The Photograph as Contemporary Art - Chapter 1

Following feedback from my tutor I thought it would be worthwhile doing an entry  each time I complete a chapter of whatever book I'm reading - which at the minute is The Photograph as Contemporary Art by Charlotte Cotton.

The first chapter is titled 'If this is Art'. It focuses on artists who actively construct their subject matter (almost like stage sets), specifically so that they can then photograph it. So that act of creation starts before  taking the photograph. So this is the polar opposite of Cartier-Bresson approach. However that's not to say that there is no use of happenstance here - or that there is no aspect of  premeditation with Cartier-Bresson.

To be honest, while the  ideas behind the photographs are often conceptually quite interesting, the photographs themselves are (to my taste), a bit flat and unexciting. They also often look strangely dated and for want of a better word 'wierd'..... And if not wired then elitist and pretentious (sorry, but a picture of a guy with loaves of bread round his head (Tatsumi Orimoto) is either weird or pretentious - take your pick! While the descriptions of the concepts behind the work are interesting, the photographs lack the same interest. In many instances the photographs just seem to be a way of capturing the artistic act.

There are some exceptions - Shizuka Yokomizo, who photographs people in their houses through their front windows. Her only contact with them prior to this being where she sends them letters to suggest a time when they could stand in front of their window to enable her to take the shot.  The shot in the book has an interesting form, composition and lighting. It's presence is increased by an understanding of the concept behind it - the subject is presenting themselves with a confidence, but also a cool, dispassionate distance, which is understandable given the context.

Georges Rousse also has a fascinating concept which produces fascinating photographs (it must also be incredibly difficult to achieve).

Tim Davis' work attempts to portray how consumer brands impose upon domestic suburban life. He does this by shooting the reflections of  the signage of well known brands in house windows. He underlines and reaffirms this aspect of contemporary life by photographing many of the same subjects. However, I'm a bit unclear as to how this fits in with the idea of the photographer creating the stage - if I'm understanding correctly Davis seeks out these subjects rather than constructs them.

Philip Lorca-diCorcia was also included in this chapter. I've written about him separately.

Overall there interesting concepts at play here, which sometimes translate into interesting photographs. And the principals behind this kind of photography is something which I've not come across much so was interesting to read.