!""~<. , _
o:itf' lrom lht point 01 ve-c,11Mwfl'Ml'f
In C'lls WQtk. Y1t1M ,ppu,, lo bf- t 11rld
01cotoum ~•"" 1,-1,,.",111,
phoioor•ph Is Klu.-lly . . ., et Slla?ft
p.11inltd Ol-'IIO 1M lllfff• dlM~SitNl
surface offlt iflttrior.

THE STUOIO 1N.A8E

YlkU,l,Z
...
AUIOfl .toto II~. J ,,.,o, 11111• lhM;tl!l

""
C.ltlHh..... Pr\"'t
n2., 'I< J2t e- f&O x •s tnl
Ctiocolllt .we. W'U und ntre to r«rNlt Ol'lt °' Htns Nunulh'l iconic phol~
el 1M Abstr.Kl fll:prfl$ierwsl J.td:JOn ~ INlun9 an ·..son ~inting•O!'I hit
a,1udio l\oot, Nunir'l phot09t11phic wotk can bt «1Mictt<ff II tom, of t,om,pt f ~
in tt1t ftl!Sot 111.114 coniu'°" i'naots Mid otlte<b. His work dlffl ln.Yd\'e5 nwkl119
ptium<IIIII of M:Ulpttd ma!fflat v.tlich IJ IMII ~ p h t d ""°''
ii didrol~lff
« k (liSQrclM. Munit eriglna!ly~d in 1Mrt/$in9. ¥me-rt cr,1\..-id lf'1'1191'
tN~uon «e Pl't~ tnd lht p.l:'ilyof • medium It n....,, #1 lnw.

6ftf0f)' '8[110.SQJ
!MtHled, fr911 11n11nl IIUITdt•
,,,.
t•typ,i pt1flt
16 x 101.S ~ (30 l( •O I•)
CttwdJOnwotlt♦d Joe upto. MOl'llh on
NCh shotlf'.llhtWfHNalUr.1! ~ .
Tht llNl,lff are m1clt ttom et.aWatt
Indoor t♦1a. U1 to, lht c-llmtff, Each b
a,.;;~n• ofI ~but lottld NIXn
'Mlllctl unlot6t lti ow, ti,o,yards ol
Nl'lttkan subvrfM.. Tht ~ a p h l
(Offlbll'lt nttun.llun w,lh ~
bWlding 1tlt buutllul -111\it ttet.Kqut.
JM re,uU h. kind d Yhiona,y u,t:k.au
rwnc.tdMdo,t(Ullltf'SibllbtddtM
•™Yet &dlut:trophobic nlgl!tnwrt,
CffwcbOl'I MH llw nttutlll wMd and ill
p,xtt-M poWl!lM!MYpMl°St«
ps,)'CIIOI09bt,q,1u .Hit-studio if!WCJU
~lllM~·conW\ltlionof
Ktnta. ~ h at!tmpi.cl '°~
comptu t.tll1♦$ ol conKWSt•tn.

WOii)($
"'
THE ARTS OF REPRODUCTION
Photography has been the most obvious medium through which high art
has entered into dialogues with mass culture. This first occurred in the
montage and collage practices of the inter-war avant- gardes. In the post-war
period. as life became increasingly media dominated. artists approached the
image world in other ways. Pop art signalled an appropriation of everyday life
into art. Seriality and repetition in art of the 1960s and 1970s stretched notions
of originality and tested the function of the aura traditionally associated with the
work of art. Since then the printed media. the moving image and art itself have
been addressed by artists as key components of the ·society of the spectacle·.

C1111cllUAU
,1111
l''6'
A(ttl le on unyn
21'.~:,,213.~Q(tot•tc In)
tollectlOfl, IIMtntT Mun• of Wr1UII Art, Ww Yor•
ao,,•s phot,ornM Iii. both iin ,-,.nslon •M • «11,ap$O of ~iriling, n.. ,,_,.r1'
Nftdi$.5U~IO•llborioutJ)'$ttMtiM°ll'l(l~~Wlt~.,.t,k;h~
flt ~nlk'II• oflht ~'•Phk SCll,lr(t. aos, inili.1lly gtidt his c-11, 1nd
,.te
-nc. i'rom Ill ifw"11/'d i11W9t. fft c-•n ltM11 lo it w,111 lnditl'ttM<f, ... klrl'II
f'Hpe<ts N5 corr~ tom. m«Ntliu,111\dt\'«t,ntt ofh op1lc.Jtamtrt loHol
'#ftlktllnYKtS1htl,._...Jic.nt:a.Hw9111t ♦Y.tM•0¥dt(lOfflf)Of¥PNllp GbU­
hlMM-!ltn •~1, of ty&ltin&SI QQfflpotaliort-il ,.,.,,ai n ~p,,lllt .,.;m
lhtiiddilionol a ~ . htldi-oglht i1N9t¥1imtn-t<.,._ 'phol"fl'~• fini...'i
Tlisk-ol11w~olim~olCtusmM1tu~v~~,1UMl'tCM~
---
... 11e11e t(Gt!Jll[
tocht'l llr09r.. i Jte•l,OI\ llollotk . 'lt•enOtr JllH'. 19~0
,,,,
G•luln ilh-tr ptlnt .lf\d cofh1•
JS. S IC tl <• (tt X 11 t,iJ
~ ~Swotfo:.dollltMtM~ ltlcl~~6-o•l\drH1o.ShtNS WOfl'\,lldt
~ t phkw«ktwl!icl\ll,_~~ofhighlft•l\ld111diUt~H
otfic:W~. ~ . ~inlin; ~ J.to.wn Pollock.~ tht ,no,,t promot.d aitid
nproOuc,td llrtdl ol ltlt> pos-1-w•r 't'Hl'f.. Is de!MC4'd 10 ~ 11.ncllon ot ~ alrtwie
f,Hfftl9f'J'I. WOllt.lgtdltn dtrlws lb lc«<t ttoffl !he a11dle,nct'1 bmll!wv:ywffh lho
.., . , . tltl'Mtlt1i 111d by !M ~ 1970, Po!lock·s 111 ~d wt•d)'Mlttecl inlo
~ k ~tNWlvatwrrtn(y.•l!.ldmi,c:hlncommon...;it,11\t f f ~

0Nignandprinttd1tbrb of1he 1'50s 'H.wl.ooll.',

l'lt flll t miJ.a

~d SVIJ,t (Hc►,t11 . ho- ar,.,,1,. tile \l)r l'O.i Mo,;n •u11tll11l

1m-12
t";olo:w.. u,, 11rlll\tcl U colo11• ~t04UOh
ltl x Sl (11 Ut X W 111)
~ writt w.,. publlJMd t,,/• C.lifomltn 1lllrn11ivt prnt in ltlt etrly 1'70J.
R.osltfs moM~ ~ Apor119fc •ndCOMl,l!Mf i~ery. ~ h otltl'I to-l?Usl"'
ifl ~ ( ,n... ln!o 1M Mimt hmo and lhUS Into tilt Wint qmbc& space,
iht'M lflli•Vlt'llllfl'I warWOl"ll.t wtf'tfll INdt for.,.. art COll!t)l. In ftlt U tt 1960$
tnd Nrly lt70,.. lo p,11 toli-ww Of ftminit-1 t9i111c.ioN,l WO!'-S In 11Kti t ~ wOtAcl

lwi.,..WfllC!don l h e ~ . To.yM10119ed~~ft thtWffl « in Ille

UMttground "'"'-and IIIM Is wher♦ llwy ~•red. In lh♦ I.It• 1990, ~ art dt.114f
wflo.M pro;tdl ..........t!ONl#ldpolllluls""9ffl♦dpt"Oduc"'91potdouooflhe
i1N9n ... l19ret-d lolll♦potlliol.io~ lw.nltdlNWM(l.0-1 1 1 ~
.•• 1b♦WOf11.s,oin♦d Che ♦rlworld-beca,meort. )'O'ln'li9f',I H)'-lround 1981. S0(/1,fy
rnayconhnut 10 sug9ost I Wl')'OI wortlng M c.Jl'I SttW In non .wt ~H'l9•.'
- ~R~ l!'IOWl♦ N11:om1lt<(♦~I, R4\t>min9s.• N♦wf~tf>~~
19,S

t HE A.ftlS Of R£Ht00UCJ10H
.....
·•"• CJtlU
(n,HtG"t Cf•v«Ut\011} "'
!9H,
lltl I ,.:,11MN pl!ot-Mt1t
60 x !10 <• (U.S. x ;,,, 111)
lhll phot,oft'lonl• ol the iirbsl's s.it-~lt-• npro~ ol &obc.u.i·s
~ widl tM A>tn~(c. 1482') Is 1>,1rt ot • Mriff ex.mining lne W lff
ndilions of ~pktlon hM ,...,.,..,.ttd I rtptno,ttol human 9"W'ff. Hort lbt
r,os.ol 1M ~ is ironicllly f'K!"Mltd in a dilltrfflt contemporary~
'Pjjllll. . lromthtpu1~.nolkn u!W'Oliotf at(lwt OlvafbApo£1Uft$ .,,
lhtMtfo:tfltl',Otttll'l4'fltlklitmlUMl\.l~. &(~l~i1'19 ~ l ~ o f
bodily po~ I tty 10 t drld O\t t1'P,ff$IM Ind g'Nt it in!k-penOtntt ., , 16"1"'linty
wtth hrn•I• poshJr-et. from t '1tminilt Ptf19td...., usl119 the tnl!eNl. lo single M
Mlm.t t,twllllfd ;uldcllnK !or lhe Wlff.,. ft!'I\M b06t f)j)(ff,HS ltnll rn n»Yfflltfll,
WICI tor rht rti.ttd NMll.on$ the ltl'l'IM boct'f Mi in- oA,,t♦ '
-V,M upo(I. lttltl'tltM, ~oor~y .... Art Art ,a, Pti«or;r•phy. 1977

1tc.1>trt HCll[t[(I
Pet1cdtul 510. S llleUI I J
1971
1,IUrt'cl Mttthlt
28 X 21.S. ta (II X $,SHI}
Ontotho p,9ts ol Am-,k•n ft"'- ,nd Wffl)(,e fN9,lziMos well fl ~rand
t.Mng HowHtbcbn sup¥i~td tn ollUC rtprcdxllon of• )'0\11"9 VltlNmtit
~l'lelAnf~~hHdt. The~wtft6ilrlbuttdl01WWS~
oe,,~;m· ....,,1ino l'OOl"l'I$.. fl(.., wfth ftO lndlao«I ol lbtit atfftd Wli.tltl, Thit hom&
irNgtwndlowi notOtlr•~•p;itfk wl'lkhwM t,yi119 IOtklptlnlffl
lheVlt<nl,m.....,. but bfOUM 1M~ · WU l\.lnl lO plM:♦• W.n ht. Sou~
V.♦IMl'l'ltSe l/JtyotVle,conq? Thi , • ~ atMd HtoNckffl•r. wi6"- purpoM
ofqu♦~ llowlM Ufl1'!ec1$tftes haclruch♦dlhiti,olnt,~No. Swas ~11

ot, IMger. influential Htlt$ ol fflt9Ulf'lt work, Heine<ktn ,reduetd if'I chi$ p.&d.
... s11,,,1. U't1ll[
Mu, (a.-.,4 ~Hon, /rO, l
mo
~ln1111lhtr prlM

0 . ?. x lO . !> c• (10 x 8 1fl]

In lhls sfflH L.nlne bcuWd on lht r t p ~ ol trlworb-tau.ttly COMld.red
H ~ p h f s IMSI ut•tlw , u ~. Sbt ~pM<jlhowotb OIUl'IOtllMd
pl'IOl~pht/$ s«l'I" E.,,,M'O Wt&lon •M W•tker (v,nt,, Tht lfNttf ....tt not
t thibilte H Mt~ .,.,d &o . , ~JIU9i,1rism. 'f'Ol t dotibff•tit M<,t;t ol lm;,rofl™°tr
rt~ns, Tht ,nlun b Wei b¥t 111 Ole lillil'l9, l,~n, ~ lht ltnn '.fttr'"'1'ich
1r.,ditlon#f~ hom119t, ot Uffltthi119 1" lht It/It of (just n w ~·s nudtt
IMfflwtwl NWOl'tGr.-daskilotl'I), ~tflis Is ~ilhtr. 1N il'lleMtnllonhbod!
ttcfl. ctoa(c., tndtttllit.1oriuot:e mtdileliononre,procbdlonand • ~ olh
11MPOIIM uwmpllon, in modtrn~ i;hotognophy INI un6ttllt 'purtt, -.iw.f
,riou, ~ oi 'o!Mmes.s'.
l""""i'ff. !Mde tlmosl txdusiwcy b<f m.n, wtlkb dtpkl ...
JI/Ch H n.aWN, IN po«. -m.n end cllitdrtt1.

.... """ '"°

(I.,... Al"fl P1nl•l llflfl
HU-!4
·••;tOIOOnttn o~tnltll u tlllltll
"hct t"-$ Wfl\lt p11ot09,-;,'>
~s x s1.s a. tn x n ,,.,
! p>!')f>t fl'Oft t itt'"IU cil l!> l!hCI'
, ... ...lllte al\f col1111r OlltHOg(J;> '
T h b ~ uriitt"°mb<Md
C<o-• •« l o d ~ lov.plo~lhot
totes ot rc,pnHnlatlon In con,tl'UCW'f
stX\la1 tilfort,l'l(t, JM trlpt;dl (lorffi-1

~ into qut~lotl ...,1,;,11r nol!Ofll,"'

9tMff .-idld,mlity.~ill!I cp• ~
of ~ll'lffl'S 'Mlidi remt btt/19 pl~•d
~ In tllflt(lfdWll'f'.

, .. , Ur$ or Jl(PA00UCU0N
,,
p "'

lftft.ltO t.llJi'1
.lfl\it1fll (-.i1,,.111tJ
191t·S-
£kUcolor 1.r111i
!ii x 61 c• (10 x u ,,.,
FrotnlMlM lt?Os Pr'ir,c♦ ~lo-
9"~PM<I iMt9K lrom m.:,ss ul!tur•
m•11adnet.~ll'ltfflUNQI\
9toupintf lhal ff141Qpl,tin 111\fNlt•
!On♦ dol.scdlhtori,;irML T h , t ~
~ It crewed out •!'Id lhtkn-ve, are
.,,~td t,og♦lll♦t~ typologlH ol
commtmll~ E,.1~1if19Chtu
shols ,nd9roupffl91htrn 'ottht' _.,di,
t.ht tmphasls tom lbt ,.-~ to tilt
p ~61 fignificatlon ltsttf.

!UC:IIIN WM.t
Untttlf4 [(1fh1►uJ
1981 ••
t,tuolor pd!'\
\I x 61 c11 [X, x t~ 1111

WORKS
,,. Ar>'lre, S-lM.l&Q
•hs tntht
,..,
CU)1t••-• IIIICOIIII , Plf,dflU
1$l x lot c,- (60 x "0 In)

Strr-,o·· ....~ pholOO~ tol19WJ tht 1Nin1Arly tn.dillon of bMh1119 lht ligu,..
ol O'Nt in Holy livhL On l~t hW4 it i, • «irl'felllioNI p!,tct- ol ffllgious lm.1194,y,
Tt..m,cilbtuMOln1hewe(t(-•ptaS1lc, m1u-p,odu(tdrtt~ ~v.Nch
Sffrano.1~.1nnslonnedln101'tlWlll!'N9tMNdl~-(hUPfllfd.
dtY;ttllltd otloJn, Th♦ ,.i1ti0n 0, 111,t iM19~ • ill I.it.It, ~ r. INftf, O'Jfrl!ld~ of ii$
goldttl~Wlitytobodilyltuid.fn:U.~lion~bQ9tl'I lovwious~ oflfOIIK
rtfletlion 1nidi n ! ~ This work.,...,,, 11 the Ctfllro ot rh• ·cuuuro wars• In ltlt
Unil~ Slt1t.t in 1M la!t I tlOsc ;ind Nff{ 1990s whlctl bogtn U lobblff ltd by
M«OMN"Bllws ~•i~$ltltfundlll9of tl'liaCJIMll'I I P ~ t n d ~mMltr
dot mtd~oprlMt Wl\4n S.n1w ~•O'Anwl.o rwe,6up1~oflhe
p!IOI09f'tlpl'I in iht U S ~ ( N m ~ on 18 M~ lffl. M lirst lwld 10 cornple!t IN
i n -1m11;e f« his audien:o trf ~ulung llt 1m.. 111us ~ In 1ht WM(,

JHO liilUJW
,~, 11.u,,r.11
1981
Goththl 1lhor ,,111t
U X 20. 5 c■ [,.$ X 8 tt1J
Thi$ 1$ °"' ol t Mflti OI ll'l'ltoff IN6't ~ phll"f f!Nt Oft vtl\'tl It $ff('II&

lttlludt to cit,~m 9fj n t ~ d viw.t sy,altm ol c:hpi., bVI ~ ap«lf\t

fflffl'lil,; ffl!WIM fl!IIM!. nw RaM.s mlQht ti. UW Sdb}Ktw. ffmn.11'!1, t(lll.tl!ly tho
~ t m'9hlbt'IM~ot .. ~ . t hotim~mlgl\lbt&t>Wtwt',,llk ck-plc:IS.
« It m'9M ~ ft'ltffl)' IM MClll'\9 liot $Ol'l'ltlhino fbt whicl\ 1$ flOI iir1dudtd In lht
pictur• Wtl!ing ~ on llht&e~olV'>t im*o• ~it1!.l ltfeMbl9uouslftNl!ill9,

I HE ARTS OF REPIIOl>U(llOlf
•
"'

WOllkS
 i

I
\ •
·1
'f' ,

t')
•
r
• \
,
•
t
.t
- -,.

lUlfl ilUW
it,r411C1I •s .lttl ltr
1181
C•LYOf f,rl,.l
40 W IO ta (U. !» x Jl.S !11)
Gtilrrr• infl11end..t-- WM marktd t,,J 1n undft5tanlfitl9 ot tilt ffl.llion$hlp
of phol09~ lo h-ryd,y.16 p.-lM,ifl§ tM tht wi.r-.ry, Thtrt ;. I l'fCOOl'lil~
l'.h-1~phyCffl'lff.1lttrp,i1111n9-ool;.sltlfdw'lklllytiutinlhit MnKlhtlhis
slJbj«1 mallet ~ uW11r 114," !.nd-pe-:5 •nd IJowM ~ lln bet.n • (OMlilnl in art
hlst«y, n,1.11 ~ It t nNd lo 6ind I wqol ~p/1111911\al MS a Nlogut With
p.lintn9bllC~~101ffl!lallon, Thltltt~cNrtc.'llyb)'Glwriin
t nucnkr of phol09~ l!WldUd ~lnttr•• tludiot.. ~ pilftta. ol phol09r-,_it
hom1gt ffldlm.tlcion~IYOlffdby~wilt,in1l~of.oU.li~ltwl
~ f'(fl,l#t lO pflologt~ Thi$ im.1~ is one ol I MntS dtpding lM S1udlo
ol lhit llilll,,n slill 1i6t ptinl!t Giorgio Morlndo 11890-19~

tliE A.RTS OF' ltEl>IIOO-UtJION

► , . . . , lli.1lIIS ,,.
,t.}~ o•oru, 1, ,.,.h
""
(MQN9t<'>l(C PfOfU) Jlflfl'

,,, " nz ea ua n ,..1 I(

StMh m•dt- • Mritt of fflllMll!fl ~ l p h 4 WWffn 19" at1d\"1l whi(h t'l:pi4,o

notJU1.1 a slfflplo ~109ue betwN'JI ~<tphy •nod .,_in1lri9 W • _.._,..,. on the
"-'cl.ion "OO'IIHl'ljlOnl'(dtpkllon •ncl !hit CIJfffftl ~ of Mt In 50Citty. AU lho
P'intinv Wl'.l9 obW"ltd by tM hu/Notl 119urH ~ Stnith's ~•ph, ~•
lt!M\$1\'MS li9vr.,liff. so l~t • wmecliOtl if ~dit .........nplinlin9's hl~k.11
mo* ol r...-u,tlon •nd photo;r~·• c~rt<Mmlic,. .s • modtm nwu
"""4i1,1,n,In bed( fOl'ffl 1M photogra,phi 1ro (b1l1n«d lrom tho mu51:'Um but \ll'h.ffi
hurot•s lervo p,inu, 11\t't' q,):f on • rtnt»ff l'Wlllon to lho ohlblllon s ~.

'WOllKS
 •

HIE .ART$ OF IIEPROOIJCTION

 <fftr llALL
,. $udO\"fl lill\t Of II I n4 "'
(Uttt' lial9\,ll)

1993
IUfllllH.-<1 111 l!'i'tclOO•
219 X l?t ce l90 11 141U h1J
Col l f(tl011 . ln, 0.11 ....,. l
fhislsCMolf n11motfofw,;,,»..,

' ~ w,11 ffM<t 1»1 ipoclri t im111•

lrotnc11t~,1.Ht~tht~llion
-.nd. .tollht«lb.Ktd'N60dcut
AHighWind irll'«ijirl.'17/tht.U,,"fM
1rtht HokuMI Cl 1&()..18',t Ort rt<tNltd

- - on lhOOIJtsklrtsolv-
Yl',tU·t$ltldoisbMtd, ~hifl!~
,1 lht t4g,tot1M<ityon,n ~ , .-,
.~

W....l', Yt'Ofk ,IJ I t,ilt ol h.Ml•e11fort~

k WO< lrM$9Af,~50ti l ( ~ r•
...,_ lhll conotmpcn,y sod1t stt!lf19
~ lht tl,otll ~IIIIOf point ol

l4cil(\ls,.ar,sr,riM.v.NttibttontslOlllt

...
wrlots 11wty-ShYirit'lJol"'-1 Ali
(l.. 18l1""'33J,
AlJ.hougl\ w.ir, lf'fll9t "PPH"to
" ' ~ phol09~ ilklhtrewll
• ol thutrk:.tl ,..,.11in11 Ind 11w di,Ml
~nlpuLtllM ol ttfflltflb pho(og,._ph~
O'lt'I",..... MOl'IIM,.inlbu:H ot.Kb"s .-id
.elt<U.tNfftk~tolht
,K!Jng·out ot tht Kent. 1114 top/li$11·
U !t d mon1.111• tor ib dlgMI ptOCffS.
lht work t,1,;11 on• CWfflallc ~
dost'!' to• tro:.n pit« or mm 111,n
1 ~ r . ,phic 'otdSM fNJl'lltnr,

WOIIU(S
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,. Devo11r1"9 Cyt (111\1! Ctnvu •no vu,,.. 1011)

""
2 ,,...o <01011~ p,lnu
96 :.C 8t C.•: 8;f l< ii<• U8 l< ll.S 111: )t. S )( l8 l11J
ThGlsOl'ltQffOllr ~ 111it(IOl'l~t T i u ~ Eff. Thtlint im19tl'1'WQrQ
Comtllus Niorb4,rt Cipbrt<hlS. ll'~forrifi,flflting ol tM bkk cl,. itnlctltd QIWM,

ro~-
(167ot, lbctiotl roptlcts lht calalogut Hit 11<1,¥!1fff Ol'l lllt ~ witl t11, irlr.n!ty

sign, •llll4ft9 to 1M IXl 111.11 phot~ is dilhroltty db.po,4,d kJlll'•rds

t1•U.mlll'ldobJtc!MOd(lla'ltl!N1ytrornptt~woites.byimilalin9
tMptutkityot~v.fltrouphotog,-p1111r♦ ·or ~
1M st<ond frn-ve reworll.$ Juan Stnd'lt'l·COIAh't•• ~ ~ - UHM .and
Qicu~k.1'°7,1, Abook ii it.tttdxed. N119lr19 on a ~ alongtWt tt,f ~••
hinling flt'~ VIII mtbffl Is Mt /'l'ltNly optkal bu16s«nlYt 1nd ~
"°"'""" •~ulllf l'Nism l'l'll'f ,t♦m. ii I\» eut!u~I conwnllons .and •~lofts.

HltOllll ~
ltt..tr'l ""li( UUOfl

'"'
$tit tin st htr '-""l
10 x n,.s c.• tco x ~ 1rJ
tMI work"' p,1ttol • writs cl blad!. lfld whllt ~ ~ p h s oi wuwotk• r~ .-OU"'
lht W611d, In W.d.1/M TuuauO MI.IS♦Ul'I\ Ams!tr~m. there it. lllf'e+-do'TI~
ltblffl,t rtcrtMillo Vtrmttt', plol'lllng ~ Ml#k l,,S,Ol'ljl'62➔5l, SvsJiffiOIO
pllotogr,tpbtd tht - lroin i1t idHL mMOCUt.t~ffl9 ~ ~ 11 •
ll'lt b!MU cl lhe ~ or
. Th• iMtfpt.ay dilleni,t tlefl'lfflK 1nd tl'ltdil" pal!llil'\9
ltbl♦au •M pl!ol09ta~.. ♦(llots V.rmfff'S - UM of optk•l clrNff to .,t:Gt. .
00fflpo$l60tl. nw ~lndu(lffmirrotSil'l~OINI pa'ding•bulonltitl n,,,~
h.JS011islht ~ ~ t • M W. 11$1,ows pll'lcl the sundotllls a.,T\--♦l
making lht lrn.a;t .a mtdll.atlon on lht Kl ol P'inrir-9 n wt41 H lhl letfNl'l9 ol ~
nw taNNu In IM ffllUM\.Wl'I c.on!.alns .a fNI mll'l'Or.and $0 SV9imoto wbSIIIUlf$ lor
"'· ••Ml th♦ " ~ " blM ol hi$ um♦ra tripod.

1Hf AlllS OF H,II001JCf1Ctt

WOIU(S
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,...
Collf1'0111d161'1 I !'-OtllllWnl-t'llvlt 1J

011 ... u",u

U x AO.S Ut (11.~ x 16 H•I
r,oe ,..., o•cl• of 1s ,,_,nu119t, ,e. Q.1;1110.1 , 1911

(~lltctlo~. '"" "~It'd' o f ~ ,... Art. 11/>II YM\

fl'it MriH ~ lho QpO,n. CUtl~ ffM! tnd fu~r.i of m.tMbffl Ol flt •rl'Md
ft!YollJtioNty 9f')UP, tht Reel A/Ifft r ~ Y<Ht,h ~•ted in~ lomltrWnt
Gtnmnyin!Me.artt 1970s. The9(1'1'ffllffltnl i ss:utcl,1 ~cnlOtl ltOclobtr 1977
Chllltht 9'0',IP"t \Ndttt., 1'.ndrt,M Sitdtf. Jllll•c.t\ fw;pt ,1M Gudrun tn11s.tiri lwd
COl'Mlotl4'd wiOktt in lflt hi9h MCVntljlil, MStarntt1h•IM Pllofogr.pht WH't is$11tcl
IO tupport lho dlilm. ~ m«Tf W ' $ ~ II &lt!O oK\ICion. Tht f!Wbid ifnt9U
slid lill!t llboul IM .acl~I OUM ol dt;,,th.l)wy prowd nolhin11 but the dNlh ibtU Mid
lhiut bt,u,m,t II fOC\lf. lor s~llon. llicHtt's ptlnlinQ$ "blur' tti. pMIO',ltapht !My
,1A IHffd on.~ om,Ntlr, ......,. ttoMI l)trlk..,ttr ~ 'Mlil4' IN'M9""" $UbjKI
rn;,,1:tf" rt<09111t11blt Th-, tlll.t ,io polilic.el .._,net. uwming flt MtM<1imbi91,1iliff.
'"Olt pl\otoO. .lhtmttlv-e,.lii,~umx.;,,1ustof"P--,inglo l!Wb~,1ph,"
«hOK tho 1.#l(trltin tlXiol alllbollty of bolh media

Ill( MIT$ Of ft (PIIOOUC UOH

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&1 "'8l ' c• [3,l M 11 tflJ tt!'I

lt\ppt!I IRIISfc,f!Md ~ w"hlng m.xrirws .-.Goumer.as. Simple..,.,,..., •114
~wtn:1'°°'tdlofil 1MOU.doot$11'1dlMWHh C)'dewt t ~ lo '8.t
l)hO'Oil'.tpllk (Mtnluls., The arnn11emt!U OI Mt(lliftott 1ft a row ttoc:alls 1bt bMlciy
ol 74 QlffltfU iutff ti, 1110 ~ p~ , U(M'faf\t M\/)'t:ridtt in h 18?0$ 10 fflaQ
Ills 'dliroflOPhOIOQt. . . $l-.dt$Olhunwn and ~lo(.«no!IOfl.k~l iM~
ffot':\ 111-~~m"9fd.w:ludin9 ~ 1ocomo1ion. Th4:worka~
.,_,,od,ts potilM'1 scwnl.ific n'MChod. wilt! iC. t,ilh In 'llwal tv!do11tt.

WORKS
 •
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C•~r••orlo.. lo,.~o"
19'9
J~OM$10ifl
11.s x t t .s <• c; x 11nJ
Gruslt'1p,,,intlngt ..1u9, ~lritttolMl'm~,ol.-.s,re~•ndwlll'I
N~♦-ofm~rtprodudion.!rl lfflMpal11djM!td lnaBt11~tourinq
.ithibilion of pholo,'Nlis;t jMinw,. P'fH.tcitffh o,, Pho.\ogr~P"'t, AJ •tcl\-...nw <,,,nit
pt,~n,~hiMl#l~IOl\ol lMWM(f.,.~ll"OMI,._ ~1pb1ndhu119bis
p,lnMI) In lht Wl0'1t ln bi'l'lt for tilt c,.111119, 1-pro<n1wu ~.it'd al NoCh « !hot
acut~CtllhitlOUt,

l.,;,1,- W,L(8
r1e11oru littt kl, or II•)' llot C.O lOPtt.Nr
19)1.,S
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it )( ,, al ttt X )(I ill

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homer. of collt<lorl •nd ~ - • lfffW llltnUOn 10-1.... ~~d poCilk.ll

ffliKNl'iSIM~ \#'llhflit 11\t " ' ~ prDl':l'IOliGn Ind ailk.fl !r-,nlr,; ol

COt'lltr,-,po<tl')'al1, ~ r - , , t• r t ~ lob. hi9htr~on «1ln.st!lullot1.11I
lrllm~t"-tUWo1llyrtm.1i115 sil.nL

11olf911,9 ,IJ LIJSMS

l11.n1l l1tlt'l' .,,,....$, .,,,..,. ''""Abo, , ·, lo111,1u,1 lhiu~. ue,...,.n. tot,)
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OIIPOJfft, ,. tor•• '"'JHni (ft-1>r,u,1 ) , t~: tfl,11111 110. er. tO!'
IOCIIU 110, • • NOi; ,,,. Grult1 110. ) , 2001: llld•arcl J11W! , ;oot
Tilln'WM't:r,brid~ o ~ l nhbNtlitr lawon .-d~iloriMWCR-
Kt ~ tt,o p,,90 Mid tho ~ w.at H equ.ily~ silts IOtlfle
¥nf19Cm.tnlOl ~KtolltnCOMbil!ffN$~1!ylramed~phfWllh
l.lbotllOfY ~ ~ « i p i H ltldprirottr·•~ Tht ~9ff IMmMtwt M
t<tWUr~.indl.dngportn,ib.c11yK4pe,..llilllir._,.. af'lodlarods«PfS,
►
...
'JUST' LOOKING Connections between the camera and the eye
have played a central part in photography and film since the 1920s. The acts
of seeing and photographing have often been made to seem fused into one.
In the inter-war years 'Man and Machine· became inseparable. in an often
male-centred embrace of the camera as an extension of the self. In the 1970s
and 1980s the process of looking was scrutinised and remade by artists. many
of whom were informed by psychoanalytic thinking about representation as well
as a growing awareness of the way the male gaze has traditionally structured
both art history and mass culture. looking was stripped of its supposed simplicity
and revealed as a process organised by social power and unconscious desire.
The works in this section examine the four looks of photography, the viewer's
look at the image: the camera's look at the subject: the subject's look at the
camera: and the looks between subjects.

Ml(htl $iQlt
,l;,lMtlU,101'1

""
\. tiltO ,i,o •lllte •011rold pd11a 4no clotll u~ on 11lrror

(ollc-ttlon. IWHlontl C..lltf'/ of (1,...1f1. Oll•••

St\OW txploiltd .,,,i m ~ of Polarokl film 10 bllild . . . C \ I ~ wl!•ponr.&
Ht ftnl ~•ph,td hk ttAKtlon In. rnirrot:. Tho iM~nl pitll.n wu lhfn pl.ud
Ofl O\tf'l'lirtot ~•uOMdlt'NgtWU~"-n. • ln Ch~- p\,odot\lht mlrrot
I nd lilt p,ot:td11r• rts,MIH IWiCf ~ 16 lorm I $qui,-ol im.agtt In lht «ftlr,
The 4fMIQbl.iteri1!H his OW11 r e ~ bul f'NP~lfl in tht fof'l'l'I ol pho109,-pM
Atifthtm.<Olll.llnlng ~ptfflOUS b.11-w"5 th.nwbntnd ~lnthtw,st
l,tft ~nd(Of'l'IW, Th•~ -~"'10tlc b lhomlmf' itwtlwfththtjlbot09~h,

• ~ ' " 111, ~n.r,.~twtt•c.w, ttitfMt~Mt-u,onffiff tr,-~

lo lh.t $left. sffl lho 011lilN1 ~ po$!!~ dil'f(II)' in trOl'II ol lho WOl'k, "'5
bNn fl\Ol'IOl)OIIMd by lht portn,IL

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~ • pl>OI09f.l!IM OOCumtf'1 t'lla pttf«fflWIU wott whkh dernu lrom klionlk!I
TIit p110109r.a,ptl~ an~llpMtOfl tilulllucptO(ff$whkhe-JA~ the
,urtxo of both v,e il!'IIP 1nd Nis CWII ~ l o ~• 4"Ptrt.wtl ol •lonll\c11nu.
'lll\ltl'I Dit4tf Appt41 tttialM upon • m1rrot. lht tollnton ol tilt op~<N-.
- (Pffl,,v,..n.Ultd ,lS an effect ol whkl\ wt do Mt Mt lti.UUH ••• It's impoJ~ "'°"
•rf<dl,Nll(• dllloNtmotntnl....tltn1~wuplM,tdnurlht Upt 0111 ptnOfl
tt-ou9M to"- dlt4- 1b1,t tr.-tlkh condtl\ff'S - r,rodoXff Y.,,_,,, NS HfM kind
ol pMUm~ •IWfVI• &ubti.¥1 Its bloom -would sh,1nify OW lilt \fflllill •
_ tqa Ko:lofl, 1'ht ~ U N d A911r. 11nd Ille Oretm ol Wb4om". ii'! Adlm
0 wtinbttf(tdl, V.WWM!gP/ftt.~. lffl

Jol!n UUM1l
r,., hJt,f
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SS,S X 111 C9 (22 X )l ill)
Thi,. i, Ol'lt ol I •tnN ot ( ~ inv.tiich StnWrlook• d ,JI a$pKU ol lht

YO')'t\lMl'T\ ~ IO flt tXf!Ml!'t« oldnel!M ~ ht U'iH lht ~y In 'MIid!

11 sllhouttt. ~ lltCWttn p&'fflf\UI Mid llbs«'ICt lo fl9ur. the p1-,cf'dogl<.Jl
ffl0¥t!Mf'ol btr-Wllkhln9 llftd P1rli<i,.lit'19, b lht sllhoutl!t tn obW,,::lt f9r" Ill
w I point ol idtnhl\c:.Won? Art- behind lhi;c l'iglll't M II bthlnd II fflffllbN' o( 1ht
dnem-11 wditntt ot iJ !ht ~ In ltlt hm.t? OMt it ,._,.Mftl w:? Sttukff Mre
P"ff ~ coli.,t to• ,,...;,,u1 l/'1'119', ,,., MIS In ll'IOmn• $tnt1 ~ QKl'lplt.J:
quttMM wxit9ender. ~litldldtnlil\ab0n.

Johll 11.lJJJ.6&11
Dtnr♦ u10fl1Ju l0<,s)I/A9gre n 141'1
l91S
C:•l)'Dt s,r\i,O vltl' ltttUn tht 011 n•d
l l>f.l>th. ~1 x 14 <• UO X 7q 111) flt"
klont ftud-lhretcffltrt11l tl¥fllJW IMttlttilOftl..-. ~IAdlh,_..
lhr. . d,lttt'MI point, of toad< oP'Q • IOM t hllt lho ruding of lht WIIIIJ".~ r d
htf'♦ !'l'liitd L'ht «<W~llons ol lhe Qnffflt ~ .Ull litld IN popultr photo-novel
Thif.-k tbo hM !W.Kh in <ffllft'IMwifi s ~ l film/Nlu"9 ot IN ll!t I t&Os
and tt10s ,,,.flldloim♦f1ofottgr<,und lhous1111Uyn~t-Wl'ltr• inctittct~
Ol lht WOftl.dr1n'lttl9 • 1!11111ion'°th4Ylfwtr's~ O~OIWltl~g♦
u lht product ol • todlnk,,I appa,,_,,.,
"'

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llflt!tl,o , 11H ~00

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OICHJCh , 0(11 i:-•~•I 107 X l~l c• ((0 X 60 ln) . .(II
A$ tht lffls ~ w d . aurp1r1·s f)S,ffi~k.:i!ly lnlotmtd fi'rklit• ltO 10 M\
txplo,(;tbon ol two m.i,JO( ll'>ffllff, $Hing ~luttd ~ s«aUI ~ e end
1M • .,...i.tl(Jf Ol lht ~poQ,tycil)' l<». oompri!Ml9., dptychs. broulJhl the
IWO f>trnu lo9el~r. The ,. ~ In lhls diptyc:h ~ lo lbt ~•• nlMMnlh•
«ntu,y innov,tion in pris,on do,iginwhkh ~ a sing!• prl$OIII omc.t, lo w♦ICl'I
- t l'IUfl'lti.rol lnl'Ntts ""1thoul hil!'lfftl ""'9"""' Tht ·~ Miehtt ~ u l l
suggttt9d'~noptitl,m' • • ~IOl'tl'IOo.intoN!tift.P'rtkui.tt,l'.I dtie,-
8urgin tooktd• IM Mt-\1:P of ♦ e.r1wl ,lnp .,,_ ond ww a '""""' ot jH,nopllc
viJion-~ - $KU~ in !Uorbe». endrcbng; IM lone wom11n d i s ~ 10 IMit
~ on• ~ 14bie. The im•11• Is p,;,lrd wl:h .:in lmagt of a ~ l'l'IOl'lu/Mfll.
Sortln'r. 8r11ondttlbut9 G1110, Nll9"'9 itU p!'Mlt horn♦,
 t1ec1,.
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UfltltlN ~11• $U'1 110, .t
1977
C.t1HI• st1vtr orht
19 X t.t ea l).~ )t 9.!> IIIJ
Co11Kll0fl, l"fo 11...... or IIOdttn
I.rt, lit. vo,>
In 8lt 69 ifNt,tf w!lid\(10!1',prilt lht
(JMWff~Stllfs~om-«11
Sfwr!Nn IN!lqutf'\l~ U I A"9"
ot s~fl)lut ftm.110 dlll'Xlotl ttoffi
pe,pulat Ol'Wffll, ~li!i lif«tillt with
Ktl'lt$ ~•lilmtnm,.in.,,fiich
I G.lnortoollhlsbNn~ r-,ttwr
tll.n po,Md. Sberm.1n's ~ e
fff",ub,btf °""""'
lb',t, .,.,, lht toc,i.al
world JlfffllHI".,,. (O!l$11\1Qio11 ofN
Noll•fltri6-arW!'l1gtl. The umeq
appffr'lto w.ii ra4htrtlwnbe1"5'
ot!KH lht ptrlo,rn-. 1 conwntlon
tar dcostr 10 IN"'°)'tUt'islic ~
o11 cintN 111ditttc.t, ~ n r.trtt,
.odfff~ lhOc.t~di~i'.lltUd
M~r,ling hto;~I•.....,II, ~ IM umo
tlm. PfflO(ffllng lot lls g.:au

(1114.)'~

llflllt1td llo. 11.

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( ;)'W ll~ln\
U )< 91,!i (JI (l4 lt ;Mo 1111)
This lm.,90 iJ lrom • Mrits m,cs. usln9
f'fff" scrfffl p,ojtct,lot\ • pro,dlglllol
t ~ Olltn "MdlO ...... 1Mo1tpo11M
ol ~ng o n ~ Ot<,u.iQnaitf
di"'°'IOI"$ ,<Khn Allred Hikhcodt WOl'MI
Uff it to ctNt,t •n ff!rangtnwnt from

(~ M'lph.Wsll'lg tilt Mtflll l Si,tlt

Ofl h t ~ b U. Sht,..,,.,,·tllllfl•
r~M poru11t, ,_,k<inema'a.
gonerkt)l>tsoffemiNnitynlhtrt~n
sptclr,crc1H,MW'Wttltlkl~•o
ttM:"nbltt I.Plt<Ntkl.tf' S.~
SNnn1n. ,W)'C'd by~ Andf't'Wf
In Mikh-~'s Torn~llt66)

JUST \.OOl<INO
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l'lhu J J.III WM HICI Andy ™G Jett WJ.

,.....,
Lo.i rrontlt,., ''°" 1111 a11,n
Co10lilr l)IIOlOfrtph. tc,;t
'ln11r1 for lfoM11
1919
IUlllPt•c11c.y In 1111/1\00~
I Hlltl tr,oe itt1t1 c,# l triptych•, 130 >e 180 <a 1~1 X JI \11} ocll 161 X U9 U1 ((.,I lit. 90 In)
nw~artthf'H lnpl)'(hswtikh,nmineltwmes olr~. 11~• n d ~. (OU♦(Uon , Ctnue &to4"tn '"Pl<IO!i, ,,,h
'Theli!M nt.BtWIISUStdhtnas .amtl~~ng 1hebl.tdtYOkit- ■s,'<'l:lk1, This llnto- auudu 1o ~ •5 pa\ri1inp B« ,1 IM For~.1-•S..rptff1(188I~ In wflld'I
ot~i.ntt. lhtw«II" UMo5ll1t C06ti$oltl'IMpos:1tnu1 pc,pbf !orm. to • ~ n ~btllhdabar lacing US',lhe~ 1ht scc114,h ~rrom
«IMtNclinudl •vncow__,• 1((ili(:.almolnffl1lr, tht<OllltonltliOnbt!WHn~ lhe ~ n l fll • m1n wt.ofl'I wt fft raRtdtd ~ an (t,liqut mlrrorbeolnd her.
tr.dv.tllle. 'Mwt lhit bbck man is confronling ii lhf ttat♦ oC v.flil.,_...., Tht bll.lt (;OlOUt Tha kind of picwro con•trvdion is no1,.....
-..ill\ I QMtta, l!\$1tad Wallpo,sllloM
b wo.-Jnttgral pm 01 N ,n(u......i•.Kftol crim, l'IIOWts. Ko ~lttl' ~ t po~ Its allf.OtN4k eye c.enn h~. k,rmg Uw..;....., lnlo ,,. impotJibt4, ~
he is p,,I iro. Ul'ldtt poijU lnl~IIM. WI ptls«'I. In .a low paid Job. botin; ¥1 •invader', vlifl • dluMbodotd l'MCNIW. V#ious dmces ~ INI lht ~ • p h ii ~
1t11 btfdtmtnlf,ltSliontlMVltiiltl'l'\Vi$ldf,fltl!y• lfl • mirror. Tht ll'lis.t ···~ " llrlng t h e ~ ~- °' lhf Qmtfli. whkh Sfflft$
-Mllnt~Cot-rffiOilubN➔ lffll tobepw:1111~ f fflll'f« b y ! N ~ ~lhfm II ai-woo6MMriK• •l'ld
bfhind w. !11,Nl $Wli:b !NI ffllO N &pi«$ btlwMn Mitl'ot ,..Ml$, W~tl al.ludls '°
lht 111$1o,yoi photogra~ 1,klr,v 'fltir 01',l'I "'ft•d• d port,lil ,ntklng 11<5• of f!'lkrotl
• •ITIOOtN'li&t9ttlur•Chatln..-..SIM plcb.n~. V1'1 , ~ i,nolhin9 htft'lo
bffaylhe preMnCt o•• Ht'OI', Tht plcbn<OUld tqWU)'l't.lW be«lt.1~·,1ra9'11·t,y
•HCondce~. WNtw,seemigNtlfobt•~ollhtn.tglllwlnM~
10 crNW • bi.ff mirrot-inw9,. WN!-, our S9fC1,IIMiont. 1llt •ni9iN 01 It.& Am~•
~ - tMcfl~liOn upClft bolb 9MON' r ~ .nd.,. c:,ptics ot pholoOflpby,

WOii.KS
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1Cni1ftf uHf \angll~ lo dest.lblll5t our positions 115 $p('(lalorJ. W♦ ~ e1 lllt
lm.t<J• w lht w6l'd$ ;lo'dtfU Ill llnd cut ttla'liotl lo ~1'9, In tt,b~ b tumpk.

-~ IM'9in ll>•~ wt.o •he ';Our·•""' ·ttv1 relH lb, ~ Ol'I - -

~Ho.t<n.,~(•workntmintt,_..,~ .,.d6t$V'IM soc:~,.gui.1od
il'I•<~ domlll;)ttdbym•lt-~ fwndifN9-n¥tcomiliMd with ltJ.ts
In 1ddl • w~ lNt !M sit,o.nt auumpll)tl5 unik~"9 lhem are UIY4Yfl.ltd.

Utltl,hla $1£Yf8Ql@lj

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...
THE CULTURES QF NATURE Photography
is an industrial technology. yet it finds natural forms profoundly photogenic.
There is always a tension in the ca mera's relationship to its natural ·other·.
In the work of Modernists such as Edward Weston and Ansel Adams th is tension
is masked through the textures and volumes of their subjects. rendered almost
surreal in acts of pictorial reverence towards natural objects and the landscape.
This tradition lives on but by the 1960s it became difficult to retain such an
unproblematic understanding of nature. The advance of technology, the rise of
ecological consciousness. the commodification of land and the further detachment
of urban life from nature were all factors that forced photographers and artists
to rethink. often with a political urgency. nature's meanings. Some of the works
in this section explore boundaries between the natural and the cultural. searching
out liminal spaces and forms that are both or neither. Others take the view that
we can never access the natural world on its own terms: rather. it is the very act
of picturing that gives it meaning and significance.

~rt Sllilllill

lf6:>

SmllMOtl WU d"riho'I\ 10 ~ lfld •!h.1,'1ion, Miff• hu/Nl'I arlOIIKtS ¥Id NIUA

oeo,lffc• i,i un9bnr1tcfW.t)'S., this work btl.ong, tu 1.t,11, ""'- ol fjf'~r•!IM
fl'om3Smm WQ(!•v.fiic:hdocumMIINM/rttK~-tl.~ 1 1 ' 1 ~
in lhe USA w.txko Md Er.,gt.lnd Smllhsen ptr.ed mlrroq In llfflrtnl '11k'• of
!Mb.nl \oc.ltlons. pholognpMd Mclllwl\t.m~ltlem. ?N>ITWTo,YIIIW~
1M objtctM!y of 1M s,l'lologrtph ~ dol.lbL tl,wayt ,O,nlin\) beyofld 1N r,-,IM.
Thu•tM pllolOSJ(~~omp1nbolh•phrM(.ll•iltand.10use:Smi1MOn's11ttm,
• ·~~·.ttt.s.udon(y~r-e<olltdion. Thtni~Wffl!lir,1pJ»$hfd
u . ffil~l!M JP(C!K .COOfl'ljW!ied by Smlth5on, lolXIJ OI\ NCh d lbt nln• mofTWI'
di~t-merils, In Arltonm,, Sep1efllllet 1961

tilt CUl,.IUIU$ Of NATUU

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l)IE CULfURES OF NAtURE

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ARTISTS' BIOGRAPHIES
'IM ~ !11. 19-10 ••"" Torti !ho, Ill et Mi,.., -c-rl . /11 Sdrl'.• or fllf If.NII, ABttAll (I>. 11~. 0,.10,,: "· :oofl cn,•r~flh ••f lll11rttt •lll01.I t♦
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liWhl<N•I 01>11 M<III l•ltrotl1en, U>.-0"'41'1 OIO f0..1113 ' - 1916; /111 IIOll1 •U •·•·tr ~.-,t~ ~n l•Chlnlt 1tHtJ (tll1Ul I• ,1-<l lh\l"f ,,..~~,- •M <Ot,,!ll ,c

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BIBLIOGRAPHY
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,ttolf,ff♦,-,, hH,t, SU♦rl ~ {,It(\"• ~ 1"'=°1~r,pf\l' •"4 l'Jlf'tlllf Ill 1111 llotA C.abrtCIIO . 1991 IIQH"' Ml . fl>:lo,. ll".I

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Guy, 'lol t. 1p,tv,,11tr•I c,1Hor11h (t,ll(U ktlt-111> tn,f ·• l. ►ttl It-;. I laf 1,r.ttl•, 191~ \t:1l0, lwr lrti, ltrU• a/If 11n 111,,. ltM
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Mt•Pr,~, U • hl, Ornlthlo• r, 1919 lof'dO,,, UM •icfllf' . •,,.,of,,., "'41.....,j\~I •IV ktltlt-:, 1-.t l4l ,.,,,1.-1, 10~
~ w.r •It Sllort ~i,tor, of - /i,t (~fJ( ••t 1flrct,: CtllltU•.l.t<I SJ.,tl(/\U . OIUfl~\00 ..,, 1\l~)hll,ri l•c., ~w«llffl tNt.l r~e bt""'1NI ~ " • •
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