Professional Documents
Culture Documents
J have always liked photog rap hy, and in a low- key way I was always intereste d in ir. I
bough t a Berenice Abbott prim of an Arget bedroo m ar rhe Willard Ga llery in New York
Cit y more t han rhirry years ago, and have lived for a long rime with photog rap h s by
Evans, Baldus, Frith, and O'S u llivan (a part icular fa vorite). Ove r rhe years, too, I
attende d numerous ex h ibit ions of pho to gra phy, th ough rarely wit h rh e sense of urgency
rhar I felt with respect to ex hib itions of modern painting or sc ulptur e. Bur unril recen tly
I did nor have any strong int u itions abo ut pho to gra phy, an d without such an intuition
- some sort of ep iphany, real or imag ined - I have never been mot ivated to write o n any-
t hing. Th en several things happene d. First, I got ro know J am es Welling and his work
because frie nd s in Ba ltimo re wa lked inro his first show at Metro Pictures and bough t
seve ral o f the " Diary" photographs; soo n they became close to him . l found t ha t I liked
his p hotographs eno rm ously, an d we, too, became friends . And t hen about ten years
ago, by sheer chance, I mer J eff Wall at the Boymans Museum in Ro tterdam and dis -
covered that, to put it mild ly, we were int erested in many of rhe sam e p ictorial issues .
I had been aware o f Wall's work for years an d had even had an in k ling of our share d
co ncerns, bur meet ing him and excha nging rhoughrs was galvanizing for me. Fro m that
moment on I starred look ing seriously at recent photog rap hy, a process grea tly aided b y
major exhibitions of work by figur es s uch as Welling, Wall, Andr eas Gursky, Tho m as
St ruth, Bernd and H illa Becher, Tho m as Demand, Rineke Dijkst ra, Ca ndida Hofer,
H iroshi Sugim oto, and Luc Delahaye, among orhers. To my surpri se I fairly quick ly
b ecame gr ippe d by the though t rhat a ll rhar work, and m uc h else b esides, hung together
artistica lly in ways rhat it seeme d to me no one else writi ng ab out the to pic had qui te
recognized . At t hat poinr, I bega n dra fti ng whar J hoped woul d be a short book on
recen t art photogra p hy that would convey rhe gist of m y think ing . Prett y soo n, though,
ir became clear t hat no suc h short book was in the cards . Rather, if I wan ted to do
jus t ice to my sub ject, I would have to de a l with the work of more th a n fifteen photo-
gra p hers (and, ir rurne d o ur, video and film makers) in suf fic ient deta il to co nvey a sense
of wha t eac h was up to and at rhe same rime to allow th e co n nectio ns I saw among
rheir ind ividual projects ro emerge. Thi s is what I have trie d to do in Why Photo-
graphy Matters as Art as Nev er Before.
introduction
The basic idea behind whar follows is simple. Srarr ing in rhe lare , 970s and 1980s,
arr phorographs began ro be made nor on ly ar large sca le bur a lso - as rhe French crir ic
J ca n -Fran ~ois Ch ev rier wa s th e firsr ro po inr our - for th e wall; this is widely known
an d no one will conresr ir. What I want ro add is rhar the momenr rhis rook place - I
am thinking, for example, of Ruff 's passporr-sryle porrrairs (wh ich begin modesr in scale
bur are marked fro m the srarr by rhe for-rhe-wa llness thar Chevr ier rightl y regards as
decisive), Wall's firsr lighrbo x transparencies, and Jean -M a rc Busramanre's Tableaux -
issues concerning rhe relationship berween rhe pho rograph and rhe viewer sranding
before it became cru cial for phorography as they had ne ver previous ly bee n. M o re pre-
cisely, so I wanr ro claim, such photography immediarely inherited rhe enrire problem-
aric of beholding- in rhe rerms defined in my previous wri t ing, of rhearricaliry and
an rirhe atrica liry - rhar had been cenr ral, first, to rhe evo lution of painr ing in France from
rhe middle of the eighteent h cenrury unril rhe advenr of Edoua rd Maner and his gene r-
arion around 1860, an evo lurio n explo red in my books Absorption and Theatricality,
Courbet 's Realism, and Manet's Modemism ; and second, co rhe opposition between high
modernism and minim a lism in rhe mid- a nd lare 1960s, as expounded in, and perhaps
exacerba red by, my "infamo us" essay "Arr and Objecr hood. 1
Whar rhis has meant in indi vidual cases will become clear in rhe course of rhis book,
bur I might as well acknowledge at the outser rhat my mor ivation for wr iti ng abour
recent arr photography has every thin g ro do wirh my be lief that issues of rhe sort I have
jusr named rhar mig hr hav e seeme d (rhar did seem, ro me as muc h as ro anyone else)
quir e po ssibly forever inva lidated by the eclipse of high mode rn ism an d th e t riump h of
posrmodernis m borh arr isrically and rheorerically in the 1970s and 'Sos have returned,
may I say dialectically, to rhe very cenrer of advanced phorographic pracrice. Pur slightly
diff erentl y, I shall rry ro show rhar the mos r characteristic pro ducti o ns of all rhe photo-
graph e rs jusr mentione d (and ot hers as we ll) belong ro a single photographic regime,
which is ro say ro a single com plex srrucrure of rhemes, co ncerns, and represenra riona l
srra regies, whic h on rhc one hand repr esents an epocha l develo pment w irhin rhe hisrory
of art phorography and on th e othe r can only be unders tood if it is viewed in the context
of issues of beholding and of what I rhink of as rhe ontology of pictures rhar we re first
th eo rized by Deni s Diderot wirh respect to stage dram a and painting in rhe lare 1750s
and '6os . This means, among other things, thar rhe chapters that follow co nsta nt ly refer
ro my own earlier writings; I declare rhis up front, ro preempt the facile cr iticism rhar
I am excessively preocc upi ed wirh my ow n ideas . I am pr eoccup ied wirh those ideas, for
the sim ple reason rha r rhey seem ro me ro hold the key ro much (far from every rhing,
much less rhan half of eve ryrhing, but srill, a grear deal ) in the picrorial arts of rhe pasr
2.50 years. The qu esrion, in orher words, is no r whe th er in rhis book I am ex plo ring
ropics and issues I have discusse d before bur rather whether Ill) ' interpretations of spe-
c ific works by a number of rhe leading phorographers of our rime, and beyond rhar my
account of the lar ger project of much conrempora ry arr ph otography, a re or are not per-
sua sive as rhey sran d. (I kn ow ir is roo much ro ask, bur it would be useful if reade rs
impatient wirh whar I have done were ro feel compe lled ro offer superior interprera rions
of rhe ir ow n.)
introd uction 3
pr oved indispensable ro my efforts ro mak e clear exactly what this has involved. Othe r
writer s who figure in thi s book in tex t and not es (apart from numerou s co mm entato rs
on my photographer -subjec ts) are C hevrier, Bart hes, Brassa"i on Pro ust an d Prou st
himself, the anonymous author of a French eighteenth-century conte, Susa n Sonta g,
Clement Greenbe rg, Gertrude Stein in her essay " Pictur es," Heinr ich von Kleist, Robert
Musil, Brian O'Doherty, Walter Benn Michaels (whose writing s on photo graph y bear
closely on my arguments), and , per haps most surpri singly, Yukio Mishima in several
pa ssages in his great terralogy , Th e Sea of Fertility. H oweve r, my focus will be over-
whelmingly on th e photograph s I ha ve chose n to discuss.
Two more point s. First , in my introduction to Art and Objecthood: Essays and
Reviews, I insist that "be tween m)self as histor ian of the French antirh eati ca l tradition
and the crit ic who wrot e ' Arr and Objecrhood ' there loom s an unbridgeable gulf . ...
11see J no way of nego tiating th e differen ce between the priorit y given in [my earl y arr
crir icismJ to judgment s bot h po sit ive and negat ive and the princ ipled refusa l of all such
jud gme nt s in rhe pur suit of historical und erstanding Jin Absorption and Theatricality,
Courbet's Realism, and Manet's Modernism]." 2 This seemed ro me a mat ter of some
imp ort anc e, if onl y beca use I did nor want to be unde rsto od as end orsing Diderot's views
of individual artist s (for example, deprecatin g Watteau ). Well, as the reader of Why
Photography Matt ers as Art as Never Before is about to discove r, th e gulf in qu estion
no longer loo ms as it pr evio us!)' did; pu t slightly differentl y, th e pr esent book turn s our
to be generica lly mix ed - at once crit icism and history, jud gme nt al and non-judgm ental ,
engage d and detached - in ways that would hav e been inco mpr ehensible ro me only a
short rime ago .J
Second , a word about my epigraph . Th e citat ion from Heidegger, " Eac h answe r
rem a ins in force as a n answer onl y as long as it is roo ted in ques t ioning ," was previ-
ously used by me as t he epigraph ro rhe introductor y essay, " About my Arr C rit icism,"
to th e 1998 anthol ogy of 111)' arr crirical writ ings, Art and Objecthood: Essays and
Reviews. Whe n I plac ed it there , 1 meant to signal an aw a rene ss that th e issues grap -
pled with in my arr criticism of the 1960s were no longer burnin g topi cs in conte mp o-
1ary a rr (the introdu ct ion dar es from 1995-6 ), and that I ought nor rob e ima gined as
standing behind each and eve ry claim in my ear ly writings as if nothing significa nt had
happened in th e intervening years . By using it ag ain here, however , I mean to signal
som ethin g almost exac tly op posite: rhar the issues of rhearri ca liry and objecrhood rhar
were cru cia l to my arr criticism in J 966-7 a re once aga in, in Heidegger's tremendou s
phr ase, "roote d in que stio nin g," nor least ques ti oning conducted with great force and
brilliance by the photographers them selves. Inde ed the questioning had begun well
befor e I wrote that introduc tory essay, bur I did nor know it then. Now I do.
I am a habirual se lf-inte rlocu tor. O ne even ing whi le raki ng p hotographs fof dioramas ]
ar rhe American Muse u111of Na tur a l H isrory, I had a near-hall ucinatory visio n. My
internal ques t ion-and-a n swer session lead ing up to rh is vision went so meth ing like
rhis: "Su ppose yo u sh oo r a whole movie in a single fra111e?"Th e answer: " You ger a
sh ining screen." Immediately I began ex per iment ing in or der to realize rhis vision .
One afterno on I wa lked in ro a c heap cine ma in rhe Easr Village wit h a large-formar
camera . As soo n as rh e mov ie sta rted , I fixed the s hutt er ar a wide-o pen ape rtur e.
When rhe m ovie finished rwo hou rs later, I clicked rhe shurrer clo sed. Thar evening I
deve loped the film, and m y vision ex ploded befo re m y eyes.'
In orher words, the dazzl ing blank ness, rhe sheer whireness, o f che scree ns in rhe mo vie
rhearer photographs are rhe resulr of leav ing rhe shurre r ope n chroug hour an enti re film;
by th e same token , there was jusr enough cum ulati ve reflected ligh t fro m the scree n ro
make poss ible rhe relative ly dark bur a lso m ar velous ly detai led registrat io n of rhe rhearer
interio rs themse lves.
Now, I have no wish to challenge the veracity of Sugimoto's accou n t of how he came
ro make rhe movie theat er pho tog rap hs. Bur ir s ho uld be noted t har he presents his doing
so as rhe ourco me o f a so lita ry brill iant int uirion, as if rhe photographs spran g full y co n -
ceived ou r of his q uest ioning mind and thus had nothi ng wharever to do wirh any rhing
else rakin g place in photography at approximately t he same mo m ent. Maybe thi s rea lly
is how t hey ca m e to be m ade. Yer th e facr remains rhar rhe seco nd half of t he 1970s
saw ar leasr rwo orhe r n orable iniriarives in "a rt " photography rhar engage d head-on
with the quesrion of cinema, and I want to sugges r rhat unless rhose init iat ives are ta ken
three beg,nnings 5
1 Hir os hi Sugimoto, U.A. Walker, New York, 1978 . Gelatin silver print.
u9.4 x 149.2 cm, Negative 213
2 Hir os hi Sugimoto, Ohio Theater, Ohio, 1980 . Gelatin silver print. 1 19.4 x
149.2 cm, Negative 205
into conside rarion, one's sense of Sugimo ro's achieve ment in rhe movie theate r photo -
graphs risks being curio usly abstract, cut off from the contem pora ry histo ry of which
it was a part. l refer to the early work of Cindy Sher man and Jeff Wall.
Sherman first. The works I have in mind are her famous Untit led Film Stills, modesr-
sized black-and-w hite photographs which she made between r977 and 1980 .2 T hey are,
of cour se, not actua l film st ills but ph otographs imita t ing t he look of film st ills, and in
all rhe images (a tota l of eighty-four) t he protagonist is Sherman herself, or rather one
or ano t her female "c har acter" who m Sherman is play ing or imp ersonat ing (in a ll the
photographs she is alone, no one else appears). There is by now a vast critical lirerarure
on Sherm an's work, muc h of it in my op inio n t heo retica lly overblow n,3 bur here are
some interes t ing remar ks by Sher man herself:
I liked rhe H itchcock look, Anto nion i, Neo realist st uff. What I didn't want were pic-
tures showing st rong emot ion . In a lor of movie photos rhc actors look cute, impish,
allurin g, d ist raught , frighrene d, rough , ere., bur what I was int eresred in was wh en
they were almost express ion less. Whic h was rare to see; in film stills there's a lot of
overac t ing because th ey're trying ro sell rhe movie. Th e movie isn't necessa r ily funny
or happy, bu r in those pub liciry photos, if there's one cha racte r, she's smiling. Ir was
in Europea n film st ills that I'd find wome n who were more neutral, and maybe the
origina l films were ha rder to figure our as well. I foun d thar mo re mysterious. I looke d
for it consc iously; I didn't want to ha m ir up , an d I knew rhat if I acted too hap py,
or too sad, or scared - if rhe emotio nal quot ient was too high - t he photograp h would
seem campy. 181
O ne way of gloss ing rhis might be to say that by her own account, despite rhe fact t hat
she was in effect "pe rformi ng" for the camera - dress ing up, mak ing up, arranging rhe
scene, and finally playing a role - Sherman at the same time felt impelled to avoid
displays of emorio n and by imp licat ion entire scenes t hat might stri ke rhe viewer as
theatrica l in rhe pejorative sense of the rerm. (The wo rd is mine, no t hers. T his is nor
to say rhar a ll the Untit led Film Stills are eq ually restrained. I need hardly add rhat the
issue of t heat r icality looms large bot h in my art critical essay of 1967, "Art and Objecr-
hood," and in my histo rical studi es of the evol ution of paint ing in Fra nce bet ween the
middle of rhe eighteenth cent ury and the adve nt of Ma net and his genera tion in the early
, 86os .4 ) Acco rdingly, in most of the Stills Sherman depicts characte rs who app ear
absorbed in thoug ht or feeling (Fig. 3); or who look "offscreen" in a man ner that sug-
gests t hat their attentio n has been dra wn, fleetingly or ot herwise, by somethin g or
someone ro be fou nd there (Fig. 4); or who gaze close up at their own image in a mirror
(Fig. 5); or who are viewed from the rear or the side, from an elevated or "depressed"
viewpoi nt, from a co nsidera ble distance, or unde r orher circumstances that ru le out the
possibi lity of any implied commu nicat ion between t he per sonage in t he photograph and
rhe viewer (Fig. 6). Thro ugho ur the series the bas ic movies co nventio n (or diegeric law )
of never depicting the subject looki ng directly ar the camera is in force,' and in general
the cinematic characte r of the photographs co uld hardly be more emp hatic. But there
is also a convergence bet ween a numb er of the actional and structural mot ifs char one
4 Cindy Sherman , Untit led Film Sti ll, #9, 1978 . Ge la tin silver print. 18 .9 x 24
cm . Mu seum of Mo dern Art, New York. Purchase
/
5 Cin dy Sher man , Untitled Film Still, #56, r980 . Gela tin silver print. r6.2 x 24 cm . Mu seum
o f Mod ern Art, New York. Acqui red throu g h th e genero sity of J o Carole a nd Rona ld S. Laude r
in memor y o f Mr s John D. R ocke fe ller 111
6 C ind y Sherman, Untitled Film Still, #48, r 979 . Gelatin silver print. 16.2 x 24
c m. Mu seum of Mo d ern Arr, New York. Acqu ir ed throug h th e gene rosity of J o
Caro le a nd Ron a ld S. Laud er in memory of Eug ene S. Schwartz
7 (righ t and faci ng /Jnge)
Jeff Wall, M nuie Aud ience,
1 979. Seven transpa rencies
in thr ee lightboxcs. Eac h
tra nsparency 10 1. 5 x 105 cm
finds in the Stills an d mot ifs deployed by eighteenth - and nin eteenrh-cenrury French
pa int ers in the inrerest of what l have called a nti t hea trica lit y (as Regis Durand recog-
nizes aprop os o f the t rea tment of the subj ect's gaze in Sherman 's Rear Scree11Projec-
tio11 s of 1980) .6 I sha ll ha ve much mor e to say ab out thi s issue furth er on in t his chap ter
a nd in tho se that follow, but I wa nr to stop shore o f characteri zing the Stills as ant ithe-
atric a l pur e a nd simple for tw o reason s. First , it is not clear - at least not at this pre-
lim inar y point in rhe la rge r argumen t of this boo k - w hat such a claim can mean in the
rea lm o f ph otograph y or indeed th at of cinema (a sepa rat e topic) and therefore, 11 for-
tiori, in t he rea lm o f a co nce pti on of ph otograp hy th at o penly presents itself as para-
sit ic if not on cinema itself t hen on a part icula r cinemat ic a rt ifact, the film st ill. Second ,
Sherm an 's Stills both individually an d (even more exp licitly) as a group present them-
selves as having been delib erat ely staged by the photogra pher - and is not ''s tagedn ess"
such as one find s in these images a marker o f t hea trica lity, nor its ant ithesis? Th e answer
to thi s question, which will eme rge as I proceed, is fairly comp lex, but rhe poinr I want
to und ersco re is t hat Sherm an's Stills raise rhe qu estion in a particula rly pressing form
{they are not simpl y t heat rical, in ocher wor ds), w hich is also to say that t here is more
to them as works of a rt tha n br illiant visua l deco nst ructi ons of fictions o f feminity, which
is mostly ho w t hey have been und ersto od .7
Jeff Wa ll, the ot her key figure I want to cite in this co nn ection, made The Destroyed
Room, his first lightbox pictur e - a C iba chrom e t rans pa rency illumin ated fro m behind
by fluoresce nt bulb s, thro ugh out almost all his ca reer his preferred medium - in 1978.k
Fro m the o ut set, his art has involved t riangulat ing ben vcen photog raphy, paint ing, and
cinema, as he himself has repeated ly stated in essa ys and interview s. (A pa rtic ularly
splend id exa mple of such t riangulatio n, Momi11g Cleani11 g, Mies van der Rohe Fou11 -
datio11 , Barce/o11a f r999 J, w ill be the pr incipal wo rk d iscu ssed in C hap ter T hree.) In
fact, in Wall's rece ntly publ ished cata logue raiso nne all his work s ar e chara cterized by
him either as " docu mentary " or " cinematograp hic" pho togra phs, the latt er rerm imply-
ing some meas ur e of preparat ion of t he motif - some meas ur e of "s taging," in other
three beginnings 11
(tho ugh we as viewers do not for a moment im agine that his personages are act ually
watc hing a movie und er ordinary co nd itio ns; for one thin g, the light falling on their
faces is muc h too stro ng for that to be cre dible). In 198 4, to accompany an exhi bition
of t his wo rk in Base l, Wall wrote a text of several pages in a tort uous, post-Adorno
idio m t hat contra sts st r ikingly with the exce ptional lucidity of his other wri t ings abou t
pho tograp hy (the most disting uished body of writing on the to pic of the past thirty
years, in my opi nion). One paragraph suffices to convey the teno r of the whole:
W hen we go to the cinema, we enter a t heat re (or what remains of a theatre) which
has been re-insta lled in a monume nral isi ng mac hine. Th e hu ge fragmented figures pro-
jected on the screen are the magnified sha rd s of the o utm oded thespia ns. This implies
that the film spectator has also become a fragment of society which acquires ident ity
throu gh its repetitio us accumulat ion ; in thi s process it beco mes an "au dience." The
audience is not watch ing the prod uct of t he action of a machine; iris inside a machine
and is expe riencing the phantasmagoria of t hat interio r. T he audience knows t his, but
it knows ir t hrough t he labour of trying to forget it. Thi s amnes ia is w hat is known
cul tur a lly as pleasure and happ iness. On t he other ha nd, the utopia of the cinema
consists in the ideal of happy, pleasan t lucidity which wo uld be created by the revo-
lutionary negation and transfo rm at ion of amnesi ac and mon um ent alising cultural
forms. Cinemat ic spectarorship is a somnamb uli stic approa ch toward utop ia. 9
At the risk of simplify ing Wall's thought, T might note, first , that the top ic of theater,
hence of t heatricali t y, is definitely in play, and second, that Wall is struc k by the fact
that a movie au dience (as one might say) " loses itse lf" or, per ha ps more accura tely,
"fo rgets itself" in the experie ncing of a mo vie, or rather is led or induced by the appa-
ratus and the situatio n to seek to do so (Wall : "Th e aud ience knows !that it is inside
the exper iencing mac hinej, bur it kn ows it t hrough the la bour of tryi ng to forget it").
Thus the " utopia of t he cinema" - which presumably has not been achieved - would be
to convert this trop ism toward forgetting into a kind of "happy, pleasant lucid ity" abo ut
the whole expe rience, a lucidity that wou ld nor simply be a form of distanci ng and alien-
at ion. (Wall associa tes the latter condit ions, dista ncing and alienatio n, wit h what he calls
"crit ical modernism" jsee below] - Ben oit Brecht and Jean-Luc Godard wou ld be the
models here, not Morris Louis or Ant hony Caro.) As for Movie Audience it self, Wall
goes on to say that he trie d to make it
anticipate, even evo ke, its own mom ent of trial and occl usion as modernist arr, its
o wn transfo r mation into tyran nical decor. [In ot her words, its own conscri ption to
an experie ntial regime of imme rsion and forgett ing.] T his is greatly facilitated by the
lighting techn ology used to make the piece, wh ich itself induces a kind of pri mal spec-
ular fascinatio n o r absorpt ion which is in some ways ant ithetical to the cond itions of
reflective and artificia l est rangement indispensa ble to the un happy lucidity of critical
mode rni sm. [28 11
At the same time, the fact that Movie Audience has been hun g unusua lly high by Wall
himself is on the side of est rangemen t rather than fascination - it is har d to lose oneself
in an image conside rably above one's head.
lt is the overco ming of theater t hat modern ist sens ibilit y finds most exa lting an d that
it experie nces as the ha llma rk of high art in our time. There is, howeve r, one art rhar,
by irs very narure, escapes t heate r ent irely - rhe mov ies. This helps explain why movies
in gene ra l, including frank ly appa lling ones, a re acce ptab le to mod ernis t sensibi lity
whereas all but the most succesf ul paint ing, sculpt ur e, music and poet ry is not.
Because cine ma escapes theater - automa tically, as it were - ir provides a welcome and
absorbing refuge ro sensibilitie s at war with theater and rhear ricaliry. Ar t he same
rime, rhe auto matic , guaranteed chara cter of th e refuge - more accu rately, the fact that
what is prov ided is a refuge from theater and nor a triumph ove r ir, absorption no r
conviction - means rhat rhe cinema, even ar its most experimental , is nor a modern ist
arr. 10
Today I per haps want to qua lify rhe fina l co ncl usion, but my ba sic claim, char rhe absorp-
tion or engross ment of rhc movie audience sidesteps, auro marically avoids, the question
of thea rricaliry, st ill seems to me - very broa dly-c or rect. It has much in co mmon, I
t hink , with Wall's characre rizarion of t he movie aud ience as ar once "i nside a machi ne"
an d as "experienci ng the phantasmagor ia of rhar inter ior," though his emphas is on the
au dience's " labor" of forgett ing int roduces a note of complex it y ab sent from my cruder
form ulat ion. (l shou ld add rhat rhe adverb " autom atic ally" w as not mea nt by me to
impl y that rhe avoidance of rhea t rica liry I associate wirh mov ies results simp ly from rhe
natur e of rhe appara t us - the camera and pr ojector - as distin ct from t he dep loyment of
a hosr of techni ques of acting , directing , scene-settin g, light ing, photogra phin g, sou nd
recordin g, editin g, and so on. T he whole q uesti on w ill ha ve to be taken up again o n a
futur e occasion.)
All rhis leads me to suggest rhat one way of understanding Sugimoto's Movie The-
aters, Sherm an 's Untitled Film Stills, and Wall's Movie Audience is as responding in dif-
ferent ways ro rhe pr ob lematic stat us of mov ies in thi s regard by making pho tographs
which, althoug h mobil izing one or anot her conve nt ion of movies (or the rhoug hr of
movies), also provide a certa in essenti a lly photographic distance from the filmic expe-
rience, a distance by virt ue of w hich rhe automaticity of the avo idan ce of theat ricality
l have just evoke d is foresta lled or undone. By t his I mean t hat th e issue of theatrical-
ity is allowed to come into focus, as a lmost neve r in narrative film as such, and even to
be eng aged with as a problem - though not, I sugges t , unambiguously defeated or over-
come. (That had to wai t for Do uglas Gordon's brilliant Deja 1111 [2000), nor discussed
in this book. I sha ll have a littl e more ro say abour rhe relat ion of film to pho tograp hy
as theorized by Roland Barthes in Camera Lu cida in Chapter Fo ur.) In Sherman's Stills,
as seen, this is acco mp lished in part through motifs of absorption, distract ion, look ing
"offscreen," distance from rhe camera, and the like. In Wall's Movie Audience, it is done
by dep ict ing members of an oste nsibly or rather no t ion ally immersed aud ience from a
point of view that virtually ass ur es a cert ain crit ica l distance on the pa rt of rhe viewe r
but thar at rhe sa me t ime (accordi ng ro Wa ll) seeks at least somewhat to entra nce rhat
viewer by means of rhe sheer allur e of the ba ck lit t ransparenc ies. Viewed in rhis context,
M y seco nd beg inn ing cen ters on t he protracted rnomenr between 1978 and 1981 when
three yo un g art ists in d ifferent parts of the wo rld - Wa ll in Vancouver, Th omas Ruff in
Diisseld o rf, and Jean -Ma rc Bustamante in P ro vence and nort hern Spain - mo re or less
sirnulr aneous ly started to make ph otographs that I am not the first to see as exernplify-
ing a new regime of "art" photography (from now on 1 sha ll drop t he quota tion rnarks),
one that the learn ed and acute French cr itic Jean-Fran~o is C hevrier has character ized as
the "tableau form." 11 I shall cons ider Chevrier's ideas in greate r deta il at t he start of
Chap t er Six, whe re I sha ll also say more about Ruff's breakt hroug h works, his frontal,
deadpan, "passport-style" co lor portrai ts of fellow stu dents and ot hers in his immed i-
are milieu . For prese nt purposes, however, t he t wo distinctive and closely related char-
acter istics of rhe new regirne are, first, a tende ncy t owa rd a considerably large r
image-size tha n had prev iously bee n thought appropriate to art photogra ph y; and
seco nd, an expectatio n or, pu t more stro ngly, an intention that t he pho tograph s in ques-
tion wou ld be frarned and hun g on a wa ll, to be looked a r like pa intings {hence Chevrier's
ter m "ta bleau" ) rather t ha n merel y exami ned up close - pe rhaps even held in the hand
- by one viewer ar a rime, as ha d hithe rt o been the ca se. Not that pr evious arr photo-
graphs - wo rk s by Carneron, H ill and Adamson, Nadar, Le Gray, Baldus , Emerson,
Steic hen, Coburn, Stiegl itz, Strand, Westo n, Eva ns, Rodc henko, Sande r, Carrie r-Bresson,
Kert esz, Brassa'i, Wo ls, Levitt, Ada ms, Frank , Calla han, Winogrand, Fr iedland er, Arb us,
Brandt, et al. - had no t lent rhernselves perfectly well to being matted, fra med, and
8 Jeff Wall, Th e Destroyed Room, 1978 . Tran spare ncy in lighr bo x. , 50 x 234 c m
three beginnings 15
9 Jeff \Xlall, l'ic ture for \Y/0111eu,1979. Transparency in ligbtbox. 150 x 234 cm
one sta nds before the actual tran sparency. Derai l as such matters less in l'icture for
\Y/ome11but the issue of size is even more cruc ial: eve rything depen ds on the viewer's
abili ty to respo nd not just intellectually but p unctua lly, in the mo ment of viewing, ro
t he int ernal complexi ties of the life-size image as a who le, in part icular ro its carefu lly
eng ineered struct ure of reflected gazes - th at of t he young wo man "mo d el" ro t he left;
that o f the photogra p her, Wall, operat ing t he sh utter attac hment ro the right ; and chat
of t he camera on its tri pod at the exac t cent er of the picture. (As near as one can tell:
the mirror in which everyt h ing is reflected is identified with the picture plane; t he actual,
not the reflected you ng wo man gazes at a reflect ion o f the camera lens, whi le the actu al,
no t the reflected p hotog rap her gazes at a reflection of the young woma n . The actua l
camera a lone rakes in the enti re m irrored scene.) Fu rthe rmo re, bo th The Destroyed
Room and Picture for \Y/ome11 all ude ro major pa intings in the mode rn French trad ition
- the forme r ro Delac ro ix's Destructio11of Sarda11apa/11s, the latter to Manet's Bar at
three beginnings 17
photograph ic portra it . T heir subsequent increase in sca le therefore seems right, as if only
then did rhey assume rhe dimensions and sheer "visual presence" (Valeria Liebermann's
phrase) prope r ro rheir idea. 15 Indeed ir was rhen rhat rhe portra its became rigorously
frontal and cons istentl y dea dpan . In contrast, Sugimoto's Dioramas or Movie Theaters
lose intensity when rhey are printed ar a larger scale, as is sometimes done. (Ler me be
clea r: I consider bo rh the Dioramas and Movie Theaters to be early instances of the new
art photograp h y, wirhour t heir adhering to the tab leau form as suc h. Sherman's U11ti-
tled Film Stills' srarus w irh respect ro t he new art photography featured in this book is
a trickier matter, in part because of he r own subsequent development; I find almost all
her work after rhe "centerfolds" I 198 1i to be of relative ly little artistic interest.)
M ain ly, rhough, I wanr to say somet hing abour Busrama nte's ea rly Tableaux (the des-
ignation is his), a series of large color photographs that he made in the outskirts of
Barcelona and in various places in Provence between 1978 and 1982 . (Bustamante, born
in 1952 in Tou louse to a n Argentine father and a British mother, had worked in Paris
as an assistant to the American stree t photogra pher William Klein, a leading figure in
the previous generation.) According to Jean-P ier re Criqui, organizer in 1999 of a ret-
rospective exhib ition of Busrama nte's arr, the photogra pher rook the Tableaux wirh a
cum bersome 8 x 10-inc h box camera, "whic h, need less to say, ha d to be fixed to a tripod
for the me rest shot ." 16 T his was far from standard working procedure for a young
photographer at rhar time, but even less so was Bustama nre's decision to print his
photographs at the maxim um size then possible . Cr iqui beg ins his introduc tory essay
with a brief discussion of an exemplary wor k, Tableau no. r7 ( 1979; Fig. 1 2), which
shows, in its foreground, an expanse of trodden earth littered with pebbles and criss-
crossed by tire marks . A narrow, dusty road comes to an encl here, hemmed wit h rrees,
scrub and some building mater ials - breeze-b locks, stones - waiting for who knows
whar. On either side of the strip of earth, two paltry signs announce "Avda de
Catalunya ." In rhe distance, hills beneath a lowering sky. In contrast with the any-
t hing bu r grandiose characte r of t his scene, the exac tness of t he visua l dara offered
by this photograph is notewort hy. This kind of "sharpness" makes the eye waver
between afocality and the identificat ion of discrete points, and the roing and froing
between these two facto rs presupposes a duration that greatly exceeds any mere
ass umption of aware ness . Simply because of the absence of any spectacle and evenr,
you have to look for a long time here. T his is how I understand Busramanre's words
desc ribing t he Tableaux as "ki nds of slow snaps hots ." [ 163 l
A lirtle furt her on, Criq ui rema rks that in the catalogue for a previo us exhi bitio n Tableau
110. 17 is immediately followed by Tabl eau no. 43 (198 1; Fig. 13 ), which makes an
arresting contrast wit h its predecessor:
T his is a contrast that is sw iftly perceived ra ther in rerms of comp lementarity, for [rhe
second of these!, organized around this metal enclosure thar splits the image in rwo
(in from, a lick of pa le gravel, like part of a bullring; behind, moved far back beyond
this wa ll whic h only lers part of their bodies show, a woman or girl with two chil-
dren, and a greyish mass of unsightly buildings), forms wirh what goes befo re a sort
of diptych in which the entire repertory of motifs explored by the whole series is
summed up. Areas o f wastela n d, per ipheral zones, cons t ructions unfinished o r in the
process of being built (or unfinished), roads eng ulfed and faded, dead-ends: every-
where the signs of man, who nevertheless remains aloo f, withdrawn, an d o nly rarely
appea rs, blen d ing in with a set tha t he is forever redesign ing. A faint sen se of disaster
wafts u p from this paradoxica l comb ination o f invasion and aba ndonmen t. I163 I
Cri qui 's observatio n s seem ro me exactly right, as does his recognition that t he "thank-
less" nature of Bustaman te's motifs is such that the viewer is not invited ro engage with
them imagina t ively (the parallel with Ruff's pass po rt-style port raits is ev ident ), as well
as his further claim t hat the Tableaux therefore large ly leave it to the viewer to dec ide
what ro make of them - witho u t mor e t han a minimum of guidance by the works rhem-
selves, so to speak. (The t hanklessness of t he motif s is compounded b y what Tar o Amano
remarks was Bustamant e's tendency "to take his pho tographs at noon when he wi ll get
three beginnings 19
13 Jean-Marc Bustamante, Tableau 110. 43, 1981 . Type C and Cibachromc. 103 x 130c m
no shadows, so t hat no specific portion will stand out, nor one sub ject - be it a t ree or
a perso n ." 17) Interestingly, Bustamante himself describes the places in his Tableaux as
being "w itho ut q ualit ies," a reference to Robert Musi l's mo numenta l unfinished novel,
The Mau without Qualities (1924-42), 18 a text rhat turns our to have su rp rising reso-
n ance for several of the photogra phers discussed in this book . As Criq ui goes on to say:
"Bus tamante o ften a lludes to the t ype of re lationshi p he wo uld like to see introd uced
b y his wo rk - a no n-direct ive relatio nship, based o n a form o f fruitful indeterm inacy
that he calls 'in between' ('eutre-deux '), and which purs the onlooke r in t he positio n of
becoming 'e qually respo nsible for t he work '" (r64 - 5 ). In his images, Bustamante
exp lai ns, "t he evenr !more broadly, the mot if! is place d at suc h a dista nce, and con-
tained, t hat these imag es move beyon d the context in wh ich the y were made, t he geo-
grap hic sett ing an d so on, and engage the viewer in a one -to-o ne relat ionsh ip so lely
th rough t he ir phys ical prese nce" and "My aim is to make rhe viewe r becom e aware of
his or her resp onsibili ty in what he or she is looking at. " 19
A crit ical factor in achieving th e p hys ical presence Busra manre sought is of cou rse
size: the ea-rly Tableaux a re all 103 x r30 centi m etres, that is, more rhan th ree feet high
14 Srcphcn Shore, Beverly Boulevard and La Brea Ave11ue, 15 Srephcn Shore, Holde11 Street. North Adams, Mass-
Los A11geles.Califomia,J1111ezr, 1975, 1975. Ch romoge nic achusetts, July 13, 1974, 1974. Chromogcnic process prim.
process print. 50.5 x 6 1 cm 50 .5 x 61 cm
three beginnings 21
his choice of motifs, refined handling of co lor, canny use of "side lighting," as H illa
Becher ca lled it,u and met iculous composing of his images bo rh latera lly and- more ro
rhe point of the compa rison - in depth 21 combi ne to produce the opposite of the refusa l
of imag inary penetra t ion of the scene Loock associates wit h the Tableaux. "\Xlith Shore,"
Hilla Becher remarked in a conversa t ion with her husband Bernd and Heinz Liesbrock ,
"every th ing is rendered very affectio nately, it is genuinely gras ped. For me, his pho t os
have so mething chat I see as being an idea l in phorogra phy: that one ac tu ally ent ers into
the object, t hat one loo ks at in such a way t ha t afterward one has a genu ine love for
it" (27). To w hich Liesbrock added, "As a n author, as a perso n, he becomes absorbed
into what he is showing" (28). 14 It is worth no t ing t hat the o riginal pri nt s of the U11-
com111011 Places images were modes t in size; more broad ly, Shore's photograp hic vision
in that series belongs ro a historical mo ment im mediate ly pri o r to t he emergence of
the "tableau for m," above all in that Shore's photograp hs were not made for the
wa ll, a fact that does not prevent H illa Becher from pra ising them for their "pictorial
qua lit y" (27).
Fina lly, Bustamante affixed his prints to a flat plate of alumi n um and then framed
them wit hout surro undin g mats of any kind. 1 ; To quote Bustamant e once more: "I
wa nted not to mak e pho t ographs that would be art , but art t hat wo uld be phoro -
graphy. I refuse d the small for mat and t he craft aspect of black and whit e. I wan ted ro
move int o color, in a form at for the wall, in order to give to t he photograp h rhe dimen-
sions of a tablea u, tu trans fo rm it into an ob ject. " 16
There is ambigui t y in this last sentence. On the one ha nd, the not ion of a tableau
asserts t hat Bustamante wished to or ient his work to t he nor ms of pai nt ing. As Criqu i
writes: '' Th e powe r of such works as t hese" - N o. 9 ( 1978), No. 68 (1982 )- " resides
to a cons iderable degree in t he way they minimize [t he interest o f J the ir referents in
orde r to att ract our eye in an ex perience whic h can be calle d picto rial" ( 165). On the
other, Busta mant e's emphasis in t he remarks just quoted falls equally on t he notion of
an objec t and indee d aspects of rhe object-charac ter of h is images beco me only more
palpable as his caree r proceeds. So for example his next series of Tnblenux ( 199 1), com-
pr ising t wem y-rwo large photogra ph s of a cont inu ous curt ain of cypresses situated just
above and beyond a low scone wall (the latter inrcn n irten rly stepped upward from left
to righ t ), gives rhe pictoria lly inclined eye even fewer pa rt iculars ro dwell on t han the
earl ier works : virtuall y the ent ire sur face area of each image is taken up by rhe deep
green, close ly planted cypresses, and t he viewe r has to loo k hard ro ascertain that the
var ious photog raphs, structurally similar, are in fact subtly different from one anot her
- witho ur chose differences having the least meaning in themselves (Figs. r6 and 17) .27
The basic relation of one pictu re ro rhe nexr thus comes close to rhe "one t hing afrer
anothe r " st ructure of m inimalism (t he phrase is Dona ld Judd 's, cited by me in "Arr and
Objecrhood " [r50J) 28 while the cypress curtain itself nearly eliminates all sense of visual
dep t h in a manner t hat harks bac k ro t he non-illus ionistic painting t hat imm ediately
prece ded rhe a dvent of minima lism, notably Frank Stella's st ripe paint ings (Bustamante
has referred to the cypress photographs as " prac t ically monoc hro me" 29 ) . In the cyp ress
ser ies, in sho rt , the distancing and "excl usion " of the viewer reac h an apogee in his early
wor k, without how ever the ph o tograp hs raking the fur ther step th at wo u ld fully iden-
tify th em wit h min imali st o bject hood , w hat ever tha t wou ld mean in this cont ext.Jo
Similarl y, Busrama nre's d esire to mak e the viewer "e qua lly responsi b le for the wo rk "
or, as he also says, to ma ke p icture s that woul d " engage t he viewer in a o ne-to-o ne rela-
tionship solely thro ugh rheir physica l p resence," wh ile comi ng close to minimalism's
insistence that th e view er's experience is the wo rk (mo re on t his in Ch ap ter N ine), nev-
erth eless stops well s ho rt of that insistence; simply put , his notion of " physica l pres-
ence" a ppea rs to have mor e in common w ith painti ngs b y C lyffo rd St ill, Barnett
Ne wma n, a nd Stella tha n wit h minim a lism itself." Wit ho ut so much as g la ncing here
at Busta manr e's sub sequ ent career, I thi nk it is fair to say that min ima lism has remai ned
a bas ic po le in his t hinkin g bur thar his wo rk in a vari ety of med ia has consistentl y
refused the minimalist op tio n in order to pursue a rang e of bro ad ly p hotog ra phi c aims.31
II am especiall y glad to in sist on Bustama nre's impo rtan ce beca use, of a ll t he photo-
grap hers t reat ed in this boo k, I am least a ble to d o him justice, for the simple reaso n
that I have seen on ly a limited sampl e of his oeuvre. N evert heless, I rega rd his Tableaux
as o ne of t he most ori g inal and imp ressive p hoto graphi c ach ievement s in rece nt deca d es.)
three beginnings 23
Othe r pho tograp he rs too 111ighthave bee n cited in connectio n with th e e111 erge nce of
th e n ew ap proach .33 Ho wever, the exa111plesof Wall, Ruff, and Busta111ant e show beyo nd
all question that the pe rt inent develop111ents ca111eabout as if of the ir own acco rd , rath er
than as t he ou tco 111e of a shared background, com m on educa tion, or uniform set of
art istic influences. Of course, all thr ee ph otograp he rs were awa re of certain maj or devel-
op111en ts in the a rt world during the p revious ten or fifteen years, includ ing t he rise of
mini111alis111,conceptua lis111, and a ffiliated 111oveme nt s. Throughout thi s book 111in imal-
ism in partic ular will be a constant term of reference for my observatio ns.
My thi rd beginni ng wi ll mos tly be a consideratio n of t hree exemp lary tex ts: an anony-
mo us French conte or tale of just over two tho u sand words, Adelaide, ou la femme
morte d'amour, wh ich a ppeared in the m ont hl y journal Mercure de France in Janua ry
175 5; Yukio Mish im a's The Temple of Dawn, orig ina lly published in r970 {the English
tr ans latio n came out fo ur yea rs later); a nd Susan Sontag's Regarding the Pain of Others,
published in 2003, a seque l of sorts to her On Photography of 1977. This seems {and
is) an odd selec tion , bur it has t he virtue of engag ing wi t h a set of issues th at will be
bas ic to m y a rgument in the chap ters t hat fo llow.
I first ca111eacross Adelaide, ou la femme morte d'amour (th e wo 111 an who died from
love) in the 1970s, in t he course of pursu in g the library research for Absorption and
Theatricality. In fact T t houg ht abo ut using it in that book, but quickly saw that it would
int roduce a level of com p licatio n that rea ders might find confusing. So I dec ided to set
it as ide un t il so111efuture date, which has now arrived, when it wo uld mak e strategic
sense to bring it into play. "Th is adve nture cook place in 1678," the first sentence reads,
"and will p erha ps app ear incredible in 1755 . Seventy-seven years have brough t about
suc h changes in our m oeurs, that conjugal love , w hich then was respected, has today
become ridicu lo us; it eve n passes for a chi111era, no one believes in it a ny more. Howev er,
the story of Ade la.ide is accom pani ed b y such natural circu111sta nces, it bea rs a charac-
ter of truthfu lness so striking and so na"ive that it must persuade th e 111 ost incredulous
intelligenc e, as surp r ising as it is. T he reader wi ll jud ge: here it is." 14
The plot is si111ple: t he wea lth y Marq ui se de Fe rval, widow of a 111anof qualit y and
ret ired to t he counr ryside to raise her famil y, decides co take a beaurifu l a nd virtuous
orphan, Adela "id e, into her house hold as a co m panion for her sixtee n-year -old daugh-
te r. Also in the fami ly is a so n ; the inevitable happe n s and h e declares his love to Ade-
la"ide, going so far as co speak of marriage; she, h owever, recognizes that the dispari ty
in the ir fo rt unes makes any futur e for the m inco n ceivable a nd does her best ro avoid
hi 111.Nevert heless , the ir feeli ngs cannot be concea led, and th e Marquise o n e day teases
her so n abo ut them. He is about to tell her the rrut h when she, realizing what is hap-
pening, preve nt s hi111fro111saying any th ing mo re by abso lute ly refusi ng to consider Ade-
la"ide in th at light. She goes further: France is a t war, th e Marq ui s is a musketeer, and
s he gives him ju st one day to leave for the ca 111 pa ign . He goes, bu t not b efore i111plor-
ing Adela"ide to re111aintru e to him .
She goes t o the Monas tery, enters t he Church, and the first object that st rikes her is
the Marquis her husba nd, occupied in a pio us exerc ise with all his Communi t y. His
penitential ha bit tou ches her; she shows herself, he sees her, he lowers his eyes, and
no matt er what effort she mak es to at t ract his gaze, he doesn' t so muc h as glance at
her. Althou gh she unders tand s the motive behind the vio lence of his act , she finds in
it so mething so crue l, tha t she is seized wit h the most ext reme pain . She falls unco n-
scious; someo ne suppo rt s her, she recovers only to ask for her dear Ferval. Someone
runs to tell him t hat his wife is dy ing. H is Sup erior orders him to go an d co nsole her;
and she d ies from the force of her seizure, before he reaches her.35 [57-8 J
The Marquis wee ps, t hen falls into a profou nd reverie. Finally he return s to his
monaste ry, where by the practic e of auste r ities " he tries to make up for his passion,
alt hough legit imate, having had in it som ething too vio lent" (58) .
O n the face of it, Adelaide is an undistinguished specimen of the sentimenral contes
moraux that att racted an enrhu siastic readership amo ng the edu cated classes in France
in the 17 50s and 1760s (Marmontel's "novel" Be/isaire f1767J, barely readable today,
is the classic of t he genre) . Considered as ficti on, suc h tales are o f scanr interes t ; nothing
could be more differe nt from Adelaide, for examp le, than th e brilliant contes D iderot
was soon to wri te - Deux amis de Barbonne, Mme Carlier, Ceci n 'est pas u11 conte . The
One way of cha racterizi ng Honda's pr edicam ent is as a radicaliz ing or meraphys ical-
izing of voyeurism, if nor of ant ithearrica liry as such; the cruc ial stat eme nt , from which
everyt hing else follows, is: "Being seen by ab solut ely no on e and being unaware of being
seen were similar, yet basically diff erent" - rhe word "bas ically" here car r ying onto lo-
gical weight . In Adelaide, ar rhe o utset of rhe pictorial evolu t ion that led t o modernism,
being tru ly absor bed, t here fore truly unaware of bei ng seen, and (merely) ap pear ing to
be thus absorbed and unaw are of being seen a lso prove d "simila r, yet basically diff er-
ent" (if my reading is believed). However, t he diffe rence in t he ea rlier case lay precise ly
in the beheld sub ject 's consciousness, which the reader is exp licirly told is not the dec i-
sive factor in the late r one - t he Pr incess will not be aware of being beheld and yet every-
thing w ill have been changed . The shi ft of empha sis between t he t wo tex ts, wr itt en more
than two hund red years apart, might be charact erized by sayi ng that in Mishima's novel
the situatio n with regard to beho lding has becom e muc h more dire : simply by virt ue of
being beheld the Prin cess's "world" (a fascinating not ion in t his context) w ill be fun-
damenta lly altered - Mis hima says co ntamin ated . Put slig hrly diff erenrly, whereas in
Adelaide t he sour ce of mortal di fficu lty is the possibility that being abso rbed and pre-
tending to be abso rbed (or represe nting being absor bed ) ca n be indistinguis hable from
each other, in The Temple of Dawn the source of difficult y is beholding it self, and the
only solution the tex t im agines is the preemp t ion of beholding through the deat h of the
voyeur.
My furt her suggestion, in t he sa me vein as my con cludin g remarks ab o ut Adelaide,
is that H onda's reflections ma y be read almost as if t heir u lt imate po int of reference
were not the figure of the voyeur so much as that of the photogra ph er, wh ose relat ion
to his o r her subjec ts has frequently been described in terms of voyeurism and on e of
whose tradi t ional a pproach es, in the int erest of t rut h of ex pr ession, has been to depict
perso ns who for one reaso n or anot her are unawa re of being photograp hed, often
because they are absor bed in wha teve r they are doing, thinking, or feeling. 40 As Susa n
three beginnings 29
Sontag puts it in a sta tement l shall return ro more rhan once, "Th ere is some t hing on
people's faces when they do n't know they are being obse rved that never ap pears when
they do. " 41 It is also tru e, however, that att itudes wit hin pho tography toward that
approach have shifted ove r the course of time (Sontag herself cites Brassai"'s " [denu nci-
at ions ofj pho tograp hers who try to t rap their subjects off-guard, in rhe erroneous belief
t hat something special will be reveale d abou t the m " 42 ), and I thin k it is fair to say char
by t he end of the 1970s - Sontag's views notwit hstanding - t here took place a wide-
spread reaction against all such practices, a reac t ion em blemat ized by the crisis of con-
fidence that seems ro have overtake n the brilliant Amer ican st reet pho tographe r Gar ry
Winogrand in the years shortly before his deat h in 1984 (Winogrand in t he !are 1970s
rook t housands of photograp hs rhat he never bothere d ro develop, and seems to have
been on the verge of giving up street photography entirely 43 ), as well as by some pas-
sages in Roland Barrhes's Camera Lucida (1980), to be discusse d in dera il in Chap ter
Four of t his boo k. In ot her words, l propose rhar t here exists an affinity between rhe
problemarizing of beholding in rhe cont ext of voyeurism in The Temple of Dawn and
certai n deve lopmen ts in photog rap hy and the t heory of photography in rhe 1970s and
early J 980s . Indeed I want to go beyond t hese considerations, which remain in rhe realm
of the sub ject 's, and by implicat ion t he artist's, puta t ive psychology and suggest that
rhere ex ists a more profou nd affinit y between rhe metap hysica l or ontological register
in whic h Mish ima's problemat ic of seeing and being seen is cast and some, tho ugh by
no means all, of rhe photographic work to be discussed in rhis book : as if what ult i-
mate ly is at stake in rhar work is prec isely the depiction or evocat ion of a separatio n of
worlds (" It now became clear that Honda's ultimate des ire, what he really, really wanted
to sec could ex ist on ly in a worl d where he did nor"). Mo re precisely, ir is as if some
such depic t ion or evocation tu rns ou t to lend itself especia lly well ro rhe construction
of rhe new relationship betwee n photograph and beho lder that in my account - also, ar
least up ro a po int, in Chevrier's - is at the hea rt of rhe "tab leau form." (The theme of
"exclusion" in the strongest com mentaries on Bustamante is a respo nse ro this state of
affairs .} Let me add that I shall return to Mishima's retralogy twice more in this boo k,
once in relat ion ro Sugimoro's Seascapes and once, more importantly, t owa rd the end
of t he Conclusion, in connect ion wirh a recent work by Jeff Wall t hat illustra tes a par-
t icular episode in the first novel in rhe rerralogy, Spring Snow.
Finally, I wa nt to glance ar certain passages in Susan Sontag's Regarding the Pain of
Others, a book -length essay in which she reconsiders some of the t hemes in On Photo-
graphy of almost thirty years before. In particula r she reflects in her new book on the
efficacy - even, at times, the legitimacy - of images of pa in, violence, suffe r ing, and death
as a means of promoti ng po lit ical aware ness, given the countless respect s in which such
images lend themselves ro ot her purposes as well, are pro ne ro becom ing overfamil iar,
hence polit ically ineffect ive, or risk appeali ng, by the ir very cont ent, ro pruri ent inter-
ests on the part of the viewer . So for exam ple she writes:
Tra nsforming is what arr does, but photography t hat bears witness to the calam itous
and the reprehe nsible is much criticized if ir seems "aesthetic"; that is, too much like
art. The dua l powers of photography - to genera re documents and to crea te works of
And:
Ir used to be tho ught , when rhe candid images were nor co mm on, that show ing
some t hing t hat needed to be seen, bringing a painf ul rea lity closer, was bound to
goa d viewers to feel more. In a world in wh ich photography is brilliant ly at the service
of cosu merist manip ulat ions, no effect of a photograp h of a dole ful scene ca n be
taken for gra nted . As a conseque nce, mora lly alerr ph otogra phers a nd ideologues of
photogr aph y have become increasingly concerned with the issues of explo itation
of senti ment (pity, compassion, indigna t ion) in war pho tograp hy and in ro te ways of
provoki ng feeling. (79-80 J
So far as pho tographs with rhe most sole mn or heartre nd ing subject matter are art -
and rhis is what they become whe n t hey ha ng on walls, whateve r rhe disclaimers -
rhey pa rtake of the fate of all wall- hung or floor-suppo rt ed arr displayed in publ ic
spaces. T har is, they are stat ions alo ng a - usually accom panie d - st roll. .. . Up ro a
po int, rhe weight and ser iousness of suc h photograp hs survive berrer in a book, where
one can look privat ely, linger ove r rhe pictures, wit hout talking. Still, at some mome nt
rhe book w ill be closed . The strong emotion will become a t ransient one. Event ually,
the specifici ty of rhe photographs' accusat ions will fade; t he denunciat ion of a par-
ticular conflic t and at t ribut ion of spec ific cr imes will become a de nu ncia tion of human
three beginnings 31
cruelty, hu man sav agery as suc h. The p hotogra ph er's inrent ion s are irrelevanr to this
larger pr ocess . I 121 - 2]
There now exis ts a vast repo s ito ry of images that mak e it harde r to ma intain this kind
of mo ral d efective ness [Son tag has in min d someone who remains pere n nially sur-
pri sed th at de pravit y exists, tha r hu man beings are capable of great cruelt y to ward
one anot her, ere .]. Let t he atro cio us images haunt us. Even if t hey are only tok ens,
a nd can n ot possib ly encompass most o f th e reali t y ro which they refer, rhey still
perfo rm a viral function . T he images say: T his is wha t hum an bei ngs are capable of
doi ng- 111ayvo lunteer to do, enthusias tica lly, self-righteo usly. Do n 't forge r. [114- 15]
Howeve r, these sorts of assertions are few an d far betwee n; one of the stri kin g things
about Regarding the Pain of Others (fo r all its lack of a vecto red arg ument, a typical
feature of Son tag's wri ting) is its reluctance to take up a sim ple or co nsistent stance
towar d the diffic ult q uestions it contin u ally raises. l find it all the more un expected,
then, that in her book's final pages Sonrag sing les our o ne "an t iwar" imag e, Jeff Wall's
Dead Troops Talk {A Vision After an Ambush of a Red Army Patrol near Moqor,
Afgha nistan, Winter 1986 (1992 ; Fig. r8), as be ing "exe mplar y in its tho ughtf uln ess
and p owe r." She expla ins tha t t he pict ur e, "a Cibac h rome tr ansparency seven and a ha lf
feet high an d more rhan th irtee n feet w ide an d mo unted on a ligh t box, shows figu res
posed in a landscape , a blasted hillside, that was co nstru cted in t he pa inrer's stu dio"
( , 23 ).'' H er con clud ing paragraphs read:
Th e figur es in Wall 's visiona ry photo-work are "rea list ic" but, of co ur se, th e image is
nor . Dead sold iers don't ta lk. H ere they d o.
Thir teen Ru ssian soldiers in bu lky w int er unifor ms an d high boo t s are scattered
abo u t a pock ed , b lood -splashed slope lined wit h loos e roc ks an d the litter of war:
shell cas ings, cru m pled metal, a boot tha t ho lds the lower part of a leg ... A few still
have rheir helmets on. The head of o ne kn eeling figure, talk ing animated ly, foams w ith
his red brai n matter. The a tm os p here is warm, co n vivial, fra te rn al. Some slouc h,
leani ng on an elbow, or sit, cha tti ng, th eir o p ened sk ulls and des tro yed han ds on view.
One man bends over another who lies on his side as if as leep, perh aps encouragi ng
hi111to sir up. T hr ee men are h ors ing around: o ne wirh a huge wound in his belly
straddl es ano th er, lying prone, who is laughi ng at a third ma n , on his k nees, who
pla yfull y dang les befor e him a st rip of flesh. O n e soldier, helmeted, legless, has rurned
ro a co mrad e so me d istance away, an alert smile on his face . Below him ar e two who
don't see m q ui te up to the resurrect io n and lie supi ne, their b loodied head s hanging
down rhe ston y incline.
Engulfed by the i111 age, w hich is so accusato ry, w e could fanta s ize thar rhe so ldiers
111i
g hr turn and talk to us. But n o, no one is looking o ut of rhe picture . T here's no
th reat of pro test. They are no t abo ut to yell ar us to bri ng a halt to tha t abo min at ion
whic h is war . Th ey ha ven 't co me bac k to life in or der to stagger off to denoun ce the
war-ma kers w h o sent them to kill and be killed. An d the y are not rep resente d as rer-
rifying to o t hers, for among them (far left) s irs a whi te-garbe d Afghan scavenger,
entirely abso rbed in go ing through so meo ne's kit bag, of whom they take no note,
and entering the pic ture above t hem (top righ t) o n the path windi ng down the slope
are two Afghans, perhaps soldiers the mse lves, who, it wo u ld seem from the Kalash-
nikovs collected near the ir feet, have a lread y str ipped the dea d sold iers of their
weapo n s. These dead arc supremely uninterested in t he living : in t hose who rook their
lives; in w itnesses - a nd in us. Wh y shou ld they seek our gaze? W hat wo uld t hey have
ro say ro us? "We" - th is "we" is everyone who has never experie nced any t hing like
what they went throug h - don't understan d . We don' t get it. We tru ly ca n't imagi n e
what it was like. We can' t imagine how d readful, how terrify ing war is; an d how
norma l it beco mes. Can' t unders tan d , can' t imagi ne. Tha t 's what every so ldie r, and
every journa list an d aid worker an d ind ependent observe r w ho has pu t in t ime under
fire, and had rhe luck ro elud e the death that st ruck down others nea rby, stubbornl y
feels. And the y are right. I 124-6 1
Sontag's respon se to Wall's monumenta l pho tograph is framed in terms of her cen tral
concern wit h images of vio lence an d their efficacy or lac k of it as a means of convey-
ing rhe horro r o f modern war; rhe exem p lariness of Dead Troops Talk in her eyes co n -
three begmmngs 33
sists in its ability co do just rhis. What I want to ca ll artenr ion ro is rhat for Sontag rhe
dec isive feature of Wall's phocograp h is not so muc h the brilliant interplay among rhe
slau ghtere d Russian soldier s, as gr ippin g as she finds it, bur rhe facr thar, as she puts ir,
" no one is looking out of the picture." For Sontag, of course, whar makes rhar facr
mea ningfu l is thar it is pa rt of a large r recognir ion she arrribures co rhe dead Russians
ro rhe effecr rhar rhere is no point in rheir address ing the viewer - in add ressing "us" -
for rhe ir refutable reaso n thar, nor having actually experienced the horror s of war, "we"
are incapa ble o f under stan ding or ima gin ing wh ar they have jusr gone rhroug h. This is
a perfectly plausible way of thi nking abour whar rakes place in Dead Troops Talk.
Howe ver, rhe fact t har none of rhe soldiers is loo king our of t he picture also means rhar
Wall's picrure is consistent wirh rhe crucial princip le of rhe Diderorian tableau - the use
of absorptive mot ifs and st ru ct ures to estab lish th e ontological illusion rhat rhe beholder
does not ex isr. Sontag doe s not exp licitly invoke the no rion of abs orprion in her descrip-
rion of rhe Russians, but she does rema rk on the "w hite-garbed Afghan scavenger [who
is] entire ly absorbed in going thro ugh somebo dy's kir bag [and] of whom rhey rake no
nore." In facr iris as if Wa ll's pictur e as seen by her rep resents two dist inct "worl ds,"
that of the dead but risen Russians and that of the living Afghans, which occupy the
same pictor ial space but are some how invisib le to one anothe r even as they are both
separa te from , though not invisib le to , o ur own.
Th ere is a further co mplexity here. As has emerged, no t hing was mo re inimical to rhe
oper at ions of the Diderotian tableau than rhe least hint of " pr etense" or "posi ng" on
the parr of rhe figures it co mpri sed - indeed, Did erot saw the use of professio nal models,
whose job it was to hold var ious more or less co nventional poses, as a source of the
dreadfu l mann erism of much of the paint ing of his t ime. (Yet what was an ambitious
histo ry painter to do? Say he wante d to rep resent a pe rsonage from Gree k or Roman
antiq uit y swearing a morta l oath or consume d with gr ief or dying from poison or
engaged in some violent mo mentary actio n; obv ious ly no professiona l model coul d fit
rhe bill - but what recourse did the painter have othe r than to depict the personage on
t he bas is of his im agination? And was not thar a possible so urce of man nerism in irs
own right ?) In co ntra st , it is at once appare nt that all of Wall's soldiers, Russian and
Afghan alike, ca n only be per sons hired by him to dr ess up in the appro priate clot hing
and assume rhe poses and enact the pieces of bus iness that he had devised for them
(compare Sherman's use of herse lf as model in the Untitled Film Stills). What is more,
it turns our t hat there was neve r a mome nt in Wall's st udio when the scene before the
came ra was as it appea rs in th e ph otog raph; rathe r, he shor his picture one or rwo figures
at a time a nd sumre d t he w hole cogerher wirh the aid of a compurer. Sontag may or
may nor have known about the piecemeal shoo ting, bur she notes ar rhe start that Wall
posed his figur es in a fictive landscape and is not in rhe least t roubled t hat this is so. In
fact, I suggest tha t it is prec isely Sontag's reco gnit ion that Dead Troops Talk is nor a
ca ndid shor of an actual event bur rat her a work of de liberate and elab orate art ifice rhar
- tog et her with the aware ness that none of Wa ll's figures "loo k our of rhe picrure" -
und erwrites her adm irario n fo r his ac hievement . We mighr say that the facr rhat Dead
Troops Talk is rran sparen rly a wor k of high artifice saves ir from rhe risk of "aesrheri-
three beginnings 35
notes
introduction Film (Londo n and New Yor k , 1992), p. 53 : "A glance (in
a narrative film] imp lies an interaction with an ob ject. In
1 The epith et is Mark Linde r's. See Lind er, Nothing Less than fact, glances are so important to narrating a scory wo rld
Literal: Architecture after Minimalism (Camb ridge, Mass., that the only glan ce that is genera lly avoided is a glance into
and London, 2004), p. 102. See also the discu ssion of" Art the lens o f the camera . A look int o the camera br eaks the
and Objecthood" in James Meyer, Minim alism: Art and diegesis because it mak es the convent ional reverse shot or
Polemics in the Sixties (New Ha ven and Londo n, 2oor}, eyeline ma rch impossible. (Such a matc h wou ld reveal the
pp. 229- 42. cam era itself; its absence wou ld be just as revealing.)" For
H ere I will ment ion rhar in an endnot e to the introduc- a fuller treatment of the tra nsgression constitute d by "a
to ry essay in Art and Objecthood I wrote: " It's noceworrhy loo k and a voice addressed co the camera," also charac ter-
... the extent to which photography-base d (or simply pho - ized as "a n infraction of canon ical proportions, an affront
tograp hic) work of the 1970s and after - for exam ple, that co th e 'prop er' functioning of representat ion and filmic
of Cindy Sherm an, Jeff Wall, and Gerh ard Richter - has narrati ve," see Francesco Case tti , Inside the Gaze: The
found itself co mpelled co address issues of beho lding, often Fiction Film and }ts Spectator, trans. Ne ll Andrew with
by an ap peal co abs orpti ve mean s and effects. Thi s is a large Charles O'Br ien (Bloom ington and Indianapo lis, 1998 ),
topic" ("A n Introduction to my Arc Criticism," Art and esp. ch. 2, "The Figure of the Specrator," pp. r6, 17. My
Objecthood : Essays and Reviews (Chicago and Lond on, thanks co Dudley And rew for both references.
19981, p. 74). So I had begun to th ink alo ng these lines as 6 See R egis Durand , " Intr od uct ion," in Cindy Sherman, exh.
early as t99 5-6. cat. (Paris, Bregenz, Humbleba ek, Berlin, 2006-7 ), p. 246.
2 Fried, "A n Intr oduction to my Art Critici sm," p. SJ. Othe r essays in the catalogue are by Jean-Pie rre Criq ui,
3 My thanks co Molly Warnock for urging me to make this who int erest ingly emph as izes Sherma n's "d isap peara nce" in
point. favor of her many fictiona l self-images, and Laura Mulvey.
More broadly, James Conant has argued in a series of sem-
inars entitled "T he Onto logy of a Movie World," given at
three beginnings the H umanities Center, Johns Hopkins University in April
2007, tha t the requirements for the internal co herence o f
l H iroshi Sugimoto in Kerry Broug her an d Davi d Elliott , such a "wo rld " align close ly with Diderot's account of the
Hiroshi Sugimoto, exh. cat. (Washingto n, D.C. and Tok yo, proper funct ioning of drama and paintin g in his wr iting s of
2005 - 6), n.p . the 17 50s and '6os .
2 C indy Sherma n , Th e Complete Untitled Film Stills (New 7 T he key essay in th at regard is undoubtedly Doug las
Yor k , 2003). Further page references to th is boo k will be Crimp's "The Photographic Activity of Posrmodernism,"
in par enth eses in rhe text. first pub lished in October, no. 15 (Winter r980 ): 91-ror.
3 See e.g. the essays by Craig Owens, Do uglas Crimp, (Cited here from Burt on, Cindy Sherman, pp . 25-37.) At
Rosa lind Kra uss, et al. in Jo hanna Burton , ed., Cindy one po int Cr imp describes a phocogra ph y "that is self-
Sherman, OCTOBER Files 6 (Cambrid ge, Mass., and consciously compose d, man ipulated, fictionali zed, the
Lon d on, 2006); and J. M . Bernstein, Against Voluptuous so-ca lled dir ecto rial mode, in wh ich we find such auteurs
Bodies: Late Modernism and the Meaning of Painting of ph ot ography as Duane Mic hal s an d Les Krims." He
(Stanfo rd , Ca l., 2006), pp . 253-323 . cont inu es:
4 See Michael Fried, "Art and Objecthood," Art and Ob ject-
hood: Essays and Reviews (Chicago and Lon don , 1998), The strategy of this mode is to use the apparent veracity
pp. 148-72; Absorption and Theatricality: Painting and of photogra ph y agains t itself, creat ing one's fictions
Beholder in the Age of D iderot (1980 ; Ch icago and thr oug h the appearance of a seamless reality inco whic h
London, 1986); Courbe t 's Realism (Ch icago and London, has been woven a narrative dimension . Cindy Sherman's
1990); and Manet's Modernism, or, The Face of Painting in phot ographs function with in th is mode, but only in orde r
the 1860s (Chicago and Lond on, 1996). See also Fried, "An to expose an unw a nted aspec t of that fiction, for the
Introd uct ion to my Art Criticism," Art and Objecthood, fiction Sherman discloses is the fiction of the self. Her
pp. 40-54. pbocographs show th at the supposed auto nomous and
5 See e.g. Edwa rd Branigan, Narrative Comprehension and unitary self out of wh ich those other "directo rs" would
356 no t es to pages 2 2- 23
at a deeper level, chat of rhe viewer's pe rception of the 40 See the photographer Brassa'i's pen etratin g discussion of the
picture" ("Constructing an Aura," p. 61) . scene in The Giiermantes Way in whic h Proust's narrato r
32 Thus Loock wr ites: " In many respec ts, Busramanre's pho- observes his beloved grandmother while she is una ware of
tographs have a para digmatic funct ion for the w ho le o f his his presence, an act that P rouse co mpar es to chat o f "the
work: from rhe point of view of th eir grounding in reality photographer, " quo ted lacer in chis book, Ch . 4, n. t 5.
(in the double sense o f th eir wea lth of elements bo rrowed 4 1 Susa n Sontag, On Phot ography (New Yor k, 1977), p. 37.
from th e real and of the absence in them of an imaginary 42 Ibid., pp. 36-7. She cites chis, then immedia te ly adds in a
'pene tratio n of the gaze'), of rhe rea lizat io n o f the in- irself note : "Nor an er ror, really. There is something on people's
of things foreign ro a ll meaning; bur also from rhe po int of faces . .. "
view of the exclusio n of the body, even when the latt er is 4 3 See Russell Ferguso n, "Open City : Possibilities of rhe
sometimes reintegrated, under certa in co nditions, in recent Street," in Kerry Brougher and Russell Ferg uson , Open
phorograph ic works . The exclus ion of t he body is the price City : Street Photographs Since 1950 , ex h. cat . (Oxford,
that must be pa id for the return ro t he rea lity of the o bject Salfo rd Quays, Bilbao, Washi ngton, o. c ., 2001 ), p . 14, as
and therefore also for the rejection of a mode rn ity defined well as th e br ief discussion of Winogrand 's career in Ch. 8
by its exclus ive character [a dou ble refer ence to minima l- below .
ism, I chink]. To pur chis differe n tly, Bustamante opposes 44 Susa n Sontag, Regarding the Pain of Others (New York,
the abstract io ns of minimal arr, the red ucti on o f the o bject 2003), pp. 76-7 . Furthe r page referenc es to th is book will
ro irs material ity, its extens ion, its situaredness, to its inter- be in parent heses in the text.
action with a gene ric observer - Andre's metallic carp ets 45 Acco rd ing to Vische r and Naef, Jeff Wall :
like scenes to walk on , Flavin's lumin ous pieces like atm os-
Dead Troops Talk (A Vision After an Ambush of a Red
pheres - in chat he renders rhe object concrete, objective,
Army Patro l near Moqor, Afgha11istan, Winter 1986) wa s
sometimes in d irect po lemidironic refe rence co Judd's
photographed on a set in a temp o rar y studi o in Burnaby,
boxes, all the whi le divesting it of the relation to the bod y"
British Co lumbia in winter r 99r -r 99 2. Preparatory
("Our of Focus," pp. 140-42, translation mine) .
work was done throughout r 99 1. It is the artis t's second
33 For Chevrier in J989, five photographers exemplified rhe
wo rk using d igital techn o logy.
eschecic stance he wish ed to stress: Joh n Co p lans, Bill
As the title ind icates, the wor k depi cts an unreal vision .
Henson, Craig ie H orsfield, Suzanne Lafone, and Jeff Wall.
The artist has refe rred to the work as a "hallucinat ion"
34 "Adela'ide," Mercur e de France (Janu a ry r755), p . 49.
and a "d ialogue of the dead . " Wall wan ted the "ha lluci-
Reprinted in Slatki ne Reprints, Ge neva, 1970, Tome 68 .
nation" to ha ve historical and technical realism .
Further page references to this edit ion w ill be in pare nth eses
Th e arti st began wor king on Dead Troops Talk in
in the text. The nam e of the her o ine probabl y derives from
1986-1987, whi le st udying the development of digital
chat of the heroi ne of Mme de Tencin's famous novel,
tech n ology and its possi bilities . H e was awa re that com-
Memoires du Comte de Comminges ( r 73 5), as does rhe
pute r montage would be a central aspect in the process
theme of lovers preve nted by thei r famil ies from marrying
of realising the pictu r e. The preliminary work on the
rhe person rhey love.
projec t took place in the late stages of the Sov iet occu-
35 Here is rhe French: "E lle va au Co uve nt , entre d'abord clans
pation of Afghanistan and the collapse of the U.S.S.R.
l'Eglise, & le premier o bjer qui la frappe, est le Marqu is son
The set wa s constructed in wood and covered with a
cpoux, occupc clans un exe rcice pieux avec rout sa Com-
layer of earth. The shape of the rav ine in which the action
munaure. Cet hab it de penitence la to uche; elle se montre,
cakes place was developed usin g drawings and mode ls.
ii la voir, il baisse les yeux, & quelque effort qu'e lle fasse
The drast ic wounds were construc ted using bod y parts
pour attirer ses regards, ii n'e n to u me p lus auc un sur elle.
and prosthetics, photographed separately and blend ed
Quoiqu 'e lle pcnecre le mot if de la violence qu ' il se faic, clle
o nro the figur es in rhe montage process. Th e models were
y trouve quelque chose de si cr uel, qu 'e lle en esr sa isie de
p hotograp h ed singly or in small gro ups . [338 1
la plus vive douleur. Elle rombe cva nouie; on l'emporte, elle
a
ne revienr elle q ue pour dem ande r son che r Ferval. On
court l'avertir que sa femme est moura nt e. Son Super ieur
lui ordonne de la venir consoler; & elle expire par la force
2 wal l, heidegger, and absorpt ion
de son saisissemenr, avant qu'i l se soi t rendu au pre s d'e lle."
36 On Marmontel 's Belisaire in this connection, see Fried, 1 "Jeff Wall in Conve rsation with Marcin Schwander," in Je ff
Absorption and Th eatricality, pp. 147, 1p -2 . Wa ll, Selected Essays and Interviews (New York, 200 7 ),
37 On digirizarion see rhe referenc es given in Ch. 4, n. 26. p. 230 . Ori ginally published 1994. Wall's reference is to my
38 Yukio M ishim a, The Sailor who Fell from Grace with the Absorpti o n and Theatricality : Pai11ting and Beholder in the
Sea, tra ns. John Nat han (196 5; ew Yo rk, r9 94), pp. 148- Age of Did erot (1980; Ch icago and Lon don , 1986) . Fo r
52. more on Wall's engage ment with my writing, both art
39 Yukio Mishima, The Temp le of Dawn, tran s. E. Dal e Saun- critica l and arc histor ica l, see esp. his essay " Fram es of
ders and Cecilia Segawa Seigle (r970 ; New York, J975), Referenc e," " Interview betw een J eff Wall and Jean -Frarn;:ois
p. 217. Furth er page references co chis book will be in Chevrier," and " Post-'6os Photo grap hy and Its Modernist
parenrheses in the tex t. Context: A Conve rsa tion betw een J eff Wall and John
board on w hich has been clipped a sheet of paper that bears a drawin g in sepia of the
arm and hand before him. Th e youn g man ho lds a red mechani cal draf ting pencil in his
right hand, and his left arm and hand support his chin as he gazes somewhat down-
wa rd, w heth er at his draw ing or the flayed arm it is imposs ible to say (possibl y he is
comparing o ne to the ot her). The wa ll beh in d him is of gleaming white tile, and near
the left- han d edge of the picture is a stac k of roun d specimen boxes; th e overall mood
of the p ict ur e is quiet, contemp lat ive, matter-of-fact, though th e severed a rm is hard ly
p leasa nt to look at .
Wall spea ks directly to the question of his intent ions in thi s wo rk in the course of an
int erview wit h Martin Schwander in 1994 :
Schwander : With Adrian Walker you made a portrait of a young man who is con-
centrat ing so intense ly on his work that he seems to be removed to ano th er sphere
of life.
Wall: But I don't th ink it is n ecessari ly clear tha t Adrian Walker is a po rtrai t . I think
there is a fusion of a couple of po ssible ways of loo king at the picture generica lly.
One is that it is a pi ctur e of someon e eng aged in his occupati on and not pa ying any
attention to, or responding to the fact that he is bein g observed by, the spectator . In
Mic hae l Fried's interest ing book about absorption and th eatr icality in late eighteen th-
cent ury pa int ing, he ta lks abo ut the different relat ionships betwee n figure s in pictures
and th eir spectators. H e identified an "absorptive mode ," exemp lifed by pa inters like
Chardin, in which figure s are imm ersed in th eir ow n world and activit ies and display
no aware ness of the co nstruct of the picture a nd the necessary presence of the viewer.
Ob vious ly, the "theatr ica l mode" was just the opposite. In absorptive pictures, we are
lookin g at figures who appear not be "acting out" the ir world, on ly "be ing in" it.
Both, of co urse, ar e mode s of perfor mance . I th ink Adrian Walker is "abso rpt ive." 1
is also a re-enactment, by the art ist in th e pictu re, of his ow n practice. Th at is, he a nd
J collaborated to create a com posit ion that , wh ile being strictly accurat e in all det a ils,
was neverth eless not a candid picture, but a pictorial co nstru ction. I depicted th e
moment when be has just comple ted his dra wing, and is ab le to conte mpl ate it in its
final form, and, once again, a t the sam e time, to see its subje ct, the specimen, th e
po int fro m wh ich it began. There was suc h a mom ent in th e creat ion of his dra wing,
but the moment depicted in the pict ure is in fact not that mom ent , but a reenact ment
of it. Yet it is probably indi stingu ishab le from the actua l moment. 6
In an interv iew fo ur years later, Robert Enri ght asks Wa ll w hy a copy of Don Qu ixot e
appea rs in Adrian Walker . Wall replies :
Th e picture is factua l. The man who is named in the t it le is in fact the person Adrian
Walker; that is the corner of th e ana tomy lab where he wo rked. It's all real. The Don
Quixo te just happ ened to be there. The pictu re involved a perform ance in th at Adrian
was wor king with me, but he didn 't do a nythin g he didn't norma lly do . I visited him
occasionally during the tim e he was dra wing there. He was a st udent of min e, and
want ed to be more involved w ith dr aw ing the figure. H e a rranged with the depa rt-
ment of anatomy that he co uld work t here for an extended period. I mig ht have moved
the lamp over a little bit, but I didn't ch ange anyth ing. Th e picture is an examp le of
what I call "near doc um entary. " 7
The second po int wo rth stre ssing is that Schwand er 's readin g of Adr ian Wa lker 's state
of mind goes considera bly beyond th e visua l evidence. For Wall seems de liberate ly to
have chosen not to depict his sitter in the th roes of a bsorp tion , so to speak . H is mea-
jeff wall and abso rption; he ide g ger on wor ldhood and tech nology 41
23 Gerhard Ric ht er, Reading
lLesendel, 1994. Oil o n linen.
72 .4 x 10 2.2 cm. San Francisco
Muse um of Art . Pur cha sed th rough
th e gi fts of Mimi and Peter H aas and
He len and Cha rles Schwab, a nd the
Accessions Committe e Fund
sured account o f what he tried to do feels exac tly right: Walker is able to contemplate
his drawing in its fina l form and at the sam e tim e to see th e spec imen he cop ied, a for-
mulat io n that avo ids positing a definite inner state. (One m ight even say that Walker
appears dispo sed to do both th ese thing s, to put matters slightl y mor e stro ngly.8)
Moreover, th e cold glar e of the dayl ight on th e whit e tile wa ll, so different from the
mid-ton ed, warm ambiences of Ch ard in's canvases, reinforces the sense of expr essive
restraint. As does, even mor e tellin gly, the unp leasan tn ess to sight of the specimen itself.
So Schwa nder 's rem arks are doubly mis leading with respect to what the picture gives
us to be seen. Yet pr ec isely becau se this is so, his com mentar y illustr ates what I have
elsew here called the "mag ic" of absorption , wh ich first beca me a sta ple of pictori al art
in the West shor tly befor e r 600 when in th e canvases of Caravagg io and his followers
absorpt ive them es and effects began to serve as a singular ly effective matrix for an
unprec ed ented real ism, an d wh ich cont in ues to hold even the mo st sophist icated viewers
in its spe ll down to th e present tim e.9 (In th a t sense Schwa nder is not so mu ch mistaken
as deep ly in the picture's thrall. Whether Wall mea nt him to be is a question.) Anothe r
recent work who se widesp rea d appea l rests largely on th ese ground s is Gerhard Richter's
pai nting Reading [Lesende} (199 4 ; Fig. 23), in which a yo ung woman's appa rent
engro ssment in her journa l (th e Ger man magazine Der Spiegel) goes hand in hand with
th e man ifestly photograph ic cha racter of the pr esum ed "source" image. Once again,
howev e1; a mom ent 's reflection suffices to reveal that thi s pictur e too cannot be a candid
representat ion of an actual situ ation. Fo r one th ing, th e (pr esum ed) photograp her's rela-
tion to th e reading wo man - the arti st's daught er - feels too near and in th e op en for
her to have been unawar e of his presence; for another, the fact that th e painting seems
so clearl y to have been ba sed on a photograph throws int o relief the former's part icu-
la r mod e of a rtifactualit y, whic h in its techni ca l perfect ion - I refer to th e absence of
My hole is warm and full of light. Yes, full of light . l doub t if ther e is a br ighter sp ot
in all New York than thi s hole of mine, an d I do not ex clud e Broa dway. Or the Empire
Stat e Building on a photographer's dream n ight . But that is taking ad vant age of yo u.
Thos e two spots a re among the darkest of our w hole civilizatio n - pa rdon m e, our
whol e culture (an imp ortant distinction, I've heard ) - whic h ma y sound like a hoax ,
or a contrad ict ion, but that (by contradictio n, I mean) is how the wor ld moves : No t
like an arrow, but a boomerang. (Bewar e of those w ho spea k of the spi ral of histor y;
th ey ar e preparing a boomerang. Keep a steel helmet hand y.) I k now ; I ha ve been
boomeranged across my head so much that I now can see th e darknes s o f lightn ess.
And I love light . Perhaps you'll think it strang e that an invisibl e man sh ould 1-1e ed
light, desire light, love light. But maybe it is exac tly beca use I am inv isible . Light
confirms my reality, gives birt h to my form . .. . Without light l am no t only invisible,
but form less as well; and to be unaware of one's form is to live a death . I myself,
after ex isting some tw enty years, did not become alive until I disco vered my invisi-
bility.
That is wh y I fight my battle with Monopolated Ligh t & Powe r [from which he
siphons off the electricity needed to illuminate his " ho le" ]. The deepe r rea son, I mean:
It a llow s me to feel my vita l aliveness. I a lso fight them fo r takin g so much of my
mone y befor e I learned to prot ect myself. In my hole in the baseme nt the r e ar e exactl y
I,369 lights. I'v e wired th e entire cei ling, every inch of it. And not with fluo rescent
bulbs, but w ith th e o lder, more -exp ensive-to-ope r at e kind, the fila ment type. An act
of sabotag e, you know. I've already begun to w ire the wall. A ju nk ma n T know, a
man of vision, has suppl ied me with wir e and sockets. N othin g, storm o r flood, must
get in th e way of our need for light and eve r more and bright er ligh t. The trut h is the
light a nd light is the truth. When l finish all four walls, th en I'll sta rt on the floor.
Just how that will go, T don 't know . Yet when you have lived inv isible as long as I
ha ve yo u deve lop a certain ingenuity. I' ll solv e the problem. And ma ybe I'll invent a
gadget to place my coffee po t on the fire w hile I lie in bed , and even invent a gadget
to warm my bed - like the fellow I saw in o ne of thos e picture mag az ines who ma de
himself a gadget to warm his sho es! Thou gh in visible, I am in th e great American tra -
dition of tink ers. That make s me kin to Ford , Edison and Franklin. Call me, since I
have a theo ry and a concept, a "t hinker-tinker. " Yes, I'll warm my shoes; they need
it, they're usually full of hole s. I'll do that and more. [6- 7l
It is hard not to instantly assoc iate Ellison' s theme of electric light w ith Wall 's lightbox
technology - Wall too ha s a theor y and a concept and might be called a " thinker-tinker"
as well as an artist - but rath er tha n dwell on th e conn ection I wa nt to concentrate on th e
work itself, w hich is both like and unlike Adrian Walker . What the two have in common
is that each is " a picture of someone engaged in his occupation an d not pa ying any att en-
tion to, or responding to the fact that he is being observe d by the spectator. " In Af ter
"Invisibl e Man" the prota gonist, a burly black man of indet erminate age (in his thirtie s?)
and wear ing bro wn trouser s w ith suspender s, a sleeveless undershirt, and in ba re feet sits
leaning forward on a met al folding chair while he dries a metal p ot - note the wet spot s
Jeff wall and absorpt ion; heidegger on worldhood and t echno logy 47
tial, even prior , in any relatio n to a nd within th e wor ld." 14 That is, Heidegge r stands
oppo sed to th e notion that primordiall y D ase in (ro ugh ly, human being 15) confronts a
world of o bjects in an d of th emse lves (in w hat he ca lls the mode o f "pr esent -at-h an d").
Rath er, H eidegger imagin es Da se in as continually "abso rbed" (his wo rd; the German
infiniti ve is aufgehen) in pract ical acti vity, which is to say as co ntinua lly putt ing things
to use, in the mod e of "e quipm ent " or " rea din ess- to -han d," for part icular pu rposes.
Onl y w hen th at relation ship is suspe nd ed, either because a piece of eq uipm ent breaks
down or for so me ot her reason (in H eidegger's lan g uage, when the re is a "de-ficiency in
o ur havin g-to-do w ith th e world concern fully " r88] ), 16 d oes D ase in ent er "t he sole
remaining mod e of Being- in, the mode o f just tarrying alongside . ... T his kind of Being
towards the wo rld is on e which lets us encounter entitie s w ithin -the-wor ld pure ly in the
way they look, just th at; on the basis of thi s kind of Being , a nd as a mode of it, looking
explici tly at wha t we encounter is possible" (88 ). 17 (Even the n , howeve r, such a rela-
tio nship is not o ne between a subj ect and objec ts. He idegge r writes : "T his pr esence-at-
han d of so methin g that ca nnot be u sed is sti ll not devoid of a ll readiness- to- hand
w hatsoeve r; equ ip ment wh ich is p rese nt- a t-h and in this way is still not just a Thi ng
whic h occ ur s so mew here" [10 3]. 18 ) Ind eed his subse qu ent analysis of mod es of present-
a t-h and co nt in uall y disc ove rs o ne o r an other "deficient" relation to mode s of concern,
in spec ific resp ects that need not co ncern us here . 19
Moreover, the primordia lness of abso rption in practica l act ivity is cruc ial to under-
standin g what Hei degger ca lls " th e wo rldhood of th e world," whic h he unders tands as
somet hin g like the to tality of "refer ences" o r "assignments" that determine the nature
o f th e activity in question (105-7, r14-2 0 ; 69 - 71, 77 - 8 1). Thus for example we use a
hammer in ord er to join board s toge th er; w e do th at in order to mak e a wa ll or a Aoo r;
we do that in o rd er to co nstruct a hou se; we do that in order to find shelter from the
elements; all this rakes place in th e contex t of becomin g part of a community of house-
dwellers; an d so on. In additi on, the very need for shelter discovers " the environing
Natu re. " H eidegger continues: " In roads, str eets, brid ges, bu ilding s, our concern dis-
cov ers Nature as hav ing some definite dir ecti on " ( LOo),20wh ich is to say th at ultimately
Na tu re itself is disclose d to D asei n by the latter's a bsorpti on in practical activity. Once
aga 111
th e assignments them selves are not o bser ved; th ey are rather " there" when we con-
cernfull y submit ourselves to t hem. But when an assignment has been disturbed -
whe n so meth ing is unu sab le for some purpo se [e.g., when a ha mm er breaksl - then
th e assignment becomes expli cit . ... When an assignment to some partic ular
" towar ds-thi s" has been thus circ um spec tly aroused, we catc h sight of th e "towa rd s-
thi s" itse lf, and along w ith it every thi ng connect ed with th e wo rk - th e whole "work-
shop" - as that wherein concern always dwe lls. The co ntext of equipm ent is lit up Ian
exp ression to w hich I shall return l, not as somet hin g never seen before, but as a total-
ity constant ly sighted befor ehand in circum spection. Wi th this totali ty, however , the
r
worl d announc es itse lf. 105]2 1
More succ inctl y: "In anyt hin g read y-to-hand th e world is a lways ' th ere'" (114). 22
When space is discov ered non -circumspectively by just looking at it, the environm ental
region s get neutraliz ed to pur e dimensions. Places - and ind eed the w hol e circu m-
spectively or iented totality of places belonging to equipme nt ready-to-hand - get
reduced to a multiplicity of positions for random Thin gs . Th e spatiality of what is
ready-to-hand within-the -world loses its involv ement-character, and so does the ready-
to-hand. T he world loses its specific aroundness; the environm ent becomes the world
of Nature. The "world," as a totality of equip ment ready-to-hand, becomes spa tia l-
ized to a context of extended Things which are just present-at-hand and n o more.
The hom ogeneous space of Nature show s itself only when the entities we encounter
are discovered in such a way that the wo rld ly cha racter of the ready-to-ha n d gets
specifica lly deprived of its worldhood . [14 7 J23
The claim I want to mak e about After "In visible Man" is that w hether or not its
mak er had Being and Time in mind (1 consider it unlikely), Wall's picture is to say the
least open to being understood as an attempt to picture the Invisible Man's immedi ate
environment in someth ing like th e Heideggerian terms just adumbrated, that is, as dis-
tinctly ot her than or prior to "a context of ext ended Things which are jus t pres ent- at-
hand and no more." The uncountable array of lightbulb s, lit and unlit, wh ich dominat es
th e picture , is in relation to the novel a p erfect example of the structure Heidegg er calls
"in-order-to" - as the prologue explains, in order not just to light the Invisible Man's
secret domain (a Heideggerian "region" if ever there was one ) but also to commit "a n
act of sabotage" aga inst the unseeing society outside his "ho le." More broadl y, virt u-
ally all the objects in the picture, down to the snapshots an d th e American flag, ha ve
been shaped or reshaped to human purpos es (to structur es of "concern") in wa ys that
scarcely requir e further commentary.
Seen in these terms, the Invisible Man's absorption - like Adrian Walker's befor e him
- assumes particular significance. Ind eed there is a suggestive analogy, of which until
coming to grips with this picture I was only partly aware, betw een H eidegger's anal y-
sis of Being-in-the-world, with its stra teg ic emp loyment of the concept o f absorption,
and my own philosoph ically much less developed proposals concerning the affinit y
betwe en absorption and realism in Western painting from Caravaggio on. As if realism,
or absorptive rea lism, has from the first been Heidegg erian in its impli cit ontolog y, or
as if Heidegger in Being and Time develops philosophically an insight tha t had belonged
to Western painting - more precisely, to a major current within Western paintin g - for
mo re than thr ee centuries .
In any case, all this seems to me of interest for several reasons. In th e first place , it
amo unts to one mor e demonstration of the philosophical - specifically, the ontological
- depth of which painting is capable (1 am deliberately holdin g off mentioning photog-
raphy - but wait). Th is is a genera l point but one wort h under scoring in view of the
usual intellectual assumptions governing the history of art as an academic discipline. In
the second place, the concep ts of world and wor ldhood will play an important albeit
What there is not, obviously, in After "Invisible Man" is any attempt to evoke the sort
of breakdown in equipment that, in Heidegger's metaphor, "lights up" for Dasein the
totality of assignments "constantly sighted beforehand in circumspection," and along
with that totality the worldhood of the world. 25 (Here it is worth noting the parallel
between th is figure of speech, which Heidegger uses repeatedly, and Wall's lightbox tech-
nology.) But an otherwise enigmatic photograph of the mid -199os, Untangling (1994;
Fig. 2 5 ), invites being seen in those terms. The action takes place in a tool -rental shop
with a cement floor and wooden ceiling; pairs of fluorescent bu lbs on the latter illumi-
nate the scene. In th e shelves at the left are lawnmower-type engines and engine blocks,
perhaps awaiting reconditioning; elsewhere one finds paint sprayers, compressors,
wheelbarrows, little cement mixers, _small backhoes, drills, and so on. 26 Toward the right
and perhaps twenty feet away a standing workman in a blue bas eball ca p seems to be
looking for something on an upper shelf; and in the left foreground, much nearer the
viewer, another workman with a moustache, light brown hair, and blue overgarment
Jeff wall and absorpt ion; he idegge r on world hood and tech nology 51
26 Jeff Wall, Rainfilled Suitcase, 20or. Tra nsparency in lightbox. 27 Jeff Wall, Peas and Sauce, 1999 . Transparency
64 .5 x 80 cm in light box . 49 x 6r cm
grasps in his gloved ha nd s two lengths of thick blu e-paint ed rope whic h quickly lead to
a seemingly intractable tangle of heavy, tub e-like cab les and ropes of other co lors. The
title of th e wo rk suggests th at he has em barked or is about to em bar k on the job of
untangling all those ropes; I put matters this way because it is not clear whether the
process of untan gling has actu ally begun: th e wor kman - no doubt pos ed by Wa ll -
looks dow n on the m ass of ropes befor e him w ith a frown ing, absorbed-seeming expres-
sion, but the viewer instinctively senses that the task itself hove rs on the brink of
imposs ibi lity, in which case th e workman will soo n be encou n terin g the tangled ropes
"pure ly in th e way they look, " if he is n ot already d oing so . (No ne of this quite depends
on th e evoca tion of the wo rkm an's stat e of mind; on th e contrary, it is hard not to feel
that the picture wou ld be stro nger if both men we re absent.)
Also to the point are three sm aller works roug hl y cont emporary with After "Invisi-
ble Man" and in fact exhibited along with it on at least one occasion : Rain-filled Suit-
case (2001; Fig. 26), a downward view of an aba ndoned su itcase (at first glance it seems
mor e like a dresser dr awe r) partly filled with ra inwater a nd sur round ed by scraps of
paper, discarded paper cup s, and other bit s of ur ba n detritu s (the impression is of stuff
aba ndoned in an alley); Peas and Sauce (1999; Fig. 27), a sm all, mos tly empty tinfoil
conta iner of peas, partly bent out of shape, that seems to have been cast down on the
same a lley floo r; and Diagonal Composition No. 3 (2000; Fig. 28), on e of thr ee pic-
tures with th e same basic title , wh ich comprises a view from above of an interior floo r
cove red with cracked a nd dirty lino leum, a met a l pa il on four ro llers co nt ainin g rusty
slop water, and, on the floor beside it, the filthy head of a many-st randed mop. In Ro lf
Laut er's wo rds:
29 Jeff Wall, Diagona l Composition, 1993 . Transparency 30 J eff Wall, Diagonal Composition N o. 2, 199 8. Trans-
in lightbox . 40 x 46 cm pare ncy in lightbox. 5 2 . 5 x 64 cm
. ,,
The collection of objects leaves no doubt as to the content of the picture. We are
looking from above at a still life of cleaning implements such as can be found any-
where in the United States. However, their appearance and condition is [sic] io con-
flict with the function of the objects. The dirty, dri ed mop and slop bucket with th e
water standing in it seem not to have been used for a long rime. The place, possibly
a cellar or clea ning room in an office building, has not been cleaned in some time,
and perhaps not even entere d. The room is abandoned, th e objects forgorten. 27
Lauter may go coo far in his spec ulation that th e room has not been enrered (what can
that mean in the light of the picture itself?) but his claim that there is an apparent con-
flict between the present condition of the mop and pail and their normal functioning is
suggestive, and although he does not quite say so, the viewer's sense of such a conJlict
is made more intense by the sharply downward view of those objects and, especia lly, by
their eccentric, Rodchenkoe sq ue framing (one is shown a surprising extent of floor rel-
ative to the mop and pail). An earl ier work, Wall's first Diagonal Composition (1993;
F ig. 29), a downward, close-range view of pare of a seemingly dry and dirty sink on the
ledge of which there rests a cracked and dirty (also dry) piece of soa p, appears in ret-
rospect to set the terms for the later pictures of malfunction with respect both to the
choice of subject matter (in the Diagonal Compositions at any rate} and to the adop-
tion of a point of view that ca lls attention to th e photographer's activity, thereby con -
firming a cer tain phenom eno logical (and ontological?) distance from th e ordinary use
of the objects depicted (as Lauter recognizes 28). Oddness, verg ing on perversity, of point
of view is even more palpable in Diagonal Composition No. 2 (1998; Fig. 30), a picture
that seems designe d to frustrate the viewer's impulse to see more than a bare minimum
of the obj ects it depicts (a sink , a rag and stick on the Joor to the low er right, a patched
greenish wall, the wooden floor itself). Yet just for chat reason, the weight of the image
falls all the more strongly on the "look" of the total ensemble.
Then there are three other pictures, A Sapling Held by a Post (1999; Fig . 31), Clipped
Branches, East Cordova St., Vancouver (I999; Fig. 32), and Cuttings (200 .L), that may
perhaps be read in a com plementary spirit as figures of "care," Sorge, the phenomenon
in terms of which "the Being of Da sein in general is to be defined" (157) .29 (Related
terms are "concern," Besorgen, and "so licitud e," Fursorge;30 it is not usefu l to try to
distinguish more sharply among these in the present con text.) Of A Sapling Lauter
writes: "The supported sapling becomes a symbo l of the socia l necessity to support chjl-
dr en, young people and the weak in some form or other. Without help they cannot
dev elop, strengthen, and look after their own natural or socia l balance" (3 5 ). As a
readin g I find this a bit too "symbolic," but the basic idea is doubtless correct, and I
understand the pictures of cuttings in much the same light, with the clipped branches
as the residue of equ ipm ent -using, care-givin g activity. For Lauter, however, the second
work ar least has a critical dimension, depicting the integration of chose nat ural ele-
ments within an "urba n space that only serves as a place for dogs to urinate or as a
receptacle for people co deposit the small, invisibl e Litter of prosperity, such as casually
discarded medicine packaging, cigarette stubs or other urban consumer remnants" (35).
This is the so rt of sociological reading chat Wall's art is routinely subjected to, but for
me the overall feeling of Cuttings is not at all critical in this sense. (By the same token,
my reading of those works in terms of "c are" risks imparting its own apolitical pathos
to Heidegger's ontological notion. 3 1)
A recent and, to my mind, altogether compelling wor k that stands in a more comp lex
relation to Heideggerian matters is Staining Bench, Furniture Manufacturer 's, Vancou-
ver (2003; Fig. 33), where the inference of repeat ed use of equipment over a period of
time is inescapable. Thus the neatly arrang ed cans of stain, the brushes and thin painter's
gloves resting on the lid of the nearest can, and the wooden stirrer leaning against that
can, although not shown in actual use, are, I think, not presented as marked by a "defi-
ciency in our hav ing-to-do with the world concernfully." Rather, they are depicted in a
way that thematizes both the purposes to which they have been put and the work-world
- the "reg ion " - within which they have been employed. (And will be again, no doubt:
one senses that the very meticulousness with which the cans have been resealed and
arrange d belongs to a certain routine of work.) The image itself, at two-and-a -half feet
by just over three feet, is not large . Yet it is so remarkably replete, so richly tactile, so
densely layered with material traces of practical activity (the gloves, once noticed, seem
almost like shed skin, while the table cover impregnated with stain appears sticky to the
touch) that it might be said at once to confirm and to escape H eidegger's categories, as
if the photograph represents equipment, thing s in the mode of readiness-to-hand - only
not for us viewers . Or perhaps one might say that Staining Bench discovers a strictly
photographic eq uiva lent of "readiness-to-hand" that in the end chiefly brings into focus
jeff wa ll and abs orp tio n; he idegg er on wo rldhood and tech nology 55
3 3 Jeff Wall, Staining Bench, Furnitur e Manufactur er's, Vancouver, 20 03. Transparency in light-
box. 77 .5 x 96 cm
the Heidegge rian theme in relati on to the photo grap her' s use o f the cans of stain and
associated item s to make h is picture.
There is one even more rcccnr work by Wall, A View from an Apartment (200 4-5;
Fig. 34), th at I wan t to approach in th e light of Heidegger's wri tings. The settin g, as in
many of his works, is Wa ll's na tive Va nco uver, a city bu ilt aro und a magnificent natural
h arbor. For years Wall had wan ted to make a picture based on a view of th e harbor
thr oug h a window, and finally he decided co do so . Th is is whar doin g so entailed. First,
he searc hed extensively for an apartment that wo uld hav e the kind of view he wan ted;
this rook a long time (Wa ll spend s many hours dr iving a roun d Vancouve r looking for
settings an d subjects) but eventually he found what he was after and rented th e apa rt-
ment for an indefinite period. Second, he held casting tryouts to discover a young woman
wh o would suit the sort of pictu re he had in mind. His cho ice wa s the mod el for the
walking figure to the left, a former art student in her ear ly twe ntie s. Wall discu ssed the
jeff wa ll and absor pt ion; heidegge r on world hood and t echno logy 57
34 Jeff Wall, A View from an Apartment, 2004-5 . Transparency in lightbox. r67 x 244 cm
woman's dancelike grac e, a ll the more moving for the "uncool" look of her short grey
socks, recall s it to me, as does th e gener al sense of a femininized int er ior, as different
from one anoth er as th e two interior s an d their occupa nts are - and of co urse it is impos-
sib le to forger that Wall began his mature photographic career with The Destroyed
R oom (1978), an inspired free variatio n o n Delacroix's Death o( Sa,danapalus. (Anot her
pos sibl e reference, keyed to the notion of an int ernally framed view, is Gustav e Ca ille-
botte's Young Man at a Window [1875 l.) By now it is hardly necessa ry to remark that
neither woman appears aware of the presence of the photographer . M ore accurately, the
wom an sea ted o n the couch - who has been drinking tea a nd eatin g a snack- appears
ab sor bed in her magazine (unprobl ematica lly, so to sp eak), w hile the wal kin g woman,
although facing the camera, does so with averted gaze. Yet, precisely because the ratio-
nale for th e wa lkin g woman's moveme nt s rema ins obscure, th e possibility can not be
rul ed out that she is delib era tely avoiding m akin g eye -cont ac t with th e camera. In any
case, t here is no question of the women having been photographed withou t the ir knowl -
edge, besides which the composi tion as a whole conveys an unmistakable sense of delib-
erate constructio n th at belongs to what I have called to-be -seenness and have associated
with the pres ent impossibility of any unproblematic or "naive" return to the absorptive
strategies of the pre -modernist trad ition - or rath er, to the impossibility of any such
return count ing ar tistically in the present situa tion. (Interest ingly, Delacroix's Algerian
Women sta nds apart from that tradition, as does his oeuvre generally.)
Tben there are what for want of a better term may be called the self-referential aspe~ts
of Wall's photograph, in the first place because the view throug h the window inescapably
presents itself as analogous to the lightbox image itself (Fig. 36) . In part this has to do
with the similar physical proportions of the two "p ictures." Plus there is the fact of
dusk, wh ich calls attention both to the lighting of the int erior scene and of the pr esence
of artificia l illumin ation in places in the exterior scene as well . Finally and cruciall y,
there is an obvious {but not, I th ink, too obvious) thematization of the modern global -
ized technology on which the lightbox image relies for its existence, from the television
set in the left foreground (an image-making device, needless to say) to the cellphone
rest ing on some magazines on the low table to the left of the seated woman, and reach -
ing a climax, so ro speak, in the exterior scene: traversed by power lines, with a ship
docked in the harbor bearing on its side the name "Han jin " (a Korean shipp ing
company) in large white letters, spidery orange cranes beyond it, and the spectra l mod ern
Vancouver skyline in the far distance, the whole offering a condensed image of global -
izat ion that the viewer registers as at once contrasting w ith an d as subtending- one
might even say supporting - the domestic inter ior.33 That neither of the two you ng
women tak es in the view from the w indow mak es the juxtaposition of interior and exte -
rior spaces only more compelling, as do the hovering reflections of light sources, the
originals of wh ich are evidently located inside the apartment, in the double-glazed
window itself - the window glass standing in for the Cibachrome transparency, or say
for its " inv isibl e" surface. (R eflections are a conspicuous motif throughout the picture,
involving not only t he window but also the tel evision screen an d th e polished wooden
floor.)
Nor surpr isingly, in view of thi s chapter's engagement with Heideg ger, the treatment
of the t heme of techno logy in A View from an Apartment recalls for me the philoso-
pher's power ful albeit prob lema tic essay, "T he Qu estion Concerning Technology," first
given as a lecture in 1955. 34 (Two other essays, "Th e Age of the World Picture" [1938]
and "The Turnin g" l19 501, are pertin ent as we ll.35 ) For the lacer H eidegge r, whose
thought undergo es a shift away from fundament a l on tolo gy- "the ana lysis of Dasein's
understanding of being and t he world it opens up" - coward a more cultural -hisrorical
project- conceiving of "world disclosing as D asein's receiving of a succession of clear-
ings" 36- technolo gy under stood as En-framing, Ge-stell, and the related notion of {tech-
nologized) natur e, more simply the rea l, as "standing reserve," are dete rminin g of
modern scientific cult Uie. In Heidegger's words, technology is a challenge "wh ich puts
The coming to presence of technolo gy threatens revealing, thr eatens it wi th the pos -
sibility tha t a ll revea ling will be consumed in orde ring and that everything will pr esent
itself only in the unconcealedness of standing-reserve . Human activity can never
directly counter this dange r. Hum an ach ievement alone can never ban ish it. But human
.reflection can ponder the fact that all saving power mus t be of a higher essence th an
what is endangere d, though at the same rime kindred to it.
But might th ere not perhaps be a more primally grante d revealing that cou ld bring
the saving power into its first shining for th in the midst of the danger, a revealing that
in the technological age rather conceals than shows itself? l"Q uest ion," pp. 33- 4J
This "mor e pr imall y gra nted rev ealing" was the accomplishment of the arts in anc ient
Greece, w hich also bore the name techne and whic h "bro ught the presence [GegenwartJ
of the gods, brought th e dialogu e of divin e and human destinings, to radiance" (34).
(At th e risk of simp lifying his thou ght, the lat er Heidegger grants abso lut e p rior ity ro
"the pre -Socratic interpretat ion of all reality as presencing ." 38 ) This in turn leads to the
concluding qu estion : "Cou ld it be that t he fine arts [i.e. the ar ts in our time] are called
to poetic revea ling? Co uld it be that revea ling lays claim to the a rts most primally, so
that they for their part may expressly foster the growth of the saving power, may awaken
and foun d anew our look into that whic h grants our trust in it ? Whether art may be
granted t his high est possib ility of its essence in the mid st of th e extr eme dang er, no one
can tell" ("Question,'' p . 35) .
jetf wall and absorpti on: he1degger on worldhood and te chno logy 61
Naturally, I do not mean to claim that Wall's A View from an Apartment fulfills
Heidegger's hopes, roughly seventy years after the writing of the words I have just cited
("The Age of the World Picture" was first given as a lecture in x938} . In the first place,
there is no reason to think that Heidegger' s later texts , any more than Being and Time,
have been important to Wall. Furthermo re, apart from other considerations, A View is
uncomestably a picture (with another picture "ins ide" it), which presumab ly would
invalidate it as a work of poetic revea ling in Heidegge r's understanding of the concept.
Or perhaps not: think of the significance attributed to Van Gogh's unspecified painting
19
of peasant shoes in "The Origin of the Work of Art," written just a few years before.
Fina lly, it is certain that Heidegg er would have found in the act ions of the two women,
not to mention the appearance of the apartment itself, an image of routinized banality
- what might be called a "bad" everyday - rather than of a largely pos itive mode of
domestic intimacy - a "good" everyday -which is what I have no doubt the artist
intended. 40 (More on the topic of the everyday in the next chapter.} Indeed what Wall's
picture may be taken to reveal is precisely the at-homeness of the two young women in
the present technological world, or say the way in w hich technology in its current glob-
alized incarnation provides the framing structure for a mode of being-in-the -world, of
everydayness, toward which, at least seen from "o utside," the artist feels positively
drawn. Not that A View is devoid of any critical dimension: it cannot be taken as endors-
ing every aspect of the lifestyle it depicts - the ubiquitousness of television, for example,
or the ro le of Vancouver in the new global economy. Yet whatever implicit cr i6cism may
be at work goes unstressed and in any case A View, like all Wall's Ligbtbox pictmes -
like all his photographs, lightbo x or other wise - is technological to its core . So A View
is anything but Heideggerian in its deepest content (no imp lied harking back to the pre-
Socratics, fostering of a "saving power," or invocations of "extreme danger") even if,
as I believe, "The Question Concerning Technology" and related texts prov ide a
uniquely product ive basis for engaging with Wall's long -plotted, artfully constructed , yet
also mysterious and lyrical tableau. 41
monp lace. " 6 And to Tum lir: "T he everyday, o r the commonp lace, is the mo st basic and
riches t artist ic category . Altho ugh it seems famil iar, it is always surp rising and new. But
at th e same time, there is an openness th at permit s people to reco gn ize what is there in
t he pi ctu re, because they have already seen som ething like it somew her e. So th e every-
day is a space in w hich meanings acc umul ate, but it's th e pictorial realization that ca rries
the mea nin gs int o the realm of the pleasurable" (114) . 7
H eid egger, too, cru cially deplo ys a notion of th e everyday in Being and Time, where
it is associated w ith th e notio n of Das Man, a term often trans lated as "the they" but
w hich Hub er t Dr eyfus conv incing ly argues shou ld be rendered as "the o ne," the struc-
t ure of norms and und ersta ndings in which Dasein is soc ialize d and wh ich in effect ulti-
mately determines all "refe rences" an d "ass ignmen ts," thereby subj ectin g Dasein to its
"ave rage ness" (another key concept) .8 "Dasein' s every da y possi bilities of Being are for
the Oth ers to di spose of as they please," H eidegger wr ites. 9 Also :
T he Self of everyday Da sein is the one's-self which we distingui sh from the authenti c
Self- that is from the Self which has been taken ho ld of in its ow n way . As a one's-
self, the part icu lar Dase in has been dispersed int o the "o ne," and must first find itself.
Thi s dispe rsal characterizes th e "s ubj ect" of that kind of Being whi ch we kno w as
co ncernf ul a bsorption in th e wor ld we enco unt er as closes t to us. If Dasein is fam-
iliar wi th itself as a one's-se lf, this mea ns at the sa me time that th e "one " itself
prescr ibes th at way of interpr eting the world and Being-in-the -wo rld which lies
closest. l167 ] 10
In ot her wor ds, the stru ctur es of rea din ess-to-hand and equipm ent th at Heide gger has
been analyzing are over looke d, o r as he puts it, "t he ph eno m enon of the world itself
gets passe d over in this abso rption in the worl d ," an d what takes its p lace, as in the
co mmon und ersta nding, is "w hat is pre sent-a t-hand within -t he-wo rld , nam ely, Things"
(168). 11 Or again, the "very state of Being" that has been H eidegger's foc us, "in its
everyday kind of Being, is what proximally misses itself and covers itself up" (168). 12
All this is well known but two po int s may be stresse d. First, for Heidegg er the every-
da y, along w ith abso rpt ion, are in a certain sense "negat ive" concepts. Granted, Hei-
degge r exp licitly sta res that th e " fall ing " of Da sein wh ich " belongs" to everydayness
"does not expr ess a ny nega tive eva luation" b ut he also writ es:
More to the point, Dreyfus observes, Heidegger at times confusingly conflates ontolog-
ica l "fall ing" wit h psyc hological fleeing from anxie ty, which has the consequence of sug-
gesting that Dase in's absorption in the world "is the result of fleeing its unsett ledn ess"
(225-37, 229 ). As Dreyfus also says, this "would mak e Das ein essentially inauth ent ic"
(229) - a "negative" consequence if eve r there wa s one. However, He idegger goes on to
claim that there is an alternative to the above, which he calls "resoluteness," and which
involves an or ientation toward death that acknowledges, rather t han flees or overlooks,
Dase in's fundamental nullity . "[ l]t is only in the anticipation of death that reso lut eness,
as Dasein 's authentic trut h, has reached the authentic certainty wh ich belongs to it"
(3 50) , he writes. 14 The imp lica t ion is that both absorp tion and everydayness are ther eby
transfo rmed, even as their content remains unchanged. 15 (Another implica tion is that
answer ing the "ca ll" to "r esolu teness " is an exceptiona l event .)
The question that now arises is what bearing if any t hese considerations have on Wall's
involvement in the everyday as an artistic category . On this topic 1 want to say three
things: first, it may seem as if rhere is 110 shortage of p icrures by Wa ll in which som e-
thing lik e a "negative" understand ing of th e everyday appears to be in play - Untan-
gling is a case in point , as is Night (20ox), t o be d iscussed later in th is chapter - but one
has only to call r.o m in d Adrian Walker, After "Invisible Man," and A View from an
Apartment to recognize how d ifficult if not imposs ible it is to locat e them firmly in rela -
tion to th is aspect of Heidegger's thought. This in turn leads one to suspec t t hat t he
''nega t ive " valence that one might wish ro apply to certain of Wall's pictures is more
soc iological than onto logica l. Second, there is 110 meaningful way of connecting th e idea
of the "posit ive" transformation o f the everyday in and through "resoluteness" and
"authenticity" to Wall's art. Third, perhaps most important of all, Dasein's absorp tion
in the "bad" everyday (my epithe t , not Heidegger's) is imagined by Heidegger as total
and unreflective . (" Reso lureness" does not come about t hrough any sort of choice or
ind eed action on D ase in's part. As Dreyfus writes, " Phenome nologically one can think
of th e transformation from inauthentic to authentic exis tence as a ges talt swicch," 16
which is to say that until that switch occurs - if in a part icu lar case it ever does - inau-
thentic existence and the "bad" everyday preva il abso lutely.) Th is too does not ho ld for
the three p ictures just mentioned, in which the personages not only have been posed by
the artist bur also, as seen earlier, invite recognition by the viewer as having been so
pose d ; the pictmes thus comprise images of absorption that imply the dep icted subjects'
awareness of their respective situations, situations chat inevi tably includ e an a,vareness
- however atten uated by repeti tion - of performing absorp tion. (Put slightly differentl y,
the depic ted subjects are recogn ized by tbe viewe r to be split or divided, at once them -
Another way in which Wall describes his intentions w ith respect to the everyday involves
an esthetic ideal he calls "near docum entary." "That means," he wrote in 2002,
that they are pictures whose subjects were suggested by my direct expe rience , and
ones in which I tried to recollect that experience as precisely as I cou ld, and to recon-
struct and represe nt it precisely and accurately. Although the pictures with figures are
done w ith the collaboration of th e people who appear in them, I wan t them to feel
as if they easily could be documentary photographs . In some way they cla im to be a
plausibl e account of, or a report on, what the events depicted are like, or were like,
when they passed without being photographed. 18
"What the events depicted are like, or were like, when the)' passed without being photo-
graphed" - by now it sho uld be clear that this is, fundamenta lly, an a ntitbeatrical ideal,
which is to say that it amounts to a kind of continuation or reprise, though with subtle
but decisive differences owing to the difference in medium, not only of the Diderotian
pro ject as I described in Absorption and Theatricality and related books but also - a far
more contentious claim - of the project of high modernist abstract painting and sculp-
ture as I characterized it back in 1966 - 7 in essays such as "Shape as Form: Frank Stella's
Eccentr ic Po lygons" and "Arc and Objecthood." 19
Here I want to consider a monumental picture that is for me one of WalPs master-
pieces, Morning Cleaning, Mies van der Rohe Foundation, Barcelona (1999; Fig. 37).
The building in which the picture is set is the famous German (or Barcelona) Pavilion
that Mies together with Lily Reich built for the German section of the Exposici6n Inter -
nacional in Barcelona in 1929 - or rather, since the original building was subsequently
destroyed, a reconstruction comp leted in 19 86. 20 The Pavilion features a radically open
plan (conceived "as an analogy of the socia l and politica l openness to which the new
German republic aspired") 21 that dissociates space -defining elements from structural
columns and merges interior and exterior spaces by means of transparent and trans lu-
cent walls. Morning Cleaning- mor e than eleven feet w ide by just over six feet high -
depicts such a merger of spaces. At the rear, the ma in, interior space is partly closed off
by floor-to -ceiling glass panels, beyond which one sees a reflecting pool; the floor of the
main space extends , however, past those panels to the edge of the pool. At the far side
of the pool there rises abruptly a wall of alpine green mar ble, divided into large rec-
subtle privileging of the left-hand ha lf of th e compos ition desp ite th e p resence of the
cleaner on the right.
Morning Cleaning is a work of great simplicity and directness but also of consider -
able them at ic richness. Wh at precisely, for example, are its politic a l resona nces, if any ?
As menti o ned, Mies des igned the Pavilion on conunission from the Weimar government,
partly as an arch itectural sta tement of th e political principles the latter repre sente d.
Within five year s the republic was dead, the Na tional Socialist s were in power, and Mies
foun d it necessary to leave Ger many for th e United Stares. (Kolbe, an immense ly gifte d
and accomplished sculptor, remain ed and moreover tried co adapt to the new reg ime,
with disastrous consequences for his art. 23 ) To what extent is the viewer of Wall's picture
invited to bear this knowledge in mind, or for that matter th e furth er knowledge that
the room depicted in Morning Cleaning- like the Pavilion as a whole - is a fairly recent
reconstruction, which is to say the product of an effort to "repair" history at least to a
certain extent? In any case, Mies's Barcelona Pavilion is not just any modernist build-
ing- though the fact that it is, or was, a key work of architectural modernism is surely
to the point (I mean that Wall would not be averse to being considered a modernist
artist) . A related question might be to what extent Morning Cleaning may be und er-
stood as referring back, in a general way, to seventeenth-century Dutch paintings of
ordinary persons performing everyday tasks in domestic sett ings - not that Mies' s Pavil-
ion qualifies as domestic; nevertheless the affinity between Wall's picture and a painting
such as Pieter J anssens Elinga's absorptive, partly shadowed, partly light-struck Interior
with Painter, Reading Woman, and Sweeping Maid (:i:665-70; Fig. 40) in Frankfurt is
food for intense thought. 24 "The histo rical image I want to create is one which recog -
nizes the complexity of the experiences we must have every day in developing relation-
ships with the past," Wall has stated, 25 and in mor e than on e respect Morning Cleaning
(not yet made when he said this) exemplifies some such recognition.
Then there is the issue of reflexivity, as Wall terms it. "Because l grew up at the time
I did, and exp erienced the art I did," Wa ll tells Tuml ir in 200 1, referring to his early
formation in the wake of minimalism and early conceptualism (also high modernism),
"I've always felt that good art has to reflect somehow on its own process of coming to
be. I have never really been convinced that this reflexivity had co be made explicit,
though . . . I've always tho ught that if th e work is good it will automaticall y contain
that reflection, but you won't be able to see it immediatel y. It wi ll flicker into view in
some subtle way" (n7). (Note, in Elinga's Interior, through the doorway at the left, a
paint er at work on a canvas one cannot see, as well as, on the wall above the seated
woma n a bsorbed in reading, a mirror tilted downward so as seemingly to reflect a
portion of the black -and wh ite paved floor of the room. Reflexivity in Wall's sense of
the term is by no means solely a feature of modernist art.) In the same interview Wall
acknowledges that in earlie r wo rks by him , pr esumably including pictures as different
from each other as Picture for Women and Dead Troops Talk, he had operated pol em-
ically in a mannered, forced, or exaggera ted way "in order to provoke internal prob-
Water plays an essential par t in the making of photographs, but it has to be controlled
exactly and cannot be permitted to spill over the spaces and moments mapped out
for it in the process, or the picture is ru ined. You certainly don' t want any water in
your camera for examp le! So, .for me, water - symbolically - represents an archaism
in photography, one that is admitted into the process, but also excl ud ed, contained,
or channelled by its hydraulics. This archaism of water, of liquid chemicals, connects
photography to the past, to time, in an important way . By calling wa ter an "archaism"
here I mean that it embodies a memory -trace of very ancient production-processes -
of washing, bleaching, dissolving an d so on, w hich are connec ted to the origin of
techne - like the separation of ores in prim itive min ing, for example. In this sense, the
echo of water in photography evokes its prehistory. I think tha t this "prehistorica l"
image of photography - a speculative image in which the apparatus itself can be
thought of as not yet having emerged from the mineral and vegetable worlds - can
help us understand the "dry" part of photograp hy differently. This dry part I iden -
tify with optics and mechanics - with the lens and th e shutt er, eith er of the camera or
of the projector or enlarger . This part of the photographic system is more usua lly iden-
tified with the specific technological int elligence of image -making, wi th the projectile
or ballistic nature of vision wh en it is augmented and int ens ified by glass (lenses) and
machinery (calibrators and shutters) . This kind of modern vision has been separated
to a great extent from the sense of immers ion in the incalculab le which I associate
with " liquid intelligence ." The incalculab le is important for science becaus ~ it appears
with a vengeance in the remote consequences of even th e most contro lled releases of
energy; the ecological crisis is the form in which these remote consequences app ear
to us most str ikingly today. 26
Wall goes on to note that electronic and digital systems are in the process of replacing
photographic film, a nd while he considers this in itself neither good nor bad, he recog -
nizes that if it happens "there will be a new displacement of water in photography. It
will disappear from the immed iate production -process, vanishing ro the more distant
horizon of the generation of electrici ty, and in that mov ement, the historica l conscious-
ness of the medium is altered . Th is expansion of the dry part of photography I see
Maybe it was more than two weeks shooting, I am not sure now. When the shoot
began, I wasn't certain whether it would be sunny weather or cloudy . After a few
days, it got clear and sunny and I rea lized that that was the best light for the picture.
So then I was committed to staying and shooting for as many sunny days as were
requir ed to do what I had co do. Luckily, the summer weather there is pretty consis-
tent, so once it got clear, it staye d clear almost without interruption for the whole
remaining time.
[ think I shot for about twelve da ys. The light was right only in the early morning,
from about 7 co 7:35. I had only about seven minutes each day to photograph the
space as a whole, because the shadow patterns change so quickly in th e morning. I
Yet, as in the other works by Wall I have disc ussed , th e appeal to absorption, which is
also to say to the implication that the 1.vindow cleaner is unaware both "of th e construct
of the picture and th e necessary pr esence of the viewer, " to cite \Vall in his interview by
Martin Schwande r onc e more, is not tl1ereby nndone. Rath er, the impression of absorp-
tion and unawareness is to my mind cons ider ably strong er - less obviously qualifi ed -
than in any of the others, both because of th e prec ise practical reality of th e window
cleaner's act ion and becaus e of our sense of his separation from us, by which I refer not
merely to his physical distance from the pictur e p lane bur also, equally importantly, to
his loca tion beyon d the zone of direct sunlight. The viewer is mad e to feel that th e man
bending ove r his squeegee is ob livious even to the one indisputably great event, itself an
emblem of dailine ss, depict ed in Morning Cleaning - th e dramat ic influx of wa rm
morning light - and what mak es h is unawareness a ll th e more plausib le is the fact that
the light does not fall directly on him . (In Elinga's interior, too , neither the maid nor
the reading woman notices the bright trap ezoids of sunlight falling on the wall and Aoor
roward the right .) On a lesser not e, which become s more sa lient the longer one look s,
the window cleaner also app ears unaware of the light.struck Kolbe nud e displaying
herself- sho uld one sa y th eatrically? - above the pool. Then , too, the division of the
internal space into two zo nes, one brightl y illumi nated and the other not, is reinforced
by the contrast between the relative ly forma l placement of the nvo trios of couches and
the way in which the two chairs have been mo ved from the ir normal position s to make
room for the cleaning of th e glass wall. (That is why the carpet has been partl y ro lled
back .) Th e result is a composition of great pictorial and inrellectua l sophistication, one
that exp loits the "mag ic" of absorption to induce the viewe r to accept as verisimilar
something that he or she "k nows " to be improbabl e at best, and what is worth und er-
At this point I want to introduce another philosophical text , one that goes further than
Being and Time and "The Question Concerning Technology" toward providing a con-
ceptual fram ewo rk not just for a crucial aspect of \v'a!J>sart but also for the work of
other photographers to be considered in this book . The text is the whole of a long extract
from Ludwig Wittgenstein's manuscripts for the year J930. lt appears in the volume
Culture and Value, first edited by Georg Henrik von Wright, which gathers a number
of remarks and observations dealing with topics outside technical philosophy . It reads:
Engelmann [Paul Enge lmann, Wittgenstein's close friend and faithful correspondent]
told me that when he rummages round at home in a drawer full of his own manu -
scripts, they strike him as so glorious that he thinks they would be worth presenting
to other people. (He said it's the same when he is read ing through letters from his
dead relations .) But when he imagines a selection of them published he said the who le
business loses its charm & va lue & becom es impossible. I said this case was like th e
following one: Noth ing could be more remarkable than seeing someone who think s
himself unobserved engage d in some quite simple everyday activity. Let's imagine a
theatre, the cuna in goes up & we see someone alone in his room walk ing up and
down, light ing a cigarette, seating himself etc. so that sudden ly we are observing a
human being from outside in a way that ordinarily we can never observe ourselves;
as if we were watching a chapter from a biography with ow: own eyes, - surely this
would be at once uncanny and wonderful. More wonderfu l than anyth ing that a play-
wright could cause to be acted or spoken on the stage . We should be seeing life itself.
- But then we do see this every day & it makes not the slight est impr ession on us!
True enough, but we do not see it from that point of view. - Similarly when E. looks
at his writings and finds them splendid (even though he wou ld not care to publish
any of the pieces individu ally), he is seeing his life as God's work of art, & as such ir
is certainly worth contemplating, as is every life & everything whatever. But only the
artist can represent th e individual thing [das Einzelne] so that it appears to us as a
work of art; those manuscripts rightly lose their value if we contemplate them singly
& in any case without preiudice, i.e. without being ent husiastic about them in
advance . The work of art compels us - as one might say - to see it in the right per-
spective, but without art the object [der Gegenstand] is a piece of nature like any
other & the fact that we may exalt it through our enthusiasm does not give anyone
the right to display it to us. (I am always reminded of one of those insipid photographs
of a piece of scenery which is interesting to the person who took it because he was
there himself, experienced something, but which a third parry looks at with justifi-
abl e coldness; insofar as it is ever justifiable to look at something with coldness.)
the lengths ro which Wall went in acclimatizing the young women in the latter to the
apartment and the entire situation of shooting are on the side of such a notion .) I have
done this in part by bringing Wall's pictures into close contact with wr itings by two of
the twenti eth century's foremost phi losophers, Heidegger and Wittgenstein - writings
that seem to me to bear an intimate relation to what rakes place in those pictures rather
than merely to offer a basis for intriguing but essentially fanciful associations. At th e
same time, Wall's interest in absorption and antitheatrica lity links his work with the
Diderotian tradition as I have presented it in my books on eighteenth - and nineteenth-
century French painting. However, there is a further possibility touched on earlier that
1 wanr to raise more vigorously here: that a picture like Morning Cleaning also amounts
ro a kind of reinterpretation or say renewal, across a jagged breech, of the antitheatri-
cal aims of certain high modernist painting and scu lpture as I interpreted those aims
back in 1966 - 7 in "Shape as Form," "Art and Objecthood," and related texts. To speak
personaLly, from my first encounter with Morning Cleaning in Frankfurt in 2002, I have
not been able to get Morris Louis's multi-rivulet "Unfurl eds" of 196 0- 6 1 - Alpha-Pi
(1960; Fig. 4 1), for example - our of my mind. 4 1 I am deliberat ely stopping short of
spelling out all th e reasons for this. Suffice it to note the simi larity of overall format and
dimensions ; the grouping in both of crucial elements near the right-and left-hand edges
of the picture together with the openness of the composition as a whole; and the sug-
gestive analogy between the liquid flow of Louis's color rivulets and the w as hing of the
windows in Morning Cleaning. ls there not also a parallel of so rts betw een the daz zling
blank expanse of the bare canvas in the Louis and the irradiated black expanse of the
carpet in the Wall? Not that Wall is likely to have intended the connection, any mor e
than he was thinking of Elinga's exquisite Interior or, more broadly, of seventeenth-
century Dutch painting of quotidian scenes when he began shoo ting in Mies's Pavilion
in Barcelona. Yet it will be a central claim of this book that some of the most impor-
tant and vital recent initiatives in photography turn out to have been renewing, even
As for Fieldwork's larger mean ing, I suggest that it is above all an attempt to repre -
sent, to make visible, the historicalness of the everyda y. For consider: look ed at close ly
the excavate d hole reveals multiple strata, each of which represents a particular period
of time an d a particular mat erial reality (one darkish stratum, part way down , may be
what is le.ft of the roof of the dwelling that once stood at that spot) .43 A commonplace
abo ut photography, about which there will be more to say, is that it depicts surfaces,
and traces on surfaces . No doubt Wall would agre e - a p icture roughly contemporary
with Fieldwork, A Wall in a Former Bakery (2003; Fig. 43), depicts nothing else.
How ever, what I find in Fieldwork is more importantly a themat ization of the thickn ess
and layeredness of the wo rld, by which I mean the way in which material traces
deposit ed day by day in earlier epoch s ar e part of the very texture of reality, and the
thematization too of a certain patient labor of recove ry, which one is allowed to witn ess
only from a respectfu l distance and with which Wall, in this spellbinding and reflective
image, plainly wish es to assoc iate his arr.
A number of oth er, mostly recent pictures, including severa l large black -and -white
photographic prints, further exp lore the territor y I have been surveying . In Chapter Two
urgency about their departure which gives the entire picture an anx ious, unsettling aiJ:.
(They have left their pot on the boil- why?) In fact I want to go fur ther and suggest
that the man and woman are fleeing no one other than the photographer/viewer, who
in any case has arrived too late to catch more than a glimpse of them: the long-haired
woman, bent slightly at the waist as she climbs a slight rise, is sufficiently turned away
so as to hide her features, and it is easy to miss the man entirely, so obscured is he by
trees and branches to the left of the woman. Note, too, the nearness of the branches in
th e left foreground, which seem almost to threaten one's sight as one approaches the
photograph, as in effect the viewer is invited to do, at the same time as numerous small
"scars" on the bark of the tr ees give the impression of being so many eyes looking back
at one (aggressively, or at least nor at all reassuiingly).
Anoth er superb large black-and-white photograph, Untitled (Night) (2oo r ; Fig. 46),
depicts in the foreground a body of water, perhaps the result of flooding or rainfall
{though it might equally be a pond that has partly dried up}; beyond it ar e a patch of
dry ground, a low wall, and a hillock with bushes and trees; and beyond that a fence
and, at the top .left, part of a bridg e. The picture is extremely dark and takes a long
time to read; only after a while does on e become aware of two persons and a dog seated
or reclining against the wall at the extrem e left and realize that they or rather their
"covert way of occupying the city" is the true focus of the composition. The overall
effect, a tour de force of nocturnal lighting an d close-value printing, is of a sustained
impeding of vision that forces the viewer to work hard for all that he or she is able to
perceive, an impeding that thereby divests the imag e of the least suggestion of display
- put more strong ly, that establishes the picture as a whole as resistant to being beheld.
Untitled (Night) was elaborately staged by Wall in a property in Vancouver rented for
the purpose, bur a fourth black-and-white work , The Burrow (2004; Fig. 47), depicts
an actual structure he came across one day in that city, an underground space mostly
covered up by large sheets of wood and cardboard . Wall at once fetched a camera and
rook his photograph, which therefore belongs to the "documentary" category. The ques-
tion is what made this particular subject instantly attractive to him, and my suggestion
is that it was the (Kafkaesque?) idea of the burrow itself, an enclosure (a "ho le") in
which a person might hide himself or herself from view, that drew his attention. In his
2005 retrospective exhibition at Schau lager in Basel, the last four photographs were
hung in a single room; the cumulat ive impression of a profound antipathy to vision -
of antirheatrical desire - was palpabl e.
Two other works, Untitled (Overpass) (2oor; Fig. 48) and Woman with a Covered
Tray (2003; Fig. 49), both transparencies, thematize the motif of persons wa lking more
or less directly away from the photog ra pher/viewer (Housekeeping was a version of the
same idea). Again, I see this as an antitheatrical motif, one that goes back to the early
nineteenth century, as for examp le in Theodore Gericault's great lithograph Entrance to
the Adelphi Wharf [182I; Fig. 50], one of the supreme black-and-white images of th e
period. (Gericault's Raft of the Medusa [18 19], with its vict ims of shipwr eck striving to
be beheld by a ship on the far horizon, is also pertin ent her e - more on that work in
relation ro one of Thomas $truth's museum photographs in Chapter Five.) A more
complex offshoot of the same idea is Passerby (i:996; Fig. 51), a black -and -white night
scene powerfully illuminated in the right foreground by a light source evidently located
"this" side of the picture surface. The event depicted - instantaneous ly, indeed with a
show of instantaneousness - is simple yet takes a further instant to construe: a man in
jeans and a shor t jack et about to ex it the pictur e at th e lower right glances back over
his left shoulder at another man who has just run past (the second figure can be made
out immediately to the left of a tree, the cast shadow from which partly falls on him).
It is not just that the nearer man appears unaware of being photograph ed but that the
running figure draws the first's attention away from the camera (and the lights and th e
viewer), so that the picture as a whole combines a manifestly amitheatrical "actional"
motif with the fullest possible acknowledgment of photographic artifice (no te in partic-
ular the reflected light from the stop sign toward the left), hence to -be-seenness.
Finally, there are two lightbox pictures that Wa ll calls Blind Window No. I (2000;
Fig. 52) and Blind Window No . 2 (2000; Fig. 53), both of w hich belong to th is infor -
mal and by no means inclusi ve gathering of ant itheatrical works . L1 Abso1ption and
Theatricality I remark on the prominenc e of the subject of blindness in post-1750 French
painting and suggest that its importance derived from the fact that a blind person is
53 Jeff Wall, Blind Window no. 2, 2000. Transparency in lightbox . r34 x 1 70.5 cm
54 (left) Paul Strand , Blind, 1916 . Platinum print . 34 x 25. 7 cm.
Roland Barthes's final book, known in English as Camera Lucida: Reflections on Photo-
graphy, was originally published in France in 1980, the year of his tragic death, and was
trans lated into English in r 981. 2 From the moment it appeared it has been a dominant
point of reference for writers on photography, at least in the United Stat es and Great
Britain . Above all Barthes's central distinction between what he calls the studium and
the pun ctum has been enthusiastical ly taken up by countless critics and theorists, who
almost without exception have found in it princ ipally a contrast between the ostensible
subject of a given photograph, or rather the general basis of that subject's presumed
interest for an average viewer (the studium), and whatever that photograph may contain
that engages and - Barth es's verb s - "pricks" or "wounds" or "bruises" a particular
viewer's subjectivity in a way tbat makes the photograph in question singularly arrest-
ing to him or her (fro m her e on I shall stay with "him") . T b.is is not wrong- as will be
seen, it is pretty much what Barthes explicitly states - but I want to suggest that placing
all the emphasis, as is usua lly done, on the viewer's purely subjective response to the
punctum ends up missing Bart hes's central thought , or at any rate failing to grasp what
crucially is at stake in his central distinction. A further question, w hich will arise mor e
tban once in what follows, is to what extent Barthes himself was aware of the ultimate
implications of his own argument.
Barthes 's announced approach in Camera Lucida is nothing if not personal. "I decided
to take myself as mediator for all photograph y," he writes early on in Part One
(8/21-2). Also: "I have determined to be guid ed by the consciousness of my feelings"
(10/24). Ar greater length:
I decided then to take as a gu ide for my new analysis the attract ion I felt for certain
photographs . For of this attraction, at least, I was certain . What to call it? Fascina-
tion? No, this photog ra ph which I pick out and which I love has nothing in common
with the shiny point which sways before your eyes and makes your head swim [a ref-
erence to hypnot ic suggestion]; what it produces in me is the very opposite of hebe-
tude; some thing mor e like an internal agitation, an excitem ent, a certain labor too,
the pressure of the unspeakable which wanes to be spoken. [18- 19/37]
Further on in the same paragraph Barthes says that the best word for the attraction he
feels for certain photographs is "advenience or even adv entur e. T his picture advenes,
barthes's punctum 95
that on e do esn't " ('t9/3 8), but typically Barrhes mak es little use of the se words in th e
rest of his book. Fina lly, he comes right out and says th at in his present investiga tion
he "borrowe d somet hin g from phenomenology's proj ect and so met hing from its
langua ge" (20/40 ). But Barthes's h euri stic or "va gu e, ca sual , even cynical " (20/ 40)
phenome nol ogy is one th at , unlike classical phenomeno logy, atta ches p rimary impo r-
tance to desire and mourning. "The anticip ated essence of the Phot ograph," he writes,
"co uld not, in my mind, be separated from th e 'pathos' of which, from the first glance,
it co nsists " (21/42) . And in th e ne xt sec tion of th e book (nj11eof forry-eight; th e book
compri ses t wo part s o f tw enty-four sections each) , he at last m oves cowar d introducing
his central d istinction by way of ana lyzing an exemplary photograph, Koen Wess ing's
Nicaragua ( 1979; Fig. 56).
" I wa s glancing through an illustrated ma ga zin e," Barth es begins.
By th e beginning of the nex t sec t ion Barthes at tempts to cha rac terize a nd name rhe "two
element s whose co-presence establi shed, it seemed, rhe particular interes t l roo k in these
photographs" (25/47) :
The first, obviously, is an ex tent, ir ha s rhe extension of a field , which I perc eive quire
famili a rly as a co nseq uence of m y know ledge, my cu ltur e; th_is field ca n be more or
less sty lized, more or less successful , depending on t he photo gra pher's ski ll or luck,
but it a lways refers to a classical body of information: rebellion, Nicarag ua, and all
th e signs o f both ... Th o usands of photo gra ph s consi st of this field, and in these
photographs I can , of course, rak e a kind of ge neral interest ... What I feel about
th ese photographs derives from an average effect, almo st from a cert ain tr aining. I
did not kn ow a Frenc h word whi ch mig ht account for this kind o f hum an interest ,
but 1 believe this word ex ists in Latin: it is studium, which doe sn't n1ean, at leas t not
immedi ately, "study," but application to a thing , taste for someo ne, a kind of genera l1
enthu siastic commi tment , of co ur se, but without special acuity. It is by studium that
I am int ereste d in so many ph oto gra phs, wh et her 1 rec eive them as po litical t estimony
o r enjo y them as good historica l scenes: for it is cult ur ally . . . chat I participate in the
figures, the faces, th e gestures, the settings, the act ions . [25-6/4 7- BJ
Then (introdu cing the second term , which has prov en a lmo st as pop ula r as Wa lter Ben-
jamin's "a ura ") :
Barthes glosses this basic distinction by noting that th e studium "is of the order of liking,
not of loving," and further, crucially, that "to recogn ize the studium is inevitably to
encounter th e photographer's intentions, co enter into harmony with them, co approve
or disapprove of them, bur always to understand them, to argue them within myself,
for cultur e (from which the studium derives) is a contract arr ived at between creators
and consumers" (27- 8/50-51:) . Or as he also says, the studium endows tbe photograph
''with functions, which are, for the Photographer, so many alibis . These functions are:
to inform, to represent, to surpr ise, to cause to signify, to provoke desire. And I, the
Spectator, I recogn.ize them with more or less pleasure: l invest them with my studium
(which is never my delight or my pain )" (2.8/5 r ).
Most photographs, Barth es strong ly impli es, are in effect all studiwn; he thinks of
them as "unary" and says of one type, the news photo gra ph, that it can shock or
"'shout'" but is powerless to dist u rb or "wound" (41/70) . Standa rd pornography is
also "unary," hence banal. A few photographs are different . "In this habitually miar y
space," he writes at the stare of section eigbreen, "occas ion ally (but alas all roo rarely)
a 'detaiJ' attracts me. I feel that its mere presen ce changes my read ing, th at I am looking
at a new photograph, marked in my eyes with a higher value . This 'deta il' is the
punctum" (42/71) . H e goes on:
lt is not possible to posit a rule of connection benveen rhe studium and the punctum
(when ir happen s to be there). Ir is a matter of a co-presence, that is all one can say:
the nun s "happene d ro be there," passing in the background, when Wessing photo-
graphed the Nicaraguan soldiers; from the viewpoint of reality (which is perhaps that
of the Operator), a who le causality explains the presence of the "detai l" : the Church
implanted in these Larin-Am erican co untri es, the nuns allowed to circulate as nurses,
etc.; bur from my Spectator's viewpoint, the detail is offered by chance and for
nothjng; the scene is in no way "co mpos ed" acco rding co a creative logic; the photo-
graph is doubtless dual, but this duality is the rnoror of no "development," as happens
in classical discourse. In order to perceive the punctum, no analys is would be of any
use to me ... it suffices that the image be large enough, that I do nor have to study
it (chis would be of no help at all), chat, given right there on the page, I should receive
it right here in my eyes. r42- 3/71 - 2]
barthess punctum 97
In the remainder of Part One Barthes explores the notion of the punctum with charac-
teristic panache, stressing among other features its "power of expansion" : so for
examp le in an Andre Kertesz photograph of a blind gypsy violinist being led by a boy
(1921; Fig. 57) what pr icks Barrhes is the recognition, "with my whole body, [ofl the
straggling villages I passed through on my long -ago trav els in HLtngary and Ru mania"
(45/ 77) . (Barthes qualifies this expansion of the punctum via persona l memory as
"Proustian," for obv ious reasons . More on Proust shortly.)
It is hardly surprising , then, that commentators on Camera Lucida, when glossing the
punctum, have stressed the importance of the indivi du al viewer's sheerly p ersona l
response. As Victor Burgin writes: "It is the private nature of the experience which
defines the punctum. " 3 ln fact almost all of Part One of Barthes's book is written from
tha t point of view, while Part Two, largely devoted to the mystery of the so-called Winter
Garden photograph of Barthes 's mother as a young girl, carries the subjective emph a-
sis to the farthest pos sible extreme. However, one short section in Part One (twenty),
comprising a single page of print , embodies a rad ical shift in perspective:
Certain details ma y "prick'' me. If they do not, it is doubtless because the photo-
grapher has put them there intentionall y. LRemember, for Barthes "to recognize the
studium is inevitably to encoun ter the photographer 's intentions."] In William Klein's
Shinohiera, Fighter Painter (1961), the character's monstrous head has nothing to say
to me because I can see so clearly that it is an artifice of the camera angle. Some sol-
diers with nuns behind them served as an examp le to explain what the punctum was
for me (here, quite elemen tary ); but when Bruce Gilden photographs a nun and some
drag queens together (New Orleans, 1973), th e deliberate (not to say, rhetorical) con-
trast produces no effect on me, except perhaps one of irritation. [Neither the Klein
nor the Gilden photograph is reproduced.] Hence the detail which interests me is not,
or at least is not strictly, intentional, and probably must not be so; it occurs in the
field of the photographed thing like a supp lement that is at once inevitable a nd delight -
ful [the French reads inevitable et gracieux, whjch is not the same thing; see note 32
below]; it does not necessar ily attest to the photograp her's art; it says only that the
photographer was there, or else, still more simply, that he could not not photograph
the part ial object at the same time as the total ob ject (how could Kertesz have "sep-
a rated" the dirt road from the violinist wa lking on it?). The Photographer's "second
sight" does not consist in "seeing" but in being there. And above all, imjtating
Orpheus , he must not turn back to look at what he is leading - what he is giving to
me! [47/79-80)
That is it; that is all Barthes has to say, with respect to the punctum, about the point of
view, the activity, of the photographer (the "Operator") as distinct from the response
of the viewer. But 1 think it is enough.
By that I mean it is enough in order to situate Camera Lucida in relation to the central
current or tradition of anti theatrical critical thought and pictor ial pract ice that I have
tried to show (in my tr ilogy Absorption and Theatricality, Courbet's .Realism, and
Manet's Modernism 4 ) runs from Diderot and Jean-Baptiste Greuze in the 1750s and
57 Andre Kertesz, The Violinist's Tune. Abony, Hungary, 19 2 r. From Roland Barthes,
Camera Lucida
1760s through David, Gericault, Daumier, Courbet, Miller, Legros, and Fantin-Latour
among others, a long with a matching list of arr cr itics, until it reaches a crisis of unsus-
rainability in the art of Edouard Maner in tbe 1860s and 1870s . Thereafter it under-
goes a fundamenral change (of orienracion, rather than of purpose) that on the one hand
indicates char the .Diderorian project - of effectively deny ing the presence before the
painting of the beholder - was no lon ger feasible in any of its classic forms but on the
other suggests that the problem of the beholder - of acknowledging 11-ispresence while
not address ing him in the wrong way - was now absolutely fundamental to advanced
painring and sculpture, in rhe first place in France, where the anrithear rical tradition
arose, and eventually, decades lat er, in the United States . (The chief cr itica l cext in the
latter regard is my "Art and Objecrhood," which I shall suggest has certain points in
common with Barches's little book.) Understood in this context, Banhes's observatio n
in section twenty of Camera Lucida char rbe detail char strikes him as a punctum could
not do so had it been intended as such by the photographer is an antirbeatrical claim
in chat it implies a fundamental distinction, wh ich goes back to Diderot, between
"seeing" and "being shown. " 5 The punctum, one might say, is seen by Bart hes but nor
because it has been shown to him by the photographer, for whom, literally, it does nor
exist; as Barthes recognizes, "it occurs [onlyl in the field of th e photographed thing,"
which is to say char it is a pure arti fact of the pbot0graphic event- "[the photographer]
cou ld not not photograph the partial object at the same rime as rhe total ob ject," is how
Barthes phrases it- or perhaps more precisely it is an artifact of the encounter between
the product of that event and one particular speccat0r or beholder, in the present case
Roland Barrhes .6 This is in keeping with Diderot's repeated i11junction that the beholder
be treated as if he were not there, standing before a painted or seated before a staged
tableau, or to put this slightly differently, char nothing in a painted or stage d tableau be
felt by the beholder ro be there for him. Works of painting or stagecraft char failed ro
meet this experiemia l criter ion were pejoratively cbaracter ized as theatral, theatrical,
which wou ld be one way of parap hr as ing Barthes's irritation with the too cleliberarely
contrastive photograph by Bruce Gilden of a nun and drag queens that he compares
unfavorably with Wessen's Nicaragua, in whic h, it is implied, the presence of the nuns
appears fortuitous, Lutintended, as if they entered the photographic field withou t the
photographer being conscious that they were there. (I do not deny that this seems an
unlikely scenario; my point is simply that something of the sort follows from rhe argu-
ment of section twenty .) By no means coincidentally, Did erot also sha rply criticizes the
too obvious use of contras t on the pan of the artist .7
At one othe r moment in Part One of Camera Lucida (section fourteen) Barthes con-
siders bis topic from the point of view of the phorographer:
[ imagine (this is all I can do, since l am not a photographer) that the essential gesture
of the Operator is to surprise something or someone (through rhe little bo le of the
camera), and rhat chis gesture is therefore perfect when it is performed unbeknownst
to the subject being photog raphed . From thi s gesture derive all photographs whose
principle (or better, whose alibi) is "shock"; for th e photographic "shock" (qu ite dif-
ferent from the punctum) consists less in traumatizing than in revealing what was so
well hidden that the actor himse lf was unaware or unconscious of it. Hence a whole
gamut of "surprises" (as they a re for me, the Spectator; but for the Photographer,
these are so many "performances"). [32/57]
Barthes goes on to discuss severa l different kinds of "surprises," none of which he likes,
but unfortunately he says nothing more about the large class of photographs taken of
persons who are unaware of being photographed . The latter is a major element in twen-
tieth-century (and for chat matter tw enty-first-century) street photography,8 as for
examp le in Walker Evans's "Subway Portraits," made with a hidden camera on the New
York subway in r938-4r (Fig. 58),9 in many of Garry Winogrand's street photographs
from the r96os and r97os (see Fig. 148), or as in the contemporary Swiss artist Beat
Streuli's telephoto videos of moving crowds on thoroughfares or street corners in dif-
ferent cities of the world, the film ing tak ing place without th e knowledge of th ose being
recorded (Streu li also makes photographs of indivi dual pedestrians on th e same basis
[see Figs c52 and r53l) . 10 Evans's, Winogrand's, and Streuli's projects may be under-
stood as attempts to realize an ideal of natura lness chat goes back to Leonardo's note -
books and was restated in no uncertain terms just a few years before the publication of
Camera Lucida. "T here is something on people's faces when they don't know they are
being observed that never appears when they do,'' Susan Sontag writes in On Photo-
graphy (1977), a statement already c ited in Chapter One. "If we didn't know how
sometimes the punctuni lis] revealed only after the fact, when the photograp h is no
longer in front of me and I think back on it. I may know better a photograph I remem-
ber than a photograph I am looking at, as if direct vision or.iented its language
wrong ly, engaging it in an effort of description which will always miss its point of
effect, the punctum. [s 3/87]
This is a surprising claim, but it leads to a stilt more remarkable one: "Ultimately - OJ'
at the limit - in order to see a photograph well, it is best to look away or close your
eyes. 'The necessary condition for an image is sight,' Janoucb told Kafka; and Kafka
smi_ledand replied : 'We photograph things in order co drive them out of our miods . My
stories are a way of shutting my eyes'" (53/88). "The photograph couches me," section
twenty-two concludes, "if I withdraw it from its usual blah-blah: 'Technique,' 'Reality,'
'Reportage,' 'Art,' ere.: to say nothing, to shut my eyes, ro aUow the detail to rise of its
own accord into affective consciousness" (55/89) . Nothing could better illustrate the
extremity of Barthes's anritheatricalis(n in his final book {at least in Part One of that
Part Two of Camera Lucida begins immediately follow ing a short section {twenty-fo ur)
in which Barches abruptly and without warning gives up the project h e had been pur -
suing on the grounds that
I had not discovered the nature (the eidos) of Photography. I had to grant that m y
pleasure was an imp erfect mediator, and that a subjectivity reduced to its hedonist
project could not recognize th e un iversal. I would have to descend deepe r into myse lf
to find the evidence of Photography, that thing which is seen by anyone looking at a
photograph and which distinguishes it in his eyes from any other image . I wou ld have
to make my recantation, my palinode. [60/95-6]
Thar recantation or palinode rakes place under the sign of Barthes's love for his deceased
mother, wi th whom he had lived for much of his adult life, and finally focusses on a
single image, a faded sepia print of his five-year -old mother and her seven -year-old
brother "standing together at the end of a litt le wooden bridge in a glassed-in conser-
vatory, what was called a Winter Garden in those days" (the year was x898; 67/106).
This is tbe so -called Winter Garden Photograph, a photograph, he writes, that for once
"gave me a sentime nt as certain as remem brance, just as Proust experienced it one day
when, leaning over to take off his boo ts, th ere suddenly came to him his grandmother's
true face, 'w hos e living rea lity I was experiencing for the first time, in an involuntary
and complete memor y'" (70/109). 15 Yet Barthes wi ll shortly remark, "The Photograph
does not call up the past (nothing Proustian in a phorograph). The effect it produces
upon me is not to restore what has been abolished (by time, by distance) but to attest
that what I see has indeed ex isted" (82/r29) . As he says later on : "Not only is the Photo -
grap h never, in essence, a memory . . . but it actually blocks memory, quickly becomes
a counter -memory" (91/142 ). Barthes 's willingness to let these passages chafe against
one another is puzzling (how could he have failed to note tbeir irreconcilability?) 16 but
I tak e that chafing as an indication that the logic or analogy that binds Camera Lucida
to Proust 's immortal masterpiece and even more pointedly to the preface of Contre
Sainte-Beuve was in the end beyond his grasp. 17 Let me spe ll this out: in the preface
Proust discovers and then expla ins the mode of action of what he calls involuntary
memory, the almost magica l operation of which is dramatized in the famous madeleine-
dipped-in-tea episode in Du cote de chez Swann, volume one of A la recherche du temps
perdu. But the preface insists on an insig ht that to the best of my know ledge is never
made exp licit in the novel: that any delib erate attempt on th e part of a subject to imprint
a contemporary scene on his or her memory wi ll not only fail to capture its reality,.it
will actua lly render th e latter irrecuperabl e in the future by the action of involuntary
recall. 18 Put more strong ly, on ly sce nes and events that escape the subject's conscious
attention iJ1 the present are eligible to be recovered in the future, and thus , according
to Proust, to be trul y experienced for the first time. The analogy between this claim and
59 Alexander Gardner, Portrait of Lewis Payne, 186 5. From Roland Barches, Camera
Lucida
co a photograph, that becomes visible in it, onl y after the fact, apres-coup, in order
to deliver rhe hurt , th e prick, th e wound, to futur e viewer s that Barthes fears and
cher ishes.
Thi s has th e somewhat un exp ected consequence th at an)' phocogr aph of a present
scene will undergo that development - hence Barrh es's claims that he is the reference of
"eve ry " photo graph and that "each" photograph contains an imperiou s sign, the
pun ctum of int ens ity, of his furure death - though his discuss ions o f pa rticular images,
such as Gardner's pri son portr a it of Lewis Payne and a fortiori the Winter Garden Photo -
grap h , indicate that some phot ographs are far mor e wounding than ochers in thi s rega rd.
On e such clas s of photograph s, Ba rth es recognjzes, are those tak en in and of ear lier
epochs . "This punctum," Barth es writes, " mor e or less blurred beneath the abundance
and th e dispa rit y of contempo rary photo gra phs , is vividl y legible in histo rical photo-
graphs: there is alway s a defeat of Tim e in th em : that is dead a nd that is going to die.
These two litrle girls looking at a primitive airplan e above th eir village (they are dressed
like my mothe r as a child , they are playing with ho ops) - how a live they are ! Th ey have
their whole lives befor e them; bur also they are dead (today ), th ey are th en already dead
(yeste rday)" (96/r50 - 51). 2J Actua lly, th e word " blurr ed " isn't quit e faithful to the
Frenc h here; th e origina l wor d is gornme, which might better be tra nslated as "e rased"
or "rubbed o ut. " In eith er case, however, the thou ght itself seems slightly errant; it would
be truer to Barthes' s less than fully articu lated argument to think of the punctum of
deat h as lat ent in contemporary photographs, to be bro ught out , developed (as in the
photographic sense of th e term), by th e inexorabl e passage of time .24 More broadly,
there is at least the hint of a contr adiction , if no t in logic a t any rate in th e realm of
feeling, betw een the abso lut e uniqu eness of the Wint er Gar den Photograph ("Some thing
like an essence of the Photo graph floa ted in thi s partic ular picture " l73/r I4 l) and the
claim th at all photo gra phs , virtu a lly regard less of subject matter, are potentially carri-
ers of th e punctum of time aJ1d deat h. W b.ich ma y have some thing to do with Barthes's
hy perbolic (or H eideggerian? ) pronounc ement , a page or so ea rlier, th at modern society
has made of th e Pho tograph precisely a means of "flatte ning " cfeath: "so that every-
thin g, tod ay, prepares our ra ce for this impot ence: to be no longer able to conce ive dura-
tion, affec tively o r symbolically : the age of th e Phocograph is also the age o f revolutions,
cont estation s, assass ination s, exp losio ns, in short , of impati ences, of every thi ng which
denies r ipening . - And no doubt, the asconis hment of 'that has been ' will also disapp ear.
1t has alr ead y disapp eared : I a m, J don 't know why, one of its last wit nesses .. . and this
book is its archai c trace" (93- 4/l46-7) .25 Barth es thus comes co und erst and himself as
commenting o n a n image-making or perhaps mor e acc urately an image-consuming
regime that is all but def unc t, not because of any mat erial alterat ion in th e photographic
artifact but because of whar he ta kes to be a profound transfo rmation of society - the
wor ld - ar large.
In fact two significant development s "w ithin" th e realm of the photographic were
already taking place: digitization , which by th e 1990s wou ld be widely th ought to have
tra nsform ed the o ntology of the phorogra ph ,26 and a considerable increase in th e size
of arr photo gra phs, which already by 1980 was enabling work s such as Wall's lightbox
tra nsp are ncies and Bustamant e's Tableaux to addr ess mor e than a single beho lder at the
In front of the lens, I am at the same time: the one I think I am, the one T want others
to chink ] am, the one the photographer thiJJks 1 am, and the one he makes use of to
exhibit his art. In other words, a strange action: I do not stop imitating myself, and
because of this, eac h time I am (or let myself be) photographed, I invariably suffer
from a sensat ion of inauthen ticity, sometimes of imposrure (comparable to certain
nightmares). [13/29-30]
This sense of theatrica lization, for that is what it amounts to, wou ld seem to be an
inevitable consequence of posing, for Barthes and for anyone, but consider:
60 Dan iel Boudin et, Polaroid, 19 79. From Roland Barrhes, Camera Lucida
r) Not just the Winter Ga rden Photograph but every photograph of his mot her
manifested the very feeling she must ha ve experienced eac h time she "le t" herself be
photographed : my mothe r "lent" herse lf to th e photograph, fearing that refusal wou ld
turn to "a ttitud e;" she triumphed over th is ordeal of p lacing h erself in front of th e
lens (an inevitable action) with discretion (but without a tou ch of the tense thea tri-
calism of humility or sulkiness); for she was always able to replace a moral value w ith
a higher one - a civil va lue. She did not stru ggle with her image, as I do with min e:
sbe did not suppose h erself. [67/ro5 l
The quorarion marks, like th e italics, show how difficu lt Barthes found it to charac ter-
ize his mother's relation to th e camera; in the end th ere scarce ly were words for what
he wished to say. As for th e Winter Ga rden Photograph,
ft]he distinctness of her face, the 11a1ve att itude of her hands , the p lace she had docilely
taken without either showing or hiding herself [emphasis added !, and finally her
expression, w hich distinguished her, like Goo d from Evil, from the hysterica l litt le
girl, from the simp ering doll wh o plays at being a grownup - all this constituted the
igme of a sovereign innocence . . . all this had transformed the photographic pose
into tha t untenab le paradox whjch she had nonetheless maintained all her life: th e
assertion of a gentleness . I69/ro7f 9
In the rares t of instances, then, it is possible to neutralize the theatricaliz ing effects of
the pose by a kind o f gift of nature on the part of the sitter, which is also tO say wi th out
any intention to do so on her part .
2.)Toward the end of Part Two Barthes ret urn s ro the topic of his mother's charac -
teristic expression and generalizes it in the concept o f "the air (the expression , the look )"
(107/167). 30 " Th e air of a face is unan alyza ble," he goes on to say. " Th e air is not a
schematic , intellectual datum, the way a silhou ett e is. Nor is th e a ir a simple analo gy -
however exte nded - as is ' likene ss.' No, the air is that exorb itant thing which induces
from body to sou l - animula, littl e individua l sou l, good in one person, bad in another"
(107-9/r67) . And after a sho rt digression on photographs of his mother: "The a ir (I use
this word, lacking anything better, for the expression of truth) is a kind of intractable
supplement of identity, what is given as an act of grace [emphasis added] , stripped of
any 'importance' : the a ir expresses th e sub ject, insofa r as th at subject assigns itse lf no
importance" (109/r68). (In Richard Avedon's photogr ap h of th e recently deceased leader
of the American Labor Party , A. Philip Ran dolph [1976; Fig . 61 J, Bart hes reads "a n a ir
of goodness (no impulse of pow er: that is certain)" [n:o/I69 i.)31 What espec ially
intrigues me in these formu lations is the phrase I have itali cized : the air as "given as an
act of grace ." (The French rea ds: cela qui est donne gracieusement .} "Art and Object -
hood, '' not oriou sly, ends wi th th e sente nce: "Presentness is grace." Is it po ssible th at th e
essential, all but ineffable qualities that Barthes and I believed we found respectively in
certa in photographs an d certain abs tract painting s and sculptures are at bottom th.e
same?32
3) Also in Part Two Barthes goes so far as to propose that "wha t founds the nature
of Photography is the pose" (78/122), a claim that on th e one han d is consistent w ith
61 Richard Avedon , A. Philip Randolph, 1976 . From Ro land Ba rrhes, Camera Lu cida
his previously expressed distaste for the "performance" of phorographing "acrors"
unaware of the presence of the photographer bur on the ot her appears to install an essen -
tially theatrical relationship a t the very heart of the photographic project. He goes on
to expla in {brilliant ly, to my mind):
The physical durat ion of this pose is of little co nsequence; even in the interval of a
millionth of a second (Edgerton's drop of milk) there has still been a pose, for the
pose is not, here, the attitude of the tar get or even a technique of the Operator, but
the term of an "intention" of read ing: looking at a photograph, I inevitably include
in my scrutiny the thought of that instant, however bri ef, in which a rea l thing hap-
pened to be motionless in front of the eye. I project the present photograph's immo-
bility upon the past shot, and it is this arrest which constitutes the pose. l78/r22]
This explains why the Photograph's noeme deteriorates when this Photograph is ani-
mated and becomes cinema: in the Photograph, someth ing has posed in front of the
tiny hole and has remained there forever {that is my feeling); but in cinema, some-
thing has passed in front of this same tiny hole : th e pose is swept away and denied
by the continuous series of images: it is a differen t phenomeno logy, an d therefore a
different art which begins here, though deri ved from the first one . (78/r22-3]
One might expect Barthes to prefer cinema precisely on the grounds that it thereby
escapes or avoids theatricality- mechanica lly, automa tically- but that may well be the
deep if unacknowledged reason why he attaches a greater value to photography: because
the latter is faced with the cask of overcoming theater in and throu gh the punctum, or
in the case of the Winter Gard en Photograph through his mother's sheer innocence of
nature . {Mechanica lly escaping or avo iding theater is not so much antithe atr ical as,
merely, non-theatrica l.) This chimes wit h a similar claim about the movies in "Art and
Objecthood," already broached in Chapter One in connection with Sugimoto's Movie
Theaters, Sherman's Untitled Film Stills, and Wall's Movie Audience. Here too a certain
closeness between the rwo texts, obv ious ly not the result of any influence of the Amer-
ican on rhe French, is suggestive .33
4) A final reach of Barthes's th ematics of the pose concerns his preference - too mild
a word - for photographs that look him, as he puts it, "straight in the eye" {:rrx/J72).
(Avedon's portrait photographs are exemplary for him in that regard. T he great missed
encounter among the photographers of the 1960s and '70s, however, is with the work
of Diane Arbus; one wou ld like to know what Barthes would have made of her often
disturbing images of fronta lly posed subjects. 3 4 ) This corresponds to a major strain,
which I call "fac ingness," in modernist painting since Manet, 35 and is said in conn ec-
tion with a further avowa l of his lack of interest in photographs that seem to ignore
him, in particu lar news photographs of scenes of "death, suic ide, wounds, acc idents"
(nr/I7r) .
Barches is right about th e diegetic structure of film, or at any rate of traditional narr a-
tive film (that is, movies} with its implicit inju nction agains t all direct sol icitation of the
viewer (compare the bri ef discussion of this aspect of Sherma n's Untitled Film Stills in
Chapter One}, but turns out to ha ve been wro ng about photography's abando1unent
of the frontal pose . Apart from Avedon and Arb us (and Robert Mapp lethorpe, two of
whose portrait photographs h e reproduces}, reliance on such a pose was already implicit
in Bern d and Hilla Becher's documentary photographs of industrial bu ildings and con-
structions, wh ich they had begun to make in 19 59 and which by 198 0 were becoming
widely know n, and in the early portrait work of Ruff, a student of Bernd Becher in
Dusse ldor.f. Other photog raphers such as Thomas Stru th (an ot her Becher student},
Patrick Fa igen baum, Ro land Fischer, and Rineke Dijkstra soon fo llowed, an d in general
the frontal pose came increasingly to play a vital ro le in the new art pbotograph y as
the latter claim ed for itself the scale and so to speak the address of abstract painting.
(Bustamante's photographs of cypresses also belong to this development, as does Wall's
Picture for Women, perhaps his most important ea rly work .) So perhaps one shou ld say
that Barches was forwa rd -loo king in his attachment to the frontal pose, even if his caste
for Avedon in particular is at odds with recent developments.
Th e question, of co ur se, is how, with in the logic of the arguments I have been track -
ing, photographs based on th e fronta l pose, th ereby foregroun ding the subject's aware-
ness of the fact of being photographed, can succee d in defeating theatrica lity in the case
of subjects who are no t, like Barth es's five-year -old moth er or A. Philip Randolph,
human ly exceptional. Barthes's attempt at a solution (in section forty -six) takes off from
a rea I-life situation in which a yo ung boy entered a cafe and looked at bim wit hout his
being sure that the boy was seeing him. This leads to the proposa l char
This coo is brilliant in an ad hoc sort of way but , appealing as it does to th e photog raph
as such, it fa ils to explain w hy only some fronta l portrait s are fel 1 by Barthes to succeed
in this respect (is that rea lly wha t is at sta ke in Kertesz's great portrait of the fiercely
62 Andre Kertesz, Piet Mondrian in His Studio . Paris, I926, 1926 . From Roland Barthes,
Camera Lucida
intellectual Mondr ian [1926; Fig. 62], which Barthes illustrates in this co nnect ion?), and
it appears to have nothing to do with the ontologica l and affective themes of what has
gone before. At this point the imp etus of his discourse gives our and th e book is near
its end. Yet one can at least say that Barthes 's avowed ta ste for photographs of the
fronta l type, precisely because of the difficult ies the latt er seem inevitably to present for
an antitbeatrica l est het ic, furth er suggests that for him overcoming , no t avoiding, the-
at rica lity is what has to be accomplis hed, and perhaps also that success in that endeavor
can be imagined ro take plac e on ly aga inst the grain of the photog rapher's intentions. 37
(I shall have more to say about the issue of intentionality in Camera Lucida in the con-
clusion to this book.)
The present chapter as a whole raises a broader question, namel y the sta tus of anti-
theatrica lism elsewhere in Barthes 's oeuvre . A serious attempt to answer that question
wou ld have to consider at leas t his early writings on the theater both before and after
bjs epocha l 19 54 encounter with the Berliner Ensem ble and the plays and theori es of
Brecht (a high ly ambiguous figure with respect to the issue of theatrica lity); t he arti cles
"Baudel aire's Theater," "Rhetoric of the Image," and "Diderot, Brecht, Eisenstein "; his
more covert involvement with Artaud; the essay "The Third Meaning : Research notes
on some Eisenst ein stills," which anticipa tes several points in Camera Lucida; and the
exhilarated pages on th e bunraku puppet theater in The Empire of Signs.38 It is not to
be expected, given the several intellect ua l peripeteias in Barthes's career, and also in view
of the fact that even in Camera Lucida h e remains incomp letely awar e of the ultimate
import of key distinctions an d arguments, that the story would be simp le.
Willy-ni lly, we are using dua l vision: one to view the painting , and the other ro glance
at our contemporaries; or rather, we have one eye for art and another for everyday
life, the latter of wh ich is being questioned and as a result transformed . fo compari-
son with the painted figures, our comemporar ies - most of whos e faces we do not
even see- assume a visua l quality that po ints to photography as a medium. My awar e-
ness of their poses and the colou rs they wear becomes more intense as r measure them
against the very different poses and colours in the paintings. I suddenly begin to see
photography in the same way I see painting. [n4]
Lndeed the re emerg es in Belting's account almost an ambiguity as ro what lies inside
and outside the painting. Thus the red check dress of the woman with the stroller who
has paused in front of Cai llebotte's Paris Street
as if she was hesitating to go out into the painted rain with her child's push -cha ir,
complements the clothing colours in th e painting to such a degree that one no longer
knows what is inside the painting and what is in front of it. Struth is using diiferent
means to cont inue his game wi th the boundaries of art . ... We feel like rubbing our
eyes when th e space in front of the painting transforms itself into a picture that is not
sepa rated from the painting. [II 5 I
Belting also says that precisely the opposite can happen, as in a photograph of crowds
in front of N apoleonic pictures that seem like "windows whose curtains have been
drawn" (1I5 ).4 But this is presented as an exceptional case, and even in a more than
usually complex reading of Louvre 4 the emphasis comes down on the side of conn ec-
tion, not disconnection . Standing before the Raft of the Medusa, he writes, the viewers
seem to be eyewitnesses of the human drama in the painting, within which almost
every gaze out of the picture is directed toward a distant signal of rescue. The gazes
of the viewers follow the gazes of th e shipwrecked sailors, but our own eyes have
already tak en in th is double sequence. In the picto rial parallels between the photo -
graph and the painting, we experience both as a window, and windows are of course
phys ica l obstacles, but not visual ones . In the colour ing, the space, and the lighting,
the two media are as much consp iratorially bound together as they are self-confidently
contradictory. [II5]
Similarly, referring to what he sees as a silent "dia logue" between the actual white -haired
man and the depicted younger man in the Rembrandt portrait in Kunsthistorisches
Museum . 3, Belt ing writes: "Eac h of the int erloc utor s in the dialogue remain s enclosed
within his own biography, no matt er when he lived," which is inco ntestabl e, but then
adds : " everrh eless, they seem to be co mmuni ca ting w ith eac h other acr oss th e chasm
of hist ori ca l, supraper sona l tim e .... The per so n painted and th e pers on photographed
... are in the m iddl e of a conversation with each other" (1 L9). As for Galleria dell'
Accademia r, which for Belting brin gs th e mu seum cycle to a dramatic clim ax,
"Now here else," he writes, " do th e co lour s in the paintings and in the photograph
coa lesce so effo rtl essly, and the multitude of to urist s in th e museum seems to mi x casu -
ally wi th the guests at Veron ese's Feast in the House of Levi" (122 ). In that sense
the pa intin g suppli es add itiona l mu seum guests, and a continuation of the mu seum
room in the painted palace o f a Venetian ar istocrat . . . . If we reca ll that Veronese
plac ed his own contem pora ries in the paint ing, we can reconstruct the virt uo so inter-
pla y between real ity and illusion which the paint er, matching Struth's int enti ons
exact ly, was enactin g eve n then. The painter was questioning the boundari es of rea lity,
just as Struth is questioning the bound aries between painti ng and photography. [122]
My point in citing Bel tin g at length is not to take issue wi th h im personally but rather
co prepare the gro und for a far different reading of Stru th 's museum pictures (also to
suggest why such a reading is called for) . My reading, like Belting's, will be based solely
on the photographs but I shall also be relating my reading of particular images to certain
larger issues of a sort that have no place in Belting's commentary. My basic claim is this:
that in the most compelling - to my eye and mind, the strongest - of the museum photo -
graphs, the persons dep icted in the paintings and the actual persons who have come to
the museum to interact with those paintings in one way or another, far from taking part
in a sophisticated game in which the boundary between painting and photography is
continua lly breached, belong absolutely to rwo disparate and uncommunicating realms
or, as I want to call them, "worlds."
Take Struth's Art Institute of Chicago 2: is it rea lly true that the woman pushing a
stroller (mostly hidden from our view) who stands gazing at Caillebotte's Paris Street
appears to inhabit a space that is continuous with the depicted space within the paint -
ing? Or that her red plaid dress is felt to be anythiJ1g but anomalous with respect to the
painting's intensely atmospheric color scheme? Or that "one no longer knows" whether
she stands in front of the painting or w ithin it? For me the answer to all such question s
is no, a no that is particular ly emphatic both for the way in which the strong ly per-
spectival space of the painting might be held to beckon the viewer into the depicted
scene and for the unconventional relation to the picture plane of the three figures in the
right- hand half of the composi tion - the man and woman sharing an umb rella and glanc-
ing to the ir right (our left) as they wa lk directly toward the picture plane , and the top-
hatt ed man hold ing an umb rella to their left (our right) who not on ly is seen from behind
but who is meant to appear to have just entered the depict ed scene from "our" space,
in effect traversing the pictur e plan e as he did so. In other words , Caillebotte's canvas
seems to pro vide an ideal test for Belting's acco unt precisely because it delib erate ly and
consp icuou sly engage s the idea of the physical permeability - no t just the photograp h-
like "transparence" - of the p icture plane , and my conte ntion is that despit e that fact,
or ra ther because of it, $truth's photograph makes it especially clear that such perm e-
ability is not hing more than a pictorial :fiction - that far from visua lly subsumingthe
woman standing befor e it, th~ pa intin g_in the pl1orog1~p h is not on ly closed to ~er but
-in the end almos t actively indiff erent to her very ex istence (and a f ortior i co oms as
; iewers of $truth's pl1otogra ph ). Ind eed if there is any ambiguit y at work in $truth's
photog raph , it concerns the difficulty of determ ining how much of that sense of exclu-
sion is based on the actions of the figures in the painting and how much on thos e of the
persons in the photograph: so for examp le Caillebotte's man and woman sharing an
That it doesn't strik e us at a ll when we look around us, move about in space, feel our
bodies, ere., etc., shows how natural these things are co us. We do nor notice that we
see space perspectively or that our visual field is in some sense blurred coward its
edges. Jr doesn't strike us and never can strik e us because it is the way we perceive.
We never give it a thought and it's impossible we shou ld, since there is nothing that
cont rasts with the form of our world .7
Time and aga in the attempt is made to use language to limit the world and set it in
re lief - bu t it can' t be done. The self-evidence of the wor ld expresses itself in the very
fact that language can and does only refer to it.
For since language on ly derives the way in which it means from its meaning, from
the wo rld, no language is conceivab le that does not represent th is world . [80]
,. Also pertinent he re are paragraphs 600-05 in perform an ident ification of an ob ject as the
W ittgenstein's Philosophical investigations, rr. G. one represented by t he picture. Our memory
E. M. Anscombe (Oxford, r958), pp . 156e-57e: seems to us co be che agen t of suc h a compar -
ison, by preserving a picture of w hat has been
Docs everyt hing tha t we do not find conspicu- seen before, or by allowing us to look into tbe
ous make an impression of inconsp icuousness? pas r (as if down a spy -glass) .
Doe s whar is ordinary a lways make the impres- And it not so much as if I were comparing
sion of or dinariness? the object with a pict u re set beside it, but as if
When I talk about this cable, - a m I remem - the ob ject coincided with the picture . So l see
bering that th is object is cal led a "tab le"? on ly one thing, not two. [Elllphasis in orig inal. ]
Asked "Did you recoga ize your desk when
W ittgenstein means ro be calling this way of
you ent ered your room this morning?" - 1
understanding "the processes called 'recognizing'"
shou ld no doubt say "Certa inly!" And yet it
into question, and what is fascinating about h is
wou ld be misleading to say that an act of recog-
remarks in the present context is chat they ra ise
nition had raken place. Of course the desk was
the further possibility - at any rate, this is my
not strange to me; 1 was nor surprised ro see it,
thought - that the p icrure he imagines us imagin -
as I shou ld have been if another one had been
ing we carr y w ith us co compare with actual
standing there, o r some unfam iliar kind of
objects in the world is itself a kind of pbocograph.
object.
1f true th.is would make it a ll t he more likely that
No one wi ll, say chat every time I enter my
we would cake the concems of an actual photo-
room, my long -famil iar surroundings , there is
graph to "coinc ide" w ith suc h a picture.
enacted a recognition of all chat I see and have
Sec also Wittgens tein 's discuss ion of what he
seen hundreds o f t imes before .
calls the "'v isua l room'" in the same work, para -
It is easy co have a fa lse picture of the
graphs 398-402, pp . 12.oe-2.2e, as well as the fol-
processes called "recogn izing"; as if recogniz -
lowing from "The Blue .Book" :
ing a lways consisted in compa r ing two impres-
sions with one another. 1r is as if 1 carried a Now when in the so lips istic way I say "This is
p icture of an object with me and used ir to wha t 's rea lly seen," 1 po int before me and it is
essential rhar I point visually. If l poi nt ed side- Richard Mo ran for helpin g me grapple wit h these
ways o r behind me - as it we re, ro things which issues.
I don 'r see - the pointing would in this case be There is, however, another possibility tbar
mean ingless ro me; it wou ld nor be po inting in should be ac kno wledge d : nam ely, that the force
the sense in wh ich I wish to point. Bur this of Wittge nste in's insistence in Philosophical
means that when I point before me saying "this Remarks upon rhe necessary fa ilure of a n}'
is what's really see n," a lthough I make rhe att empt to use language ro limit rhe wo rld and sec
geswre of poi nt ing, l don't point co one thing it in relief is that 1101/Jingcould do that, includ -
as oppose d to another. T h is is as whe n travel- ing phocograp h y (wh ich of co urse he does no r
ling in a car and feeling in a h m ry, T instinc- ment ion) . T his is che view of Robert Pipp in , who
tively press aga inst someth ing in from of me also wishes ro say that $truth's museum pho-
as rhoug h I cou ld push th e car from within. tograph~ show us rhe paintin gs in o m wor ld, che
(Ludw ig Wittge nste in, The Blue 11nd Brown world rbe museum-goers and Srrurh and we all
Bouks [Oxford, 19601, p . 71, emphasis in o r ig- inhabit. To rhe ex tent that the paintings cou ld
ina l) then be seen as ignoring rhe museum-goers, and
more broadly as resisting the casual tourist world
This paragraph occurs as part of a longer discus - environ ing chem, a certa in anr ith ea crica l rheme
sion of the prob lematic nature of rhe concept o f would sri ll be in play. However, L am nor per-
"sense data." My thanks ro James Conant and suaded by this .
vastly sup erior "prese nce." Th en there is th e day light flood ing the chur ch int erior from
somew here at th e upper left: alth ough the direction of th e light is consistent with that
in Bellini's a lta rpi ece, th e viewer gr adu ally become s awar e of a subtle discr epancy
between th e inten sity of the actu al relat ive to th e dep icted illumina tion . (O ne more sig-
nificant deta il is the blond e girl to th e right of the alta rpiece w ho is blurred because of
having been cap tured in th e act of sittin g down in one of the pews - or standing up, it
is impo ssible to know which. In any case, th e sense of movement makes a furth er con -
tr ast w ith Bellini 's canvas .)
Finally, ther e are three pictu res tha t for me explore the limits of Strut h's pro ject as a
w hole. The first of these, National Gallery 2, London (Fig. 7 1), depicts Vermeer's
Woman with a Lut e alon e on a wall with no one look ing at it. As in th e case of th e
Rembr andt portr aits in Kunsthist orisches Museum 3 (see Fig. 64 ), th e Vermeer is
p hotograph ed not frontall y but somewh at from the side; its placemen t towa rd the
right-h and edge of the photograp h furth er heightens one's sense of its isolat ion, already
und erscored by its br onze-colored sculptural frame and by th e fact that pa inti ng and
frame are spot lighted on a shadowed bluish-gray wa ll. Mo st of all, tho ugh, it is
Vermee r 's lut e-p layer's seemin g absorp tion in tun ing her instrume nt as she gazes
abstractl y towa rd her rig ht in the direction of a near by window represent ed in extreme
foreshort enin g, hence closed to our view, that so effect ively seals th e impr ession tha t she
inh ab its a world of her own th at there is no need for mu seum -goers to dri ve th e point
home. Anoth er factor in thi s is th e surpri singly small scale of the figure of th e woman,
which adds a note of remoten ess to that of separati on. A third is pr ecisely th e o blique -
ness of the po int of view, which subtly them atizes t he non-transparen ce of the pa inted
surface th at so to speak co mes "betwee n" the wo man in her wo rld and any possible
viewe r, inside or outside th e photograp h.
The first of the other two, Stanze di R affae llo 2, Rome (Fig. 72), depict s a packed
crowd of tour ists in the Stanza della Segnat ura milling about und ern eath th e on ly partl y
visible frescoes surroundin g th em (one can just make o ut th e School of Athens in th e
sha dow s at th e upper left) . Belting rightly ho lds that this and another p hotogra ph in the
Stanza d'Eliodoro repr esent the end of Strut h's proj ect in th at "in the Vatica n roo ms,
the interp lay betwee n pa inting an d viewer cannot be developed any further. Th e loca-
tion that belongs neither to the painting nor to the viewer has been lost and thu s the
meeting betwee n t he two cann ot take place" (r22). 16 But what Belting mean s by inter-
play betwe en pa intin g and viewer is the calling into qu estion of the bound ary between
the two, whereas in my reading of Struth 's project th e sharpn ess of th e separa tion
betw een the wo rld of the fr escoes (in this case on ly dimly limned) a nd that of the milling
tourists thr eatens to brin g the series to a close pr ecisely by literalizing th e distinc tion
between them. In fact one's first impre ssion is that the photog rap h is basica lly a study
of the crowd, juxtapos ing as it do es person s who are blurr ed because mov ing with
oth ers, th e neares t, wh o are out of foc us, and isolated faces th at emerge w ith sudden
clar ity (not ab ly the youn g man with bro wn hair and dark eyebrow s just to the right of
cent er), the entir e jostlin g, p ointin g, guid eboo k-read ing mass at th e farthest pol e from
evoking a not ion of co ntempl at ive loo kin g. Yet the relatively fade d an d unimpressive
fresco at th e right, a depiction of Gregory rx on his papal throne, turns out to retain
just enough illusionistic force to attract and hold one's attention, and th us makes
th e image as a whole yet one more revelat ion of ontological, not merel y literal,
separateness .
Th e third and last work I want to glance at in this connection is Alte Pinakothek,
Self-Portrait, Munich (Fig. 73 ), a confrontation, if that is the word, between Durer' s glo-
rious Self-Portrait, wh ich has been photographed head-on at fairly close ran ge, and
Struth himself (so the title of the photograph inform s one), wearing a blue jacket and
with his left hand in his pocket, stand ing not directly in front of the painting but some-
what to the right, as if to concede priorit y to Durer's panel - and, impl icitly, to the
camera . Indeed being near the latter the figure of Struth is somewhat out of focus and
is severely cropped by the edges of the print, wher eas the splendidl y framed pa int ing is
in the sharpest imaginable focus and is show n in its entirety . Of all the paintings that
appear in the museum photographs, Dtirer's Self-Portrait goes farthest toward seeming
directly to address the viewer, a featur e that places the notion of separat ion betwee n
worlds under unusual pressure. And of course the intimation of a special relat ions hip
between Durer and Struth, more precisely between the pain ter in the painting and the
photographer in the photograph, further cha rges the space (or spaces - phy sical, chrono-
Between 1996 and 2 00I Struth also mad e photographs of visito rs look ing at classical
scu lptu ral and ar chit ectural remains in the Pergamon Museum in Berlin (Figs. 74-6) .
Th ese follow on from the . class ic museum photo graph s while differing from them in
several respects. In the first place, because there are no paintings in th e Pergamon
Mu seum photographs the whole qu estion of separate worlds never arises. Then, too ,
Struth app ea rs to ha ve been as inter ested in the monumental scale of the viewing spaces
as in the character of th e objects being viewed, an emphasis that gives these pho tograp hs
as a group an architectural or environment al cast not pre sent in the earlier serie s. Fina lly,
whereas the actua l per sons in the museum photograph s were almost always caught in
the act of viewing or of mo ving into po sition to do so (in tha t sense the photographs
are candid, in the usual sense of the term ), the viewers who inhab it the Pergamo n
Mu seum photograph s were gather ed and set in place by Struth himself. 19 Apparentl y
thi s came about becau se ordin ary visitors to the Pergamon Museum, most of w hom
were equipped w ith he adset s, moved too quickly to provide the stati onary, abso rpt ive
ensemb les that Struth soug ht ; mor eove r, consi dera tion s of depth of field meant th at he
required ex posure s of ten to fifteen second s, far longer than would be pract ical under
normal circumstances. Consequently Struth invited as man y as I40 persons to the
mu seum on M onda ys, when it wa s officially closed, and more or less positioned them
w ithin a part icular room. 20 Hi s intent, it seems clear, wa s to empha size the them e of the
viewers' contemp lation - their a bsorb ed beho ldin g- of the mon ument s around them. As
Wo lf-Dieter H eilmeyer notes, "No ne mak es eye-contact with the came ra, and Struth
remain s, so to speak, a cland estine pr esence within the elevated viewpo int . " 2 1
By now I need hardl y und ersco re the Did erotia n implication s of suc h a mise -en-scene;
the Per gamon Museum photo graph s are still anoth er exa mple of th e co ntinuin g fasc i-
nation w ith abso rpti on on the part of a rtists and audien ces. What I find str ikin g,
howeve r, is that certain critics who ordin arily admire Struth's work hav e been put off
by the Perga mon Mus eum pictures precisely beca use they were posed . On the occasion
of their ex hibition at the Marian Goo dman Gallery in New York in 2002, for exa mp le,
Peter Schjeldahl - one of Struth 's mo st ardent supp orters - w ro te that the show
suggests hubri s. After failing to get sa tisfactor y pictur es of ordin ary mu seumgoers,
Struth brought in a crow d of his ow n choosi ng. Th e pictures are gra nd and bea uti-
ful, but th e subtle self-consciousness of the "v iewers" proves de adening. Th ere is an
ineffab le but fatal differe nce in attitude between people behaving naturall y and people
behav ing natur ally for a ca mera. (l 'm co nfident of this jud gment beca use I felt the
off-puttin g effect of these pictu res before learnin g its ca use.)22
Similarly, Micha el Kimm elman wrote apropos Strut h's retro spective exhibition at the
Metropo litan Museum of Art:
75 Thomas Struth, Pergam on Mus eum 3, Berlin, 76 Th omas Strut h, Pergamon Museum 4, Berlin, 200 c. Chro-
2001. Chrom ogenic proc ess print. 171. 5 x 21 1.8 cm ; mogenic process print . 144.4 x 219 .8 cm; 15 3.4 x 228 .8 cm framed
180 .5 x 220 .8 cm framed
Mr. Struth 's failures have been contrivances: dep loying friends aro und the Pergamon
Mu seum in Berlin or the Pantheon in Rom e, or posing himself beside Diirer 's self-
portrait. Comp are th ose stagy photograph s to his pictur e of an old man in front of
two Rembr andt portrait s at th e Kun sthi stori sches Mu seum in Vienna. Th e exc hange
of glance s is sly mag ic. You ca n't simulate such a thin g. Photograp hy, a hypersensi-
tive mediu m, show s wh en you're fak ing.23
It is not hard to see what both crit ics are drivin g at. But severa l points are worth
makin g. First, Schjeldahl's and Kimmelman's responses are furth er evidence (if it were
ineffabl e but fatal difference in attitude between peop le behaving natur ally and people
behaving nat ura lly for a camera" (Schjeld ahl) and "You can't simu late suc h a thing [the
"exc hang e of glan ces," presumab ly between the white-haired viewer and the man in the
Rembrandt portrait in th e Kunsthist or isches Mu seum in Vienna - but do es any such
"exc hang e" take place?]. Photogr ap hy, a hyper sensitive medium, show s whe n you're
J..aking" (Kimmelm an ). Th ese are, of course, bedro ck assumpti ons a bou t the medium.
To cite Sontag once more: "There is some thin g on peo ple's faces when they don't know
they are being observed tha t never appears when they do . " Yet are these ass umpti ons
tru e? Consi der, for exa mpl e, a selection of photographs of men and women engaged
in different kinds of work from Lee Fried lander's 2002 book At Work (Figs. 77-9 ).25
The book compr ises six series of such phot ograph s com missione d between 1979-80
("Factory Valleys" in Ohio an d Pennsy lvani a) an d r995 ("Gu nd" in Cleveland an d
"Telema rketing" in Omaha) an d what almost all th e images in the various series have
in com mon is that they were shot at close range, apparen tly with not th e slightest effort
having been made to hide from the individual subjects the fact that they were being
photographed. Indeed not only are many of the photographs shot more or less head-
on, in numerous cases the viewer can detect evidence of the strong illumination that
seems have been necessary for them to be made. The question therefore arises: are Fried-
lander' s sitters " behaving naturally or behaving naturally for a camera"? Put somewhat
more brutally, are th ey absorbed in what they are doing or just "fa king" being so? If
photograph y were th e "hyper sensitive medium " Kimmelman takes it to be, thi s should
be an easy question to answer. It is not, and no matter what one's personal intuition
in this matt er, I take it to be significant that no one ha s ever suggested that Friedlan-
der 's subjects were not truly engaged in th eir respective occupations. 26 In short , Fried-
lander 's At Work photographs turn out to be more complex with respect to issues of
absorption and theatricality than they are usually regarded as being. I will add only that
th e date s of these photo graph s, 19 79 -80 to 1995, belong to the span of years that is
th e focus of the present book. This suggests that there may be far more continuity
betwee n the work of a "traditionalist" like Friedlander (but who else is like him? ) and
that of younger figures like Struth than has previously been imagined. 27
I come now to the "Audience" series of photographs made by Struth in Florence in the
28
summer of 2004. Struth was one of several artists commissioned to create works of
art based on Michelangelo's monumental Da vid in that city's Galleria dell'Accademia.
What he chose to do was set himself up with an 8 by 10-inch camera on a tripod near
the ba se of the statue and to photo graph tourists - of all ages, dressed lightly in shorts,
slacks, occasionally a skirt, feet in sneakers or sandals - as they came and went. In
severa l photograph s, Audience 2 (2004; Fig. 80), for exam ple, the space is crammed and
th e range of behavior and facial expression is fairly wide . In th e family to the left of
cent er, th e fath er gazes upw ar d respectfu lly, the moth er leafs throu gh a cata logue, the
younger son gazes up war d as we ll, and th e older son, baseba ll cap in hand, stands with
lowe red eyes wa iting to move on. A second fam ily to the right is livelier: the blond e,
youthful parents seem happ y to be th ere, th e daug hter plucks at her str iped sundr ess in
exc item ent, and th e somewh at older son is caught reach ing into his mouth as if to
dislodge somethin g from between his teet h . Still further t o the right a han dsome
(Europ ean?) wo man in chic black slacks and sleeveless cop with a yellow sweate r tied
aro un d her waist ben ds almost protec tively over her daughter - I am guessing at all these
re lat ionsh ips - as both gaze upwar d with ap pare nt intens ity. (To my eye they are the
"stars" of thi s photograp h and it helps th at one does not noti ce them at first - they are
our rewar d for taking time and looking closely.) In th e backgro und other figures look
up at th e sculptur e or talk among themselves, and toward th e left-hand edge of the
pictu re still ot hers wa lk aro und or appear to cluster in small groups. O ther photogr aphs
are less densely occup ied, an d in some - Audience 3 (200 4; Fig. 81), for instance - the
ra nge of behavior an d expression is mor e restr icted, to th e extent tha t th ere app ear
alm ost com ic accord s between th e pr incipa l figures (feet splaye d, heads cocked to the
side, the two central young women resting their we ight on opposite legs). I hesitate to
describ e such figur es as deeply absorbe d in th eir contempl ation of the David , but for
th e mom ent at leas t th eir atte ntion is held by it. Th is is true as well of man y if not most
of the persons in Strut h 's series - as in Audience I and Audience 6 - and in a ny case all
but a handful of Struth' s museumgoers app ear ob livious or at least ind ifferent to being
photo graphed .
Th e " Audi ence" series thus differs fundam enta lly from bot h Stru th's classic museum
pictur es, in which facial expression is minimi zed an d beho lders are often dep icted from
behind, and hi s " Pergamon Mu seum " series w ith posed visitors . In th e Florence photo -
gra ph s we sense intuiti vely that the actions and express ions of the touri sts - also their
distr ibution in space - are genuin e, spontaneo us, Did ero t might say "naive," one of his
highest terms of esth etic prai se. (We sense thi s, I say, but we might be mista ken: since
the advent of digitization it has become possible for scenes such as these to be staged,
gro up by group and if necessary figur e by figure, and then assembl ed int o persuasive
ensem bles. In actual fact that is not true of the "A udience" series. Howe ver, techno -
82 Thoma s Struth, Audience 7, Florence , 2004. Chromogenic process print. 178 x 288 .3 cm;
179.5 x 288.3 cm framed
1m111
l f;Jn~o 1s chr,vr ler 01, 111
0 " wbt e au forri1 '' , 1homf.1s 1ult , andreos FJlllll ky, Ili c del&haya 111
3
i11 the public nw11rcncs$ of his work A~ was noted in Ch.1p1< :r One, the early light-box
crnnsparcncil~ of Jeff Wnll, smr ti11g with T/JeDestroved R11 w 11( 1977; see Fig. !l), a work
iuM under live feet hiAh by over Mvcnand a half feet wide, pnnl)' inspired thiQdcvd-
opmcm. (Al,o pertinent wns rlw 11ew ;tvrulabilir)' of h1rge--sizcnegatives .mcl ~>rn,ittve
prinrin.g 1,,1per.)
Secon,l, Lhcvnl'r~ i:mphasts on the importance of ~die confrtlnr:nional CJ..pcncnce~
is correct a~ far ,h it gllS,~ i~ his clai m thac s-uch .1111xpericnce marks a bre.1k with
cradiciunal mode, of phorogrnphic nccprion and con~umptiun. (For &rthC5 in C mwro1
Lucida, :1~ I nureJ, phoroiraphic images arc ty pictll)' cncountcrcJ in a book or mnb'll-
zinc.) lr had nlwnys bC\:n possible rn frame phocogr.iph,, images :md hang them nn .1
walJ, hur rhcy ~till demanded to he seen up dose by one viewer nt n time, whi,h mcnnr
thm their cxhibirioo on a wall w:is a purely exrcmal m;m cr, as Chevrier a~ 111111 :h ns
say~. (.Jeff Wi1II on his feelings i11the 1960s and '70s: "eve n while I loved pliorogmphy,
I ofte n. didn't love lcJoki11g at phowgrnphs, pani c11l al'ly when they weye hung on wnlls.
I felt thr.'ywc1croo small for rh.1t formnt iind lookNI bcucr when seen in br,(lkS c)r as
leafed rhrough ill albums." ') 'rhc new wo rk, however, ls conceived for the w:ill from
the stare - or l11rhe ca~e of Ruff\ port raits, he soon c:imc to feel thnc the sm:111 formnt
he b:iJ lxogun wit h was ina dequate for his purposes - wid, the result rhm it enters into
a 11cwkind o f rcl.irionc;hip with 11, \'l~wc~, who ;ire thcmsclvts trJnsfornwd, rc,onfig-
as
urcd vic1wrs, in rhc procc,<,s.,\ l'mci .il aspt'Ctof the new rcl:ition~hip, Chevrilr righth~
suggt."Sts,i, an enforced diSUJ1cebetween wor.k and viewer. wirhour which rhc mutu.11
facing off of the two rhat unclcrlie1,rhr 11onoo of confron1J tion wm1ld nor be pcmiblc.
Third, Chevrier ,pe:tks uf a .. ,esriru11on- of-tht' 1nhlt<:111
form and says rhar the ,1rt or
the. 191\o~ anJ '70 s wns 1:argd y opposed to char form. By tht' arr of rhosc de.cad~ he
has in mind tht' u,;cs of phoc,,~mph) rhat were made by rht' wn..:t-'j1tunlisr~, use" chat
a1tugcrher downplnyed the :irtifoctunl or say nrcisricm,pects of tl\t' photographs them-
selves. t\ :; Chcvril.'rwmc s earlier in his essay:
Jc wM 011l y with ~he emcrgcn.:c of the Com:eprualisr nppro:1dwsof the hue 1960s tha~
the op11<1~ltio11between ,irtlst~ usi11g photography anJ phorogrnphers became explicit.
. . . Wirh rhc dJa llcmging in the lotc I y{)os of the vciy uorion of an arrwork, nnd the
shifr in fo,11sto idea and process, it was unclersrandahlc rhut reference w the pninrcrly
subjecr and the p:1radi&111 e,1u as :u\ auto 11omou~ form hould los, tbl ascen-
o( tht' 1.;1hl
dancy they h:id cnjoyc,1since the c..-.irliesc days Clfmodern an ., when B~udclnirc, in the
Salon ti<' 1846, J~~rre<ltht' )Upcriurit)' of a paiml.J p1c111rc over sculpm rc 11\ a 1hrcr
din1cnsionnl uhjl'Cl submim:J co v:mat.lcmsin point o( view: ~ A picture ... i~ only
,,hn1 iL wan t~ co be; there i~ no W:t) of looking at it fm lwrf 1h:1n on it!>01\11 terms.
-Pain1i11i;has bu t one poinr uf 11rw;it is exclusive and .1h"'1lu1r. ~ In the U11i1!Stares
the n:actmn :1i;:11nsLrhe don11nn111 model of d1e rablcuu form wa, cveo more .rnirrnu ed
hecau~c or 1hl' :J5Ccnda.11cy or the modernist theory forged hy Clement Grt-c11he rg ru1d
hi$ form.1list circle. Michael rricd'~ cs.,ay "Art and OhjccthooJ," which denounced
the rhcmricaliry of MlnimaJisr sculpnm, appc;-iredin Ar1{()rt1t11 in 1967, It hnd cornt1
111response to Rohen Morris's "No rcs 011Se1ilpt11r e," p11blished .1 year e:1rlil'r in rh~
sume journal, which used 1111 -illu~ionis111or Lil<'thre1i-dlnwnsio1111
: radict1I u11ri I object
14.d
to assert the spatial valu e, whi chhe believed was va riable, of the new '\ 1nirnr)'" forms
of J'v[inimalism. "The betrnr new \vork ," Mo1'ris remarked, "cakes relatio nsbips Ollt
of t'hc work ,111dmakes them a function of space, light, and the viewer~~field oF vision .
. . . One is mo re aware rban before ~hm he him$d Fis cstablishi,ng .relationships as h e
ap 1we htnds t he (1.hjcct frurn varivus posit ions ,1nd und er v<H)'itlgconditions of light
1111d space ." I11. 1 I
(The best account of rhe ~rse of phorogrnphy by concepr11 alists is Wall's m~gistcrial essay
of 1995, " 'Mflrks n f lndifforencc': Aspects o.f Photography .in, or as, Conceprnal Arc:.''")
Chc;vricr's poi{lt is thnr by ,;989, wh en his essay appeared, all rhcse issues he.longed to
rhe pa st:
And if, around 1970, photoi;rnphy, ,1s used by rhe Conceptua_lists, broke the_tnirr or
of pail1ting- or, rat her, of rhe tab leau .. . rhe evo lmi on of a rtist ic el(plonltion and
expetimerm1tionhiis, since then, 1\lrgdy restored the model that h:id previously b.:en
overrnrned. Many _arrisrs, h;wing a$simjfared rhc Conceptualistt explorat ions to
varying degrees, have reused the paint:e rly mocli:I and u.se photograph )', quite con-
scim1sly and sysren,ar.ic: ,lly, t<.>produce works that srnnd nlone und cxil)t as ''photo-
graphic painrings" . . . l 1:1;4]
Polltth, th e restinuion of the ta.hleau form that Chc:vder'scssa)' signals i$ undersrood
b.y him as S(>rnet g other than a simple return to a previous state of affairs, or inc.l
hi.11 ecd
a n atte mpt to give to photograp hy rhe prest ige of painting by 1:1s tu:ping or sharing the
lartc r''S po~iti(>n on the w~ll. Rarhe1-,he .sees in the new developments an attempt "to
reactivacc a thinking based on fragmencs, openness, and eontr.idi.L-rion" - the opposite
Jespeccively of whc1lcnc~s, cornj,os itional clcmm:, and internal cm1sisren.cy, all of -.vhich
might it)()scly lw understood as high modernist ide()ls, This i~ also r.heforce of rhe ~ratt-
men t that ncirher rhe fronrJ.1 licy of the new photogrnphs nor rbeir ,rn.tonomy as an
arrwork is ''suf ficient" as an nltim atc; ~lesideratur\i. rt is not hard to grasp why Chevrier
insisrs on these points, aJlCIonce. aF,uih some of what he si1ysis ~urcly cQn cct as fa r as
it goes . However, as sccn in th(; ptcvious chapters 011Wa ll and Strut h, issues of absorp
tion and antitheatri.:ality are plainly at stake in some of tbeir mosr charadc risrit: works
(indeed Srl'llth's museum pictu1cs, in 111)' re,uling, are cr.uda lly ;tbout the closure to the
photographed viewers of the paindngs being looked ar, while notions of ,:sthc.:t ic auto-
nomy are ingeniously exp lo red i11 the f\11dir.:m;r.: ~cri1:s), 1vh ich is to say t har .between rhe
works in ,111 <:stion and che body of pai nting examined in Absorption and Theatrii'ttlity,
Coi1rl:,ct's.Realism, and Mqnet's Modernism, as well as rhe high modernist painting
and $CL11 pturc ~bampioned ag.i in.st minimalisrn/lttera lilim in "Arr and Objecrhood" and
related CSSll)'S, there exists a11 affinity as imponant as it ha.s been alrrrost cvmp lete ly
uiuecognized .3 T his i.n tL1 1n i~ nor ti) ckny the _pertinence of Chevrier'S'claim that the
new work has been "med iat ized by the use of exrrn-pa inter ly models, h~tcwgeneous
with canonical art histot y;" ~rn1ot1gthose n19dds C:hevrit:lr t.:ites ''ph ilosophic11 l analy-
sis,'' 11 ch1i111 rh~,t bc:Hs a suggestive relation to the cliscussioi1 of Wt1ll's aJ'uin rel.Hinn
ro Heidegger and \'{/ircgenstein in prcvio1,1 ~ chapters, wd ' 5cinc111a ," whi ch of COUJ'SC'
applies directly to Wall ;rnd Sugimow, not to mencion She1'man.
jea 11-lta n<;ots ct1av 1,u r bn 11,e " lab l!mu ro,m", {llt)rrl as 11 1(lreas /;l i1sky, luc de l.'.lhay0
.111. <11 141:i
Finall )', th c French word tall/call ha s 110 ex act equivalen t in English. " Pictu re ce rnes
close st bU I it lacks th e connorarions o f co nsrrucred ness, of being th e product of 3 11inrel-
lccuml act, thar th e Fren ch wor d C:lrr ies.' To cite Chevrier one more time; "T he photo-
gra phers o f toda y wh o consider the mselves an d m:lni fCSt themselves as nnis rs raking c
imo cons ide ration rhc public spaces in wh ich th ey exhibi t ca n no longer merely 'rake'
-c
pict ures; rhey m ust ca use the m to ex ist, co ncre tely, give th em th e weight and gravity,
withi n an actu alized perceptu al sp ace, o f an 'object of rhough r' [a phrase o f Hannah
A rendt'.sl ~ ( 1 20) . T his 100 is apt an d co uld serve as a ;ustificlIlion for retaining the French
word - in connect ion w ith Che vrier, w ithout ita lics - in wh at follows . l~ot:
roi ncidefll:rllr , Besramant e c,111OOhis ea rlr pbor ograph s o f 1'(O \ 'C'I1CC' an d north ern Spain
Tab/rall.Y.!
ln 198 I Thomas Ru(f, then still a stu de m of Bern d Becher at the Kunsrakademle in
Dusseldorf. began m klng po rtrait phot ograp hs of friends and acq uain ta nces from the
aClldc lllY as well as other pe rso ns with whom he came int o contac t. According to the
introd ucto ry not e onthe early por tra its in his acc j curnlogue raiso nne, Ru ff useda "iew
camera w ith a stu dio fb sh, All th e portr a its follo w :1 single set of protocols. Ruff
"decided o n a bust po rtmir alld n mo de of re prese ntation rhnr woul d be as neutra l as
pnssihlc in o rde r to foreground th e stncr's face while at th e sa me time avoiding allY
psychological int erp retation ; ' th e note read s. " Every siuc r wou ld be phot ograph ed like
:I plaster bust , based on Thomn s Ru ff's ass um ption tha t ph ut ogruph y shows only the
surface of th ings anyway. By 19111 he had alread y defined the specifications for his plc-
ture s: th e sitters, w enring thei r o rdina ry clothes and seated on :l 5100 1, would be
photogra ph ed with a serio us, calm expression on thei r faces. There was to be no show
o f feeling, like smi ling. grinning. or 'flir ting' with th e 0 I111e r;a.~1 "The people have to
know wha t my port raits a re like in ord er to behave in such a wa y that the result is 0lIl'
o f my portraits, ~ Ru(f has said .' No effort was made to mask or min im ize facial blem-
ishes o f a ny SOrt . To av oid mon oto ny Ruff nltowed the sitters to choose from among
different colo red backgrou nds. The initia l crop of pholOgra phs measured rwenry-four
by eighteen centime ters; in t 986 he decided 10 en large so me of the portrait s " bur soon
realized t har the color became tOOdominan t in la rge fOfmat , ~' Thi s led to a new series
o f port ra its wi th wh ire o r off-w hite ba ckgrounds , ta ken with a view came ra thai pro-
duced a la rger nega tive th an befor e and primed on th e la rgest phOlogr;ap hic paper avail-
a ble - .:.1 0 b)' 16 S ce ntim eters , or just und er seven (tt l high by almost five-and-a-half
(eel wide (Figs. 8; an d 8..). With a handf ul of except ions early on , allthe new po rtraits
were rigo rou sly fro ntal hust shore, an d the lighting was arr ang ed so as to elimina te all
shado ws. w hether on faces or clothing, The effect o f un iform ity was therefore greater
th an in the earlie r por traits . The se ries carne to an end in ISl9 1 when the paper was
discon t inued ,
M o re th an his ot her relativel y ea rly serie s - the inrcriors ned the houses - the large
port rait s establishe d Ru ff's reput ation 3S one of th e leading phot ogr aphe rs of his gen-
'ra tion; ven today in fact the1eis . 111ething paradigm,u ic.about them, a sense in which_,
imply pu[, tI 'Y St:111 to r pr nt ru1;ilmost ne essary ph ase il'.lrbe emergence of the
new l'tr ph ography.1"
Ruff him elf has b n 11 g if n.rr pli it ab m his inrenrion . Here i a cy1,l al
orhi11
xd1a11gefr ma 1995 int .rviewwith Stephan Dill c1m1t.h:
TR: T don't give viewers :.1 chance a.nymo1e to draw ~on fo ions about the lives of
the peopl e ] porti'l!Y,
sn: And th at nn noys vjewe rs?
Tlt: 1 don't know wliat hey want to find out ,1bout the sitter whose face they see
in front of h 111.Do th y wanr r know d1 pe.l' n 1s Jljimeor add.res. or what tl1cy
do for a living, m- d th y wanr co k11 ow om't hit1-' about their inner lives? What
good would thar Jo?
sn: uriosity gossip, admirarion -id emili.carion.
Tll: Some imcs I think ir's outr geou the way p ple treat my pori:raiI. Th y rhink
you ca n just sta nd in front of tJ1cm and ma ke up a t heory. 11
I 11 ranco,s cil!:lvrltu on Iha "tab leau Jorm"; hom1:1sru rt, nndrnas g ursk y, luc de lah ye 147
'rhc prnblcrn, RuH says in thi: ~arnc inicrvicw:
i~ thi: subjt:crive impression rhnt I have when 1 face someo11 c else. Tlinr's the trouble
wich()Orrrair ~. You're living your life and rhen you gtt to know ~wople, you likesonw
more chan otht'rs, and these c111otlo11s ~ur face when you look ,lt plcrnrcs rba, depict
a pecson. lo other word,, these \ensncions rhar you hnw rcg,1nli11gother~are the S.'lme
when you're faced with 11 ~c.lc.1Jn picture...I don't know if-you'd coll thar n 111ix-u_p or
correct behavior. You prohahl~ projecr your own life ~pcricm:c into rhe picture.,,
IWhere-.1.~) !Jff yllu think in terms of projected ,;urf.u:c.~.rhcn rhl.'objL..::thas nothing
to do with iranrmore. I he'rea..:11011 to the star pictures(,1001hcrscri,:<;of phorographs
Ruff bas rnac.lcJis ~1mil;1rtn tht:ctlecc chc.>
portraiLShnvc. When p.:tiplelook ar them.
they mix chem up wuh rhc rc.,1thing, holidays in M.'ljon;,'l wuh he:1ucifol\tar-~'t:lldded
~kies- or rhe houses, they lonk ar rhccurr:nnsand LI"} ' to ligure tJutwlm son of people
11,e hchrntl thfm . ... [But wh)' can't rhcyl gu up and soy, ah.1, big photogr-aph.big
beJJd,rakc the picture :i:, a picture and say, thank you. Mr. Rufr. well done? [106-J
A~ Ruff has also said npropo, the ponrn11s,1don't hd ievc in 1hc psychologiziog por-
trait ,,howgraphy that my colleague.~do, rrying to capture rbc char.1crcr with a lor -0f
lighr and sb3de. Thol's t1bsnl11tdysuspect to me. l tan only show rhc surfuce. \'Xlbatever
goes hcyond rh:-u1s more e>r less chunct. " 12
No wonder RL1ff'sphmngr :1ph~ 11r<:ofrt:n said to be "cold," us R6gis Dunnd observed
ln 1997 in an iMen:sti11 1,tcs~ri)1 :
Generally the rc.:r11 rns rhc /lor trnlts, occ(l~ionnlly the I /m1sas or the S1art,
arl, c:ooc1;
mrcly tbc orher work s. What is mcnnt hy this? No doubt, i11 the c:isc of Pnrll'aits
:ihovt nll, that they "cxp re~s" nothing, that rbcy rcvc.:-:t l nothing nbom the ir1ti1m1te
pc.:rsonaliry,rhe identity, of tlu.:ir moclc.:ls.
That they ceU no sw ric.:s,no anecdotes. And
rbcrefore, chat the}' ~ay nothing ,thout rhe phowgrupher, uh111 11his rhougbts ordesirt's
in n:lat111nro his subjects. Or mther, that hy saying norhing abuu1 a ll chat, they di!ilrly
manife5t Iris indifforcn..:c,hi) bo:t,IJne,;s." 11
i\s Durand also remarks. Ruff's phorographs~are not windows opcnin_gunro chcworld;
UlC>du no t st,gc a brief momcnc of Lhcworld's theater. They appear JS highly polished
-urfuc1--s,through whkh u r\1piJly appc.'lrs quire-vain ro reach for '.111orherrl'.llicy.'They
art> prrfe.:t.ly a.ml mi~ ,cl> rl'aliscic' and precisely bc:L11u,cQt rh1 l"C':'llism mey under-
LUl any attempt ro look for dut'> thnt would allow one ro go hcyond rhem" (r6- :17J,1~
For Peter Galassi, "Ruff'~ porer.msprove ma fare-thc.:-c-wcll thnt phorogrophyis equally
ca1,ahlc of rCC'ordingcverythinj.;.md rcvt-almg nmhin~~ ( 1 ~,. (He ,1J~ordcr.. 10 the large
pnrrraics as ~monumcmal icon~ of blankness" [2.71,)Jc i\ rdcvant t hat Ruff's portrait
phut0gn1ph,; dcp1cr ,1 largely honmgl'n1:11u~ popularion 0 fricnc.l~;1110 at
,1cq1L1inranccs;
nny r:m. norhing could he 11111n ~lien to his purpost:' than ~truth'~ chokl.' of culruroll)'
diverse ns well os malti ,en~r:.rnon:i)r:imili('S ns tht subjects nf his fomily porrrairs (to
bt discussed la Chilpter S!.'vcn).1' t\.~ RuH also says, hi$ ponrnil'!, n111 ounr rn enlarged
p:issporr phowgrnp hs - in fact much of rbei.r persistent shm:k-t,dfocr nrlscs from theg ross
cu111rn~r in si1.e betwt'e11 his ltH'J,;(' colun;d portra its ctnd the riny generic nnrn,. 16
traits in the ordinary, vemacuh1r ~enloeof rhc term, rhnc something like ,1 r:1dic:.1li1nrion
of the portrait in the inter~, of focingness mkes place. with deci:sivc import for subse-
quent pninring. What set the stage for that dcvclopmenr was rhe ultimate fo,lurc of rhe
Dider otian project of dcnring or neutmlizing the prescrll!cof the beholder,whether
through 1hc clnssic srrareg)' of absorbing the depicted pc:rsonages within the pnindng so
a~ to achieve the mecaph)Sic:,11 illusion of their complete unawarenCSl>of heing beheld,
or 1hro ugh lhc very differenr 11,e.1J1s by which Courbet, Mnnet's immediate predecessor,
sought hyperbolically m pni111hi111 sclf into his canvases, llll effort which, if it could have
succeeded (needless to s<,y it could noc), would hnvc removed him as first beholder or
paintcr-hcholdcr from before the pninting.
ln ocher worcl~, by 1860 the sl1preme fiction, ndvocoted hy Didcror, tlrnr pninrings
are not mado.:to be beheld cou ld no longer be susrnini.;d.Whac took ics pince i11Mnncr's
art was a new acknowledgment rhar paintings were inckcd made to be beheld, an
acknowlcdgmcnr thar l describe {i11Mmret's Modenrism ) in cem1S,of an attempt to rnnkc
not iusr roch paincing a~ a whulc bur every bfr of its surface - cv,i:rybrushsrroke, so to
speak- face the hcholder as nc, er before. This is what it means to speak of ;1 rndicnl-
i1.uion of rhc (froncally facing) pomair, and as 111the c.':\Seof Ruff what was required
was a shift of emphasi~ from considerations of p,ych olog)' or social idenricy, wl1it:h
wouJd have worked ngains1 that mdicali1.arion, w somerbi ng more c11com1,a~s111g,
surfacc-oricnced, in d1at scn~c absrrncr. (Maner's hrilli.1111 and scrik-ing Portr,,it of Vic-
torine Me11ren/f 1862.; Fig. 8 s1is the "pare" porrrair by him thar mosr exemplifies rhis.
l should ::idd that striking11css ns well as facingncss be.came a major dcs1dcrnrum for
M.anc11111dhis generarion.) Ruff's phrnse for thar so111 erhi11 g is "die pictur e a~ o picture,"
111a11 chevnor on l hti "tflhl8dU 101111", thomos ruff .inclroas 911rsiy, lu<. cfolahdye
f1<111r;o,s 161
IUi Thomas RH f House N,: J J, 1988. ,hromog ni proccs. prim. 1S x 2.3 9 cm
and of our. e km t be rune renown cl a~the painl' r wh m re rlrnn tin} ' od1 ~ pio-
neered a rcvolutionar on e n with "rh pair ting a, a p:iiinting" whi h ililtim rune
to be glossed 111t rm hmh of th mat riolicy of pi m'm and the flan, ss o{ the supp ort .
The latt r is the "form Ii t" or Grce11brgian inrcrpretari .on, which in Manet's M d-
cmhn I rgu i an ilhholl'ic:.11pr j lion ba k onto Manet art from 1he persp ' ri
of (rnpr ssioni.m ,Ind u c. or 1110v ml!nrs.J al o st1ggcsrrhar Nfancr 111the 18 o
sto d as th :n 1tithesis t the Rea Ii. r j urb r-Jike
was in (Hll"1dt of th('!tabl cm, 11nclcr
mor C(W or fr.agm nt ithout knowing i11 achra11 ' act l)r wlrnt that , ould in olv .
Althou h this is not qumt wl m Chevrii.!r m. , n. h c, bl au, ic pr id . a "rt!ri'r reason
F.orrct:ii11ingtha t t rm i11subsequ nt di,cussions of r ">rt rap I tion from h vrier's
Cll, :l,
f do 1tot wi h to drm t lo an an.-ilog}' b rwccn Maner and Ruff or between
their re 'P" tiv.: histori al ir umstnnc s. 1fowcv r, it is sugg sci c to ay th lt..:at rhar
aerrw J ci ive juncm r . in the hi l'Ory o.f modern pictorial art - th,c rise f mod,rnisr
painting (m; i1 :1111 to h k.now11 in d1c 1M60 and the m1 ~ence f larg-s ',le ,1r
plioc graphy iri the late T97os .mnd'80 - th e portrai t or porm1i -tablew (n t rm I u e
in Mau ,,, Mod 'rnism) became a vehi le of 1tu1jor an-1bition, one mor over that requir d
a certain blocking r evn atio.nof fo11Hhlrkio<lsof content i otdc , l ad1i v , th new
mud of addrc w du: \'mew r whi h l mh de lopm nr ncniled.
Bcfor leaving Ruff! wa 1ir t!.l rai.se forth 'r rnn - of p sihilitics. rf th pnrtird nnalogy
with M:m t i a ~,ll 1 rsuasive, wbm nl ut ch id ri rhat the ''Hou s," 111p~uti ul.ar
those phowgraph s in rhe series rha1 dcpic1 fa~ndes pa,allt.I to rhc picr1Jrcplnne (Fig. 86),
mi~hr bc una logiicd - perver~cly, so ro speak- wi1h ccn:iin works hy C6mnnc? (What
is pcrver,e :ihour the relation i~ summed up in Ruff's remark ro Thomas Wulffen thar
in rhe .rn:hirccrurnl photogr:iph~ "rhe picrurc q:im ;u the heitinning w1chche Ontground.
1hen it has lO go srraighr inro tf1c vcrtic:tl. and then there's a backgrow1d. The re musm'r
be anr1hing d1~turbing in the middle" (961- pred<,cl> the :ireoa of Ch,nnc\ mcm deter-
mined painterly acn\'ity.) Also, that tlu "Stnrs" (Fig. 87), large pho1ogr:iphs made from
ncgm1v<,~of 1he Southern sk)' purchased from an obsenarory, might he unJcrsrood-
again, perverselr - in relation to lmpressiomsm? (N iglu morifs instead of darlig ht ones,
and clc,pite a certai n all-overnc a comp lete:absi:nce of surfaces.) And that the ~ Altered
l'orcr.1ics, tt in whic h rwo fronrnl photographs of cliffcrcmpersons nrc superimposed upon
nm: .ino d, cr, h:ive a v;:igucly Annly[ic Cubisr nir?zo And tht1t the "N udes (J-'ig.88) -
adnprcd from images on pornographic internet sires - hnve something F::rnvc or pcrhnps
,a 1n llaricois chev11e1,111llrn 1abloau lorm 1ho11rns,u11 ilndreas gu,~I v luc i.Jelahave 153
88 Thom.,~ Ruff, 1111des
tl/)14, 2001.
Chro111oi:cnic
process prinr
with diascc. 11\.1. x I r 2 cm
German cxp rcssionisr about them, :u least as concerns their often garish co lor? Also,
thar rhc .. Machines" recall Leger?Also, thar Ruff's reccni enlarged pixel photos (Fig.
89}, based on blocks of eigh t-b)-eighr pixels chat arc unreadable rcpresenc.11ionnll)'at
dose range but begin m make scn~c at a di~tnncc, recall the poinrillist strncnm: of nco-
impressionism? 11 And so on. I do not ~uggcst chat Ruff himself thinks about chose wries
in such tcmu. or rhnr the associations I have just named arc m be taken ns scriousl>~
that betwct'n the ..Porrmjts" and Manet's paintings of 1hr 186os. Yer, consider these
proposals ns loosely as one wishe<i, there remai ns a measure of sheerly forrnol plousi-
biliry to at leoi.t a few oi them, which I take ro be an indication of the persistence not
only of certain problems of depiction in rhe modern period bur also of the conrcmpo
rary relevance of some of rhe solurions to those probl ems rhar were a rrived nr by the
leadi ng moderni sts of their rimes. Ev(:11the "Newspaper Photogrnph s," based on imngcs
dipped by Ruff from newspapers and reproduced twice tbeir origin.al size, wirh no
caption or accompanying news sto ry ro specify their meaning, can be related to one of
the cenrral problems of hisrory painting in the second half of the eighteenth cc11t11ry: the
a l canvases by providing the
need co secure rhe instantaneous intelligibility of i11divid11
beholder with advance knowledge of their subject matter (ideally, ;:itany ratc).22 In con-
trast, the absence of ;:iny rcxnrnl frame in the " Newspaper Phocogi:aphs" is meant to
disclose the residual LntclUgibiliry of the images in themselves. F-T.crc roo I 1tm not sug-
gesting that Ruff was awnrc of the hisrnrical resonances of his project. Yet the reso
nances are there, which is part ly why the projcc.:tdocs not see111 merely quixot ic.
Jean-frani;o,s chevne r on the "tobleau form"; thomas ruti . andreas gu rsky, luc de lahaye 155
unday 1rnUers, iiss fd rf
oll crior, o per om, < f dif-
conccnrrarion of the most coru.picuous among rhem on 1he rurplanc ju!.1hfnng off m
chc right of che middle of the picrure (1he "focher~ seared on his bicycle m rhe righr of
the two young boys i~ pcrh::ip~g,ui ng through a pair of binoculars) - coO\'cys the mong
impression char tht.!o nluokers are unaw::ircof rhe phorogrnphcr's prcscncl!(and by impli-
carion rhc viewer's). Thi~ is of course a rn1clirionnl nntirhc:itric:al motif, ns in Chorclin's
S1ttde11t Dr111oi11g,
Yu1111,11, gla nced ar in connection wirh Wall's Adrian Wl(f/kl!r, or Geri-
catilr's R(f(/ of tlie M1!d11 s11:rnd "Adelphi Wharf." Need less ro say, if S,wd ay SlrCJ llers,
Diissdd"rf Airport were unique in Cursky's oeuvre in these respects, ir would scarcely
be worrh 1he :men rion givt:n it- bur dw opposite: is tr ue.
Another work of rbc s.imc y<--ar,K/t11IS{mpass ( 1984: Fig. 91) is of1e11l."itcd ::iscrucial
in hi~ development. According co Gursk), he rook 1hc photogra ph ar 1hc n..-ques[of ::i
companion while ,acatiomng in w111erlnnd.Six momhs l:ucr, when he enlarged the
nt:g,1ti\e,~ Peter G::il.:is_,i
writes, he ~wa, cxcired ro find ~Llttcred acroSl>the land.scape
chc tiny figures of hikers whose prc.>senc1 rhc phorogr::ipher,unlike his camcr::i,hnd failed
to rcgistcr at rhc 1irnc. I le rhus recliscovcrcclone of rhc oldest, simplest, ::imlmost reward-
ing pl1:11s
11res o f photography- rhc pnricnr ddecrnti on of clctnils roo small, too im:idcn-
1ean-lran<;o1schev11e1on 1he "lllbleau tom,. 1ho111nnru1t arid1eas gursly, luc delahavo 157
rnl, or ton overwhelming in their inexhaustible specificity t(>have been noticed, ler al1iJ1~
pondcrcd, at rhe moment of c~posurc" (:?.2. - 3), G;'dassigol's un tu r:cm,uk: "The effoi:t
is ,ill rhe more seductive when, as in Gursky's Kla11se11J111ss, rhe phowgraphcr wasnlr1mdy
remote froin d1e seen<.,wli~,seantlike ,,ctt)r~ crn1set1ue11rlyse,:111 :ill rhe more pttr):lQ$eful
be.:ause bli$sfu1Jyun,,ware of the eye drnt t'egards L.licm"(2';1), All rhis is fine as fhr ~s
ir goc~ hut I w,~ nt ro go farther - by 11nw the reader will have :inridpated me- :tlld
suggesr th:11the tiny tigurt:S'"111 , nwMenc.ss<Jfthe eye thar regards them,. aligns:M,/,r11si1
/Jass with nn antitheHtricul csthetic. What in Kla11scnpass gucs beyond St111daySttollers
1s rh,1t.our convicric,.n~s w the riny figures' (Jhlivinusncss tc>bcinJ.(beheld is bas(ll 1w1
on any int11irivnQll our part of their .sccmlng engrossment 11 1 wlrnt 1'11cy are dning (.tlwy
11rctoo mimrte for rhatl, or even 011their uricmation rclatil'I' 10 the camera (it 1)1inlly
rnartcrs \\1bethti.r rht:y are rurned nway from us or not), hue. siinply- more fui)datnen ,
r;illy - of how disranr from the camera they appe11r to be. Tlrn1is, rhe tt:c:h11ology of the
rclephoro lens, !'01?,erher wid, rhc ability of th<'color film co record c:<trcmel)'fineclot11ll
has crwhlcJ the prnd11c:tionof :.1picture in which the hikers and climbers dispor~ed.nc;ross
the hjjjsidr t11cinsrnnrly reeog11ii 1cd hy th!! bd10ldor to be coo for aw:iy tQ be engagi11g
(1hat is, ro have tngN\Cd)in any act of recipt'ocf11 seeing. Eveo more than the slieer fa.ct
of d1stat1C(',rh,s negation qf the very possihilit)' of recipcociry has rbe distfoct effoet of
"severing'' the l111mansubjects, aud i11e.ffccrrhe piL,tt11't\ from rhe beholder, thereby
declaring the picrnre's :mritJ1earricaliry - ,1lso its autonomy Or' self-sttfficic11ty- itl qvln
tcsscintially photographic terms (fl painting wirh co111p arabl)' tiny figttrt'sclisporsed::ieross
a hillside would havv 110l'hiu1-: Jike rhe same i111pt'lrr). -Ll
From chi~11roincr1r,,n, disrn11..:c '' device pl:,ys;:i decisive role in Gt1r$ky's
ns ,l ..se1el'i11g
ltrt. So irn ~"ample in ot.htr woiks trmn rhc r9Sos - tor 1:::rnmp le1 Oiisseldorf, l~hd11
(1985), New Ye,1r'sSttiimmers ( 1.988), ,ind f1sl1em1e11 , Miilh,11 111,1.tl. l~uhr (:r98?, !Jig.
92} - 1i11yfigures, few or many, :ire seen pursuing lcisurc-scylc acrlv,rics (suubarhirtg,
t:1king a riwnl swim in freezing wnrer, fishing from the banks of rhe Ruhr), and in all
rhrce i111ai;;cs the ,<icwcr11,raspsinstincrivd y thar tlrcrv is not tht! slightest possibilit) th~r
rhc h11mansubjects ar<aware of being phot'Ql,:l'ilpbeJ.A1wd1crfoarut(! bf these w.Otl i.~
thar becomes ;i hallrnnrk of Gnrsky's ar't is rlw w,1y in which rhc vi<,:wcris both led t()
,1pp1oach close in order cu tHseNn precisd) whar is gnittg on 1n tht:rn (Pishemi e.11.
!v!.i//hei111drives tlii~ home be,a us(' of how few Jigll rns ir contains) :rnd rcquieecho s.tand
b,1t:ki11order ro rake in 1he picn.11c ,ls ,1 whoh,;, l~vemually this was-dcSCJ ibcd hy Cu1:sk)"s
.:ommcrn:irorsauJ Gwsk> hinl$C'lfas a double ctt1phosison rhc rnicrosco1,icand r.nacrc)-
scopic 11spccrsof rhc picn1re; as Gursky wrircs in a com:sp(ltldenc1:of r 998,
IMJy pictures really an becoming incre.isingly formal ,111d~bsrract. A visual strltC,ttrne
app(:.irsI'<>Jom in:.ircthe real cvcnis sllbwn 111my pictures. I suhj 11g,llerhe real situ11~
rion co Ill) ' artistic concepr of rhc picture . ... You never 111>ti-:e arbicr:Jryderails ju my
work. On a formal le. el, c.:ou1H lcss i11terrehrrcJ micro and 11111cr(1Stt'Llcni
res al'C/wovtm
mgerhcr, dctcrmi11ed by :rn ov1:1, tll ot'ganls:ul,,nal ,,,i11
ciple. A 0lo~cd microcosm
which, thank s to my ,Hsn111cednrcitudc rnw111d my subjccr, :illows rhc viewer to re.COB
nise dw hin1:1<: $ 1ltat hol<l(he systcn1 togethcr.1''
These remarks rd er most fully to his pictures of the 1990s (and ::ifrcr), in which
"abst ract" co11 s iclcrntions come increasingly ro the fon.:, hut their relevance to works
such ns 1hosc I have been i.:011 $idcring is also clcnr.
Anol'lwr fcllture of the la1:rer is thnt in a ll of theq11hc phocogrnph has been tnkcn from
:1 point of view loc::m:da r some considerable height nhove the scc.:n csY A four1h picture
from 1hc 1980s, Swi111111 i11gPnol, Rali11ge11 ( 1987; Pig. 93), oae of Gurl.k)", de.fining
works of that decade, exemplifies 1.bcapproac h. Trshows a communit) swimming pool,
shot from above ac an oblique angle ro the horizon. The pool itself, which c,,:tends
beyond the l.-dgcof the picture tu the right. is irregularly ,hapcd, adding co rhe rnrerest
(to me. the shape rccnlb those of Fr-Jnk tella's eccenrric polygon pai111ings
of the 11101.if
of 1966). The water appear; light turquoise, and 111rhe foreground rhe pool is bordered
by a ,,atio of differenr-si1cd ncrnngular ciles. A few dozen swimmers, ,;ccmrngly nll
youn11,disport chemselves in rhc water; orhcrs lounge on benches or ledges or simply
srand :iround; while on 11 large grassy expanse beyond the pool mtmerous sunbath ers
lie on towels or blankets , scand miking, or ot herwise relax . Beyond rhc gr.is:. ;m : trees,
and nhnvc the t rees one glimpses a nanow strip of sky. 0 11c ,nigbr Lmag ine, fo-:cclwit h
such a photogra ph in isolarion from any other of his works, that Gursky's inrercst was
soc.:iologic.:
al: rhis is how you11 g Gcrma11 men ;;ind women at a certain place and time
rela te ro one anot her a nd to their surroundings with respec.: t to the institution of rhc
pub lic swimming poo l. The macroscopic aspecr would rhen refer ro the institution as
such (and beyond rhar ro the culrnre of which it is a pa rt), the mic.: roscopic to the minute
parti culars of rhc behavior of several dozen individuals. The focr char the latter appear
obliviou s ro th e photo gr.iph er's pres ence would thu s functio n as o Further gu:1ranccc or
the reliability of the picture as a socio logical document. (On ce notic ed, th e coup le who
sit absorbcd in conversation on the second bench from the ldt at the bocrom brings tbe
theme of unawar eness ro a particu lar focus,) There may be more than a grain of truth
i11such a reading, especially as regards various pictures of the 1980s. Howevet', far more
imporrnnt than considera tions of this sort is the viewer's feeling of rc11 rni11in
g wholly
ouu.h.lc rhc pro.ceedrngsthe picture dcp1crs- chc feeling, 111 pur ir srrongly, clut he or ~he
i, M~vcrcd- (from here on, no quoca11on marks) nor 1u~tfrom che doing, uf the swim-
mer~ .1nJ ,unbarhers hut abo from the image itself, whid1 in rhar sense is formall) and
onrologic.111) com1m:hen:.ivc and complete, however radically open to 1inv it m:iy also
he (more on this openness ro view shortly).
1hcr, lirn.:r picnirc by Gurbky, Tokyu Stoel~ xd1,111Re
Or c.:t,nsider :1110 ( 1 yyo; Fig. 94),
seen by Cnlnssi as 111nrkin g :1 new ph:isc in his arc. Fm 011<.:
rhi11g,rhc subjc<.:
[ signa led
a bur!(coning imcrcsr in contemporary themes; for annrh cr, rhe picrurc itsclf introduced
a new "image model," to use Galnssi's phmse, according ro which "t he aloof vanrngt'
point 11mlsmall figurci. pcn.istccl, but chc crowd now filled the frame in a dl'nM: mass
from 1..'Cl&eto t'dgc- (2.ll). (Formally. it was a mo,e tow:ird all-ovcrnC\\.) In addition.
chou~h C,.11:u,si docl>not mcmion it, rhe rrnders' absorption in their rransacr,ons, which
lwrc :md there 1i. fer,cnt bur on the wholt!'tends roward uniformil) J.'>doc., their dress;
more on this 100 inn momenc), quietly underscores rhc l'icwcr'$ conviction rh:u they arc
unnwarc of bemg photo~raphcJ. (So for rhar matter dol '\ 1he blurrin~ of v.1ri<,usfigures
rownrd the bonom of rhc picrurt.'.) Of 1his and stmilnr works - moH hrnndly, of die
" level of nbsrracrion iow:m l which nll of Gu,sky's m:Jrurr picrnrcs iilt'ivc" - Galassi
uan fr.,n, o, hl!!vllt! on the tat loau lorm thom11, ru1, and<e,1s 11urS~'f uc delahave 101
writt:s, 'Th e a in.1is Ni ohlitcrah: the co11~i11
gc11c:ic
s of perspecrive, so thar the suliject
appears ro present itself wirhour rhe agency or inrerfenmec o( :in observt:r; and to selci:it
ao(l shape the view so that it is not ,1pan or :in as_pcctbm a perfectly sclfconraincd
who le, co rresponding ro a mental pict ure or concept" (30). (l 'his (clares to ~hr998
remarks by Gur~ky a ltcady cited.) Gursky bin'lseHhas s:iiJ , " l sta nd at a dista11ce,lil~e
a person who comes from another wodd," 18and indeed several of bjs cort1mtntato.u ~
have rukcn up the figun: of ''.mother wor ld'' as a means rJf character izing die rypic11J
r<%sto11nrnde by his art .i (Compi1re Schw,tn,for on W~U's Adria11Walker.) Yh 1\0
i111p
one has been quire as emphatic as Galnssi in rhe pe11nlc imare paragrnp h of his catalogue
cs~iiy,whcrc he writes:
The diverse currenrn that Aow into Gursky's wor k cm..rgc a~ tbc co hcrt n~ p icture of
a world. 'r'here is no place for us in that wo rld. Banished from its com1J1and iag, sym
metFies, we iuc consig ned to contempl ate its wholeness from witho ut. We ni >W .sru(ly
its derails :ir our leisure. We may be begL1ilec l or repelled by the goxge.ous spectacle.
Wt rmw ,marvel at its scn.)1 1c imliffcl'cncc. We m,iy cvcn. eli:ct <)urselvcs to slt in judg-
Jnent upon it 1 but we will never become pai:ticipanrs. l,p ,111'
011ct'agai11 I w,,m io dr.1wan obvious implicacio n from Gafassi's remarks, t1ne he seeOJ'.
not r'\) rc:cognir.,: is there-- but of C()11r~c Gursky ru<>may not recog1)i7,Cthat rhis is the
o nwlogical implication of his procedures- namely rhar the metaphor of a1wuhcr, St!pa
r;1tc world, a wor ld rhnt' has norhing to do with the l'icwcr, from which he or .sheis,
effec;tively banis hed, is ;:ir1 annth eatd c.1] mwiphor pcrEe~ ,ly con$istcrit with [)1clC[(lt's
writings l)n thea Ler and pn_inting and, more IOl)sd y, with 111yc1irique of minirnalisn,/ [i,r.
esalism in ''Art ~UldOb]ecrhoocl'i (nor t6 menti on WlttgenstcU1'sextr(ld of 1930). Tris
aL50,l have sugge~ted, wbar is mode visible in different terms in the strnngest of Stturh1s
111u ~eum photographs, which otherwise have almost n0thi11gi11con1111 cm wirh Gur$k- y's-
work . Put more stl'()nglt - these are my views now, noc Galassi's - I see Glll'sky's bi~hly
inventive and original OC'11v re, likr,:those of Wa ll <1ndSrrnrh, as 111>1rkin
g a rcsumpli(ln
not so much :ifter as across a minimalist and pOHminlm,1listinterregnum, of rne andthe
Mdca l impccus, first, of the Didc1otii111 tradition chat Aourished berween about 17ss
irnd the advent of Man et jnst over n centur y l;1tcl', and second, of the pa rricuhir version
of that tt11tlitio11- the r0it1tctpretntio11 of it - that issued in the high rnodetJlist painfing
and s.,;uJphU'cof the 1950s and ' 6os ch.amp:ioned in '' Arr and Objcctbood" and relattd
essays. J sholl have more to sny a hour the histo rical developlilenr such a reading implies
Jarer {lll in this book. However, t am 11ot )'Ct clone .ca11va.ssing the fei1tures of Cvrsky's
art that tend wward ch.is end.
So fa r l h,wc mnched on rhc unawareness of G11r.sky's l111rn~n suhject.,<:tohcing beheld;
0 11 hL~ pent hrinr for viewing them frClm behind (Gursky ro Gomer in 19Q8: ''I believe
rhat thcrc'$ a lsfJ a Ct:rrnin fpnn of i1bstn1c1 io11in mr e11rly hmdscapes: for CKn mplt::, l
often show hurnan ngur es from bd1ind and thus th e lambcape as ohsc:rved 't-hl'o~1gh
a second lens" I1xl); on his ob~ession with disrnnce (ft0111the same cor:responde11c e:
"Th e camera's enormo us distance from these ti~ures 111 ea11s that they become dc-
iJ1dividualised" ID:JJ ; and t,n his preference for views frnm above. ln this last con11ec-
tiqn, G,1lassi's ncutc tlbservntion q11ott:d c11rlicr th:H Gnr.sky ch11ractcrisricnlly seeks "ti)
16,2
oblii:erate the c nring n i s of perspective, so time the subject appear tt> pr s nt its If
without the flg n y r int rference of an obs rver" should h stressed; os Rupert Pfab
pllt s it, "be cau w n vcr g t to . c wh ere the phorographer is lo atecl, the act of sc ing
is. expressly emphasized. ".1 1 T he crucial point, with which l ag.ree, is that for all their
unu ualness with respect to what is nnrmaHy thou he of ;l po'nt of view, ti l'. :"l{_t ual
cff ct of many of Gursky's pic:tmes is somd1ow to divest the laue1 con ept f implying
an ucttrnl l catio - a parti ulaf pol rllLll:was o upi d physi ally by H1 pholograp her
and char we as view r ar - I d to q upy imaginativ ly in wm. A sp ta ular cas' 111
p<Ji11ti, Sai,imo (1990; Fig. 9 ), 1 e f -ur l y's fin st works a p::lnurn mic-. c m ing view
fr m a on i<lerabl h igh1 of :m a tiv porL, wirh thoL1 and of au om biles ano -hip-
ping 1~,t , lined up al ng the docks, ' vcral ships w;i iting ro be loaded or offloaded,
n:m-J but also "holly unfettered gaze. hoth di)tanced and inr.imau:. With the elision of
both photogrophcr and viewer ai. implicit perce1m1al.1nchors, the picture i\ free ro
pursue truly "absunct" end~, whe re "abstrac tion'' \tands not simply for 1ht subordi-
nation of subject martcr ro compos itional principles, nor for ,1 r:rnge of formnl nnalo-
gics herwccn indjvidual picnircs :111dwell-known works of a hsr.n1c1 pninring and
sculprurc, bur rnthcr for the picrurc's exclusive prcoccupntion with irs own " inner"
purp oses, whatever they mny he.:- nnd they arc most ofwn heterogeneous, 111i x('(I. (All
this might be tho ught of as ;i rad icnlizarion of the tobc-sccnness cliscussccl ln previous
drn prcrs.)
At thi~ pninr I wane to com ment briefly on seven aJdinonal featttrcs of Gursk)"s pic-
tures th.ir bear din.'Ctl}'on Ill) ' ba~ic daim that they. ,long with the work of Woll, Struth.
Sugimmo. ,1nd Bus-urnnnre (I am e>.empting Sherman ap.irr from her carlill~t so:rie!>), a!>
well as other phorographcrs scill 10 OCdiscussed. hclung t0 a renewed nnd re\iscd
anr.itJleJtrknl rradirion.
1) Theomost obviouslr relevant of those fcarurcs 1s Gur.k) \ mcrcasmg recourse, starr-
ing in the early 1990s, to digitall)' mampubr.ing hi~ images, a process that has rcsulred
in a nnmlwr of his most famou~ "orks, i11clucli11gParis. Mo11tpamnsse( 199 3 ), Pradt1I
(1996; Fig. 96), Atla11ta( 1996; Fii;. 97), Untitled V ( 1997), Chicago Bot1rd 11(Trade
es Squme ( 1997), ond J{hi11eJJ ( 1 y99; Fig. 98). The extent of thl' manipu
( r 997), T1111
lation vnrics from work co work, b111 in all c,1ses rbcn: is n cnnsequenr loosening of the
joan fra11~01scho11rloron tho "tableau wrm" 1horn, 1s ruff. ondreas g,trsky luc dt!l.i~av, 165
q' nd G11 ~L. R#mre " I.,., . mmog m. rr . rrim. 1.07 36 111
rkl
or ju m ired , r t
\ h Ji 11 ,m f ~o . u h pl:marion he.re. 'h. t matrl'r!. t m ar~\1111 nt,
hor e e i th.n rh fC/i.l!ltingimagei- or' imrin i all f1 t, ar I . t n t in rhd ntir ry
rl r c:or I of il!l thing thn1 m id have I n een in the r al wor l 11 :1 hum:111
ob:, ,. ,r
or in fo d a me fl.mi al r rding i11s1rumc rH; rhc luos ning,of inidci a lit i rn ;ur 'ky"a
c 1uh, lcnr f n e er-in f' h any rigin. r)' p r ptu el
II I
ncl t11r ; in
111.,.
99 Andre,,~ Gur~ky. llappy \ i.11/1')'
I, 1995. Chromogcmc process pnnt . 2:!.6 x 186
cm
Scl,iol (d:1tcd r99 4 but phorogrnphcd c;irlier), art empt y runwa y is seen throug h
a floor-to-ceiling gin.~ wall, presunrnhly in a waiting area (the slightly blurred toil of
an nirliner can just be glilllpscd exiting cbe picmrc at rhe extreme right. and 1herc ace
also faint rcflccnons of the waiting are:i itself m rhe gianr glass panes); and in Happy
V1dl1')'I (1995; Fig. 99), a view of Hong Kong, :rn urban land~cape is seen from an ele-
vated vantage poim through a currainlike metallic scri1:n,which significnmly is in shaq,er
foc11~than nny orhcr item in the picture. Thc11there is che spccrocula r Aut obnh'II,
rean 1ranc;o15chev11or on the 1all,f'.l11uform. thomas roll, arid,eas gursky, luc delanJve 167
~ . --
--~~ -
(1993;
M ett11u11111 Fig. 1 oo), a Strongly downw ard view onto a field dott ed wirh black-
and-whire cows; the horizontal bands ,,r e stripes " painted on the glass siding [of the
autobahn overpass! to mark its presence and w discourage drivers froni being overly
distrncrcd by rhe landscape'' (Galassi, 37) - hence the b:rnds' subtle narrowing and dark-
ening tow:1rclthe bottom of the i111 :1ge. The severing effect of the hands, and more gen-
erally of the viewer's uncertaimy as to how 10 understand his or her implied siruation
(loo king downward through the ).llasssiding), could scarcely be more emphatic. 1r, There
are also two impressive picmn.:s of buildings: Hon g l( ong 1111d SINmghai Bank, Hong
L<o11g ( r994), a night scene with numerous workers visible in their illuminated offices,
and B1111d estag, Boun ( r998), a view through glass windows down inro the parliamen-
tary chamber, where :;omcthing large!)' unreadab le is takin).Iplace (many members of
the Hundcsrag arc srandins or walking while od1crs are scared). In the la1te r work, too,
we gradually become aware of what seems to be an inverted rdl ecrion of tht procecd-
iugs row:1rdthe cop of the picrure - bur there is 110 "rcalisric" scen:irio that could accounr
for this, which tells us that once again we arc in the presence vf digital manipulation
(nnd fur ther ems us loos e from rhe sce ne as such). Perh aps Gurs ky's mo sr ex trem e state
men t in this vein is the more rcccnr State-ville, Illinois (2.0 02. ; r ig. r o r ), a picture of the
panopricon -like interior of a prison, in whi ch th e se verin g of the viewer from th e pr is-
oners, some of whom can be seen in their cells, is all bur Litera lly spelled out, (There is
not a hint of voyeurism in tbe::se:: las t images; th e picwrc's point of view, if itc, in he called
diat, is in no w ay privileged: what is seen ofthe o ffice worke rs is perfectly ordinary, rhe
actions of che members o f the Bundestag an: pretty rnm:h incompn::hensiblc, aud chc
viewer is given no more rhan pa rtia l glimpses of th e priso ners. T hat so me of che pris-
on ers seem poss ihl.)' awar e of rhc phnt og r;.iph cr, c,r at :my rat e of the presen ce of som eon e
in di e imp lied ce ntrn l space, is not felt to estab lish a con nection betw ee n the view er a nd
th e scene as a w ho le.)
3) Gur sky 's use of what Ga lassi ca lls th e diptych form is also to th e point . Class ie
example s includ e Cairo Diptych (1992.), Schiesser (1991), and Hong Kong Stock
Exchange, Diptych (1994; Fig. 102) . Galassi also im:lu<lcs in this catcgor)' certain single
images made fro m rwo "o riginal" nn es w ith rhe aid of digit:il ma nipular io n, such as
1e,rn-lra119ois chevrier on 1110"tab leall lon n' ': thom as ruff, andreas gur sky, luG dolahaye 169
d,, 1 -Ii hrum cni ~ p oc ,; pmn.
m
). Hon
t si rnHi-
_\ p.oin, rhL i n m,u c :iml h 11ful hm ir stop h rt f pcd ying tit 11lri111a
of Gursky's inv ndm,: Lh w, y i1, whi h rhc li.nal Jipt h ,ib. olu I ,rcr chc
'173
,05 nJI"\: i11r-.' ... rn
174
, or, J\ndr~~~ Gursky, Nim Trf/11)1,\licl11n111
, 2004. Chron,oj:\cllic prncess prim , l\l ,~ x 107 c 111
(above arid {acing page)
10 7 Andreas Gur ky, Stockholder Meetiu , Diptych 2.001 . Chromogenic proce s prim . Eacb pll.11el
18 x 2.59 cm
Diptych (2.oor Fig. ro7) a monumenta l double image in whi h group of co rporate
leader from ome of G rmany ' large t corporations it at long table or dai e th at are
pre ented a if uspended in front of or partly upporced b an immeose mass of granite
o ered with snow, At the bot:tom of the two images an odd ly spectra l audience unfor-
nmately turned away from the viewer, look up roward the heights. T he logo of the
corporations (Luft hansa, Daimler Chry ler Bayer, Volk wagen iemens, and so on) Aoar
aga inst the ky while the nam of all tbe ex cutive appear before the lat ter on plagues.
Not urpi:i ingly perhaps Stockholder Meeting, Diptych wa one f the few utrighr
failures fn Gur ky' retro pe ti e exhibition f 100
6) Or consid r a ingle enigmati work, U11titled Xll (r) ( 1.999; Fig. I08), a doe-up
photograph of a page of printed German prose. The page is "from' a famous book 1
Robert Musi l's unfinished masterpiece Der Mann ohne Eigenschaft.en (Th e Man without
Qualities r92.3-42), a book already mention ed in connection wich Bu tamance
Tableaux in Chapter One and v hicb, in more than one re pect mak e intriguing reading
in relation to recent photography; fore ample ici easy m imagine rhe appeal to Gursky
(or to Thoma Demand, whose work will be di en sed in Chapter ine) of the title of
merely , - \ .
cry fe v m mhe of hi t r et u ien e ould have
<lfeared hi purp e by rumin che pag into r,i h rl. mar ri I rr, - c - no ev rin
the re! A do . er relatio n ro adin wn therefo r n ded whi b i why Gursk y took th
don
rs a
111 Andre:~s (;ursky, 1r<mt.. St 1\llori tz, 199 r. Chr omogcnic pmccss p1:in t. 175 ,5 x
l{ i:s1111
20 5.5 cm
1e11nfranco,s chevr ler on tho "tab leau lorm"; 1homas ruff , andreas gursky, luc de lahaye 181
spersed with metallic supporcs- floodcJ witb feuturclcs~ white lil,1111 , a ra<li.im hl,mk-
ness, one presumes from rt snowy s..:ene outside. Or rather , a~ C.riqui wri tt's, ~The
outside. whic;h can surely he asswned to he extremely clnsc by and visually acce~sihle,
doe-.n'l extst. ~ 1 rake it lhat 1his is Gursky's point - char .in tbi,, lone msrancc the )CV
crinA chm is hasic ro ht~ an rakes place JIM rhe other side of those windows, which is
tO say-that rhe photog r apher and therefo re the viewer share a co mmon Isolation wirh
1hll people ,11the tables, nfmQsr nil of w hmn, as Criqui also notes, chnratteristically
;-pp~ar ob livious l'O the!rh orographers presence.47
...
.
l uc Oelahayc, born in 1962, is a Fre11d1photographer who began his career as a photo-
journalist. in p.irricular a war pborog.rapher for Ncwsueck :ind s'lmilar poblicarions, and
wem on co cnJO)' grear su..:cessin char field, wiomng the Robert C.1pagold medal rw1ce
(in 1993 and 100:1.) and che l'rix Nierct- (in 2.002.). At some po int in the eady 1990s,
however, he hcgon co cbofc nr the cons1r11intsof pborojoumalism and to explore various
arti~tic possibilities for which there were no precedents in w.hat he hnd hitherco done.
SP for example he made (0 1 had made) a series l)f piccutes 1)f homeless Parisi:111S by
:isking c,tch tti have his vr en her photc1b'TRph rake1t :tlnnc in a photo bom:h while Dela-
hnye deliber:udy looked .swny.This led to a further proiecc, a seri!.'l> of hlack-aml-whue_
port.rairs mollt.!un the M1:1rowirh a hidden camera. A ~dt.'Ctiooof chcsc, ninery in an,
were published ;15 a book with the utle L'Autre in 19~9. Stlll :1nmhcr project in,olvecf
tr.iveling for four mo111h~during the winter of t996 from Moscow to Vladivostok, and
phorographinl! in garish color people living ruosdy ~llfr)' lfves in squalid conditions; a
hook ga1.heri11gn selection nf chose phot M, Wi11te11 cisL',came out in 2000.
I ~hall bi:it!llyconsider ~he Me.ere,pnrrrnit s in L'A11tr11 i11com1ecl'io11with rht' problc.m.1
tif ..:bnteJUporar y porrra il photography In Chapter Seven, hue I wanr here Lo say some-
rhi11gabout Odahaye's l(ltust venture, a :.cries of mostly vanoromic, l.tc~c-scaJe (roughly
eighr by four foet) color phmog(;lphs of subjects mken from the im:ige repertoire of
photojournalism buc rrc-.1tedin a manner that could nnt diverge further from photo-
journa li\11cnonn:,. The earlu:st work:, of this fY!k J.nc from 1.001; ~incc then he has
made onl) ' a limired numhcr of photogr:iphs that meet rhe ~-tan dards he has ser for
him~clf (an exhihition ar La Maison Rouge in Pari~ in late 1.ooscomprise d only ,cven-
rccn works). ~H
As this dcscrlprio,, S1)ggcsrs, whoc_Dd 11haye bas do1Hi11bis 1Jew pmje-:r is play subject
marter ag;1ins1format ,rnd nll thar goes wi1h it. Thus he seeks ~ubjecrs of il sort rhttt
would ordinnrily belong ro nis e::1.rlicrprncricc as a phoro/ournalisr- a dead T.ilil>an
fi~hrer lying in a Jirch O,:ig. 1 t?.), the bombing ofTnlihan positmns m Afghani,mn br
nn American 1\ -sl. (fig. 1 13 ). a squad of Northern Alliance Fighrer$ :idvane1ng m J
mountainous l:ind~cape, the Jcnin Refugee Camp on the \Xlcsr l\nnk after ..:omh::it
bccween rhc Jla lcsrinian&and the Israelis (Fig. r 14). Slobodun Nrtlusevicabout ro he ll'ie.d
in The Hague, :i unit of American M ;irines warily standing guard in front of a p;irtly
destroyed building in a suburb of Baghdad follr day~ heforc rhe city was taken (Fig.
1 1 5), the Sccurit)' Council at rhe U N 011 the occasion of Colin Powell's speech claiming
thar Traq possessed weapons of m;iss destruction, and a "power" lunch hosted by Pervez
Musharrnf, President of Pakistan, with the American finnncier-philanthropist George
Soros among his guests, at the Wor ld Economic Forum in D::ivos, Switzerland in 2004
(Fig . .n6), co name eight. But instead of shooting eacb at dose range with a lightweight
hnnd-bekl camera in pursuit of highly dr,1matic, compositionally arresting, a_ndinstantly
lcfl,ible frngmems of la.rger situat ions - the phot ojournaliscic norm - he emplo)'s pcrso11-
alized, large-format, frequently panonimic camerns in order co include vast!)' more of
che scene before him in terms both of lateral extension and of sheer quantity of visual
information. Also, by print ing his photographs at large scale, he ensures that, at normal
viewing dist,ince, that infonmition comes close to enveloping rhe viewer. For rhe mosr
part he works with individual phorographs, tho ugh in two instances - the Musharraf-
Soros lunch and a much less orderly scene of a press conference at a meeting of the
OPEC oil ministers in Vienna - he digitally combined different aspects of multipk shots
taken from a single vantage point, shifting figures from one part of the composition to
anothe1,substitutin g gestures, eliminating unwant ed persons and objects, a11dso on, co
arrive at the final images, which looked at closely give no indication of having been
manipulated.
T he pho cographs that resulr, as Quencin Bajac has renwrked, invcJlvc fl balance of
opposing forces.49So for example there is in all of rhem a strong sense of distance, even
wirhdrawal , on the part of the photograp her; in more tha n half, the dista nce is literal
(it is striking, for instance, how often one's gaze extends to the far horizon); in oth er
Jea n- I ranc;ols chevrie r on the " tab leau ror111":Lhomas I u II, andra as gursky, luc clolRhaye 183
1 13 Luc Delaha ye, U.S.80111/Jiu
g 1111Tolib1111
(' osi ti <J11$, 200 1. Chromogcnic process prim. , 1 z x 2.38cm
works in which rhe primal'y sul>jccr is 1t1oreproximate what comes aCl'()SSis a srrong
impression of deliberate 11on-eng:1gcmenr, not, one feds, in the inreresrs of rcperrorial
"o bjcctiviry" so much as in pursuit o f an artisric - ultimately an onto logicnl - ideal or
allowing the picrurc in all irs densiry both or reference and of color ro come into being
as if of its own accord. "T here is :i real ambiguity," Delalrnyc has said, "I am cold and
clt;rached, su fficicmly invisible because sufficiently insigniRcanr, and rbat is how I arrive
nr a full presence to rhings, and a simple nml direcL relation to the real. That idea, in
my work, is central. ,,~o This me.ins thaL the viewer quickly becomes aware that a basic
proroco l nf rhesc images rules our pn.:dsely rhe sorr of fears of close-up capture - of fosr
moving events, exrremc gesturt:s a nd 1:111otion s, vivid momcnrnry juxrnpositions of
persons and things - rhnr Ont.!associates wirh photojournali sm :it its bravura best.
RaLhc:r , the phot ographs in their sheer breadth aml det:iil extend :in invit:uio11ro rhe
viewer to approac h closely, to peer intently ac one o.r another portion of rhe picrorial
field, in short w become engrossed or indeed immersed in prolonged nncl inrimntc con-
rc111pl.uionof all Lhnrthe image offers 10 be seen. At che same rime, the viewer is given
<rnly rhc lll t)St 111inima
l indicatious of where to look. Unlike ti photojourna listic image,
which is effective only insofar as ir makes a sin~lc vivid point, Delilhaye's panoramic
pictures in their richness and complexity - a lso, in a manner of speakii1g, rhcir simplic-
ity and muteness - leave the viewer co shift for himself or herself: in the photograph of
the dead Taliban fighter, ro not ice, !'(1 be disturbed by, the single piece of straw lying
across thl.!m::in'sfoce; in LIS B0111b i11
g 011'/'tlliban l'osi tfons, ro try to connect the a lready
dispersing cloud of smoke hovering in the air tow:1rd the picture's middle wirh any dis-
tc rnible target from which ir might have ,1rise11(also to look tlo sely at the much more
distant explosions off to the right); in Jenin Refugee Cam/) to try to grasp the relation
of the hnlf-demolishcd camp to the peaceful-seeming distant landscape in which it rests;
in Baghdad LI to perceive the Marines' anxiety and to wonder as they do (but nor exactly
"with '' rhem) from which direction danger is likely to come; and iu A Lun ch at. the
Belvedere w recognize Mush:1rr:1fand Soros and then by empathic looking ro "activate"
the discreet but palpable dramn mking place berwc<:n chem (Musharraf speaking, his
left hand conveying a ccrrnin tension, Soros looking down with an almost wirhdrnwn
expression l'IS he fingers something on the rnblccloth, the fact that Soros of all those at
the rnble docs not wear a tic, the complementary impression of contai11ed energy in
Musharraf, and so on). This in turn is why the viewer tends ro feel, at least mornen-
rnrily, that d1c dernils he or she comes to invest with significance arc discovered by him
or her rarher drnn delivered personally by the photographer. Yer because rhe viewer also
knows that this is nor the case, the cumulative effecr of those derails is ro underscore
the aura of arr. (Art of a different sort came additionally into play in the 111:ik
ing of the
Davos fum:h and 0 11,c meeting plwtographs, l'IS already mentioned.)
An obvious rerm of comparison is with rhc rcconstrucrive "n ear documentary"
csthctic of Jeff Wall. Even more telling, perhaps, is the conrrnst between Dclaliaye's
panornmic pictures and the work of Gursky, whose large-scale and often fonrasticall)'
derailed images put a similar premium on sheer visibility bur which, I have rricd ro show,
are deliberately and ingeniously severed from any corporeally iouiginablc relation ro
photographer or viewer -so mething that, in my experience, is not at all true of Dcla-
hayc's images. More precisely, distance in Gursky tends ro be ~bsolute, nor, as in Deln-
.A few addition .ii thoughts. IJ1,t946 Clement Greenberg reviewed an exhib ition of photo
graphs by Edward Weston. The review begins: "PhotQgraphy is t he mo st transparent of
the an 1nedi1.1msdt:viscd or diJ1c overed by man. It is probably for that reason thM it
proves so difficult to make the photo graph trnnscend its a lmost inevitable function as
documenr .and act as W<>1 'k o.f art as well..12 B)' "tra nsparent' ' Green berg me.int both
thM plwrograp hy is capable of e.xtrl':me feats of depictive realism nod that althon~h rhe
phmog raphic a1tifact bas a surfocci (ir is, in a sense, all swface), the viewer tends
incvitnbly to louk " through" or, more accurnrcly, "past'' th,,r surface to the dcp[ctio11
;,is such. This second point is in sharp contra st wjrh paintlDg, whose materia l surface is
n:Otjust @cutely pr esent to the viewer's awa rc 1iess (it is "npaqu e" rather than tr::inspar
l:lllt) but is also avallab le to the painte r to be ernphasized, artic ulim!tl, and the1:natized
in an infinite number of w:1.ys; the invention of collai;e aroulld L9n only L'attfied .a te11 -
dency that had been at work for cent uri es. Tbu s it rnighL be said th;it one important
funcrion of the rableau form has bcet1to counterncr or coL1J peusate for the rranspa.reuce
of 1\1c. photographi c su.rfaG: e by keeping the viewer at a disr:ince from the latter no~ i11s1
physically (and of cou rse; the v.iewer is als<i invited ro approach the photograph , IO
exa.rnine fine derails of the image) bm 11lso imaginarivcly. l11dceJ whnr I have called
Gl!rsky's se1,e1:ing of the picture from the b.eholder is inc0t1ceJvabl e apa rt from precisely
thi~ C():mbi1_1ation of the t;,ibleau form and transparencc, die hmcr being csscnhal tQ his
plctures' radica l opennes s-w vision, ju $t as Dcla haye's p ,morarnic photograph s positively
assume :u1 initial distallting of t he beholder from the depicted scene in order ro proceed
ro work against such distancing in the interests nf proximity, im1hc rsiot1, merger - 1am
rempred tb say, of a cerrnin unsevering, even, "henling." 'What f have called ''e xclusion"
in.connection with U11 stam1rnte's 'T'ableat1x- J shall show so111 ethi.ng similar 111 Candida
l lofer's phnrog1.:aphs of r:ooms- is related to tftis a~ well.
.hirnpnow n.>J 978 and an interview w irh Greenberg by-James F~urc Walker, At one
point Greenberg notes how when Pict Mondr ian "opened up" the middle of his pictures
Jea11
- fr1111qolschevr lar 0 11 thf:l "t ab leau fo rm" : thoni as ru ff, andrea~ 91sky , luc cJe lalWy!il 18)
~ th H i , w!1 n he ired hi. olorcd r wng l .s co nrd the dgcs of rhc :m n , I viu.
the middle o the pi tur, up 11- the pi~tur inv. ri. bl u cecd cl "1rt. h. r \ s hi
r 1:1 c;1li m~ \ chat <lc\ r1c, if ou n all ir rh. 1
h.
Jr
l1.
rhc
88
trnnsparence means also rhat rhe material surface is put out of play as a bearer of pic-
torial mca11i 11i:;,a sig11ific:1111:
loss and one whose ultimate implications rclllain ro be
assessed. " !Touch I is rhe eros specific to painting," I hnvc alre:idy quored Wall as remark-
ing." Or :is Thomas Demand observed as he and I srood rnpr in admirncion of the pa int
handling in Courbet's sublilllc pict11rc of a breaking wave in the Alce N:.itionalgalcrie in
Berlin (Fig. :rr7), "T har is whar we c:.innot do."
rr8 Thoma~ Srruth. The Hirose Family, Hirnshimt1, 1987. Gelatin silver print. 39 x 54 cm; 68 x 84 cm framed
portraits by thomas struth,
rineke dijkstra, patrick faigenbaum,
luc delahay~, and roland fischer;
7
douglas gordon and philippe parreno's film zidane
Starring in the !are 1980s Thomas Struth, whose museum pictures were discussed in
Chapter Five, has made rhirry-two portraits of familif'S, the mo~t recent in :2.005. 1 [ shall
begin hy considering rbree of the earliest {and srill the best known): The Hirose Family,
tiiroshima (T987; Fig. r c8); The Smit/; Family, Fife (1989; Fig. r 19); and The Bemstein
Family. Miindersbach (r990; Fig. c20). The tir<;t i<;in black-and-white while the other
rwo are in color but structurally all three are similar: between eight and ten member~
of a i;inglc famjJy, ranging in age from young children ro older adults (there are no you11g
children in The Smith Famil')', however), sit or stand facing the camera (and the photo-
~rapher? - the answer to rhar question will turn our tn mam:r). The setrings are domes-
ric. The Hirose family ,irs Jammed together on a sofo; a tabletop piled with hooks and
pieces of paper fills rhe right foreground of the image (slightly out of focus bec:wse near
the picture plane); co the left one sees part of a desk, also piled with books and papers,
and some gh.tss-fronted bookcases; to the rear a lamp and telephone resr on a cable but
attcnrion is caprured by several African sculptures, one a mask hanging on rhe wall, and
to the left of the mask ,1 framed painting of a masklike head in a :.urnewhat cu hist style.
To the right rear one looks past an open Joor inm another room. The Smirb family too
appears at home; father, mother, and one son (I assume) sit in :irmch:iirs while five others
{two men, rhree women -sons and <laughters? or Me there one or more couples among
them?) srand or perch on or Jean against the arm or back of one or anmher of the chairs.
A rug may be glimpsed on the floor. The walls are white and in this room too there are
pictures; these are evidently famiJies of a high level of cultivation. The third family, the
Bernsteins, is depicted outdoors, on a ,simple patio with a stretch of lawn and trees
behind them. A table covered by a whire cloth occupies the center of the phoLograph;
around it sit rhree women on garden chairs; che seated woman ar the right holds a young
child on her lap; and six ocher family members of different ages srnnd hehind or to che
side of the table.
A ,;triking fact about Strurb's public career is the almost universally enthusiastic
response that his work has received. The family portraits in particular have come in for
srrong praise, and in the di:.cussion that follows I shaU make use of the crirical litera-
ture on them as well as of comments by Strurh himself in mterviews. An obvious
point of entry is Strurh's remark, quoted in Ann Goldstei11's essay, "Portraits of Self-
Reflection," in rhe catalogue of Struth 's 2002. retrospective exhibition: "'The portrair is
rhe subject matrer in photography where the prob lems of the media !why rhe plural?!
are the most visible.' '' 1 Go ldstein continues (basing her remarks on a convru~ation with
rhe art ist): ''For him, those problems begin with the realiry of purring a person in franc
of a camera, and the complex dynamics rhat rake place between the sitter, the photo -
grapher, and the spectator" (168) . Struth and Goldstein between rhem make it sound
as if rhe portrait presents unique difhculc1es for the photographer, which may well be
true, but something of rhe sort has been felt to hold for painting as well. In mid-eigh-
teenth-century France, for example, the portrait was a questionable genre in the eyes of
many an cncics. As I remark in Absorption and T/Jeatricality,a frequent objection was
rhat portrairure required the exercise merely of mechanical skills rather than of the
pictoria l imagination. "But there was," I su~ge,;t,
srill another source of critical misgiving- the inherent rheatricaliry of the genre. More
nakedly ,rnd as it were cate~orically than rhe convent ions of any other genre, those
of the porn-air call for exhibiting a subject, the sitter, m the public gaze; put another
way, the basic action depicted in a portrait i::.the sitter 's presentation of himself or
herself to be beheld. It follows chat the portrait as a genre was singularly ill equipped
ro comrly with rhc dcntanJ that a painting negate or neutralize the presence of the
beholc.ler, a demand tbat ... became a matter of urgent, if for the most part less than
fully conscious, concern for Frern.:hart critics during these years. 1
go on ro show how 111 certain tases painters soughr ro overcome this limitation by
depicting persons in a portrait as absorbed in thought or action; by rhe same token,
Didcror in 1 767 c;harply criticized Louis-Michel Van Loo's portrait of him for irs air of
coquetry, which he explained jo terms of rhe presence in the room o.t the engaging Mme
Van Loo while he was being painted. What would have been best, Diderot wrote, would
have been to leave him alone "'anc.l aban<lone<l to his reverie. Th en his mouth woul<l
have cOine open, h1s disrracted gaze would have been focussed somewhere far away, rhe
labors of his deeply preoccupied mind would have been depicted on his face, ::tnd Michel
would have made cl beauriful thing'" ( J 1 2.). Van Loo woLLld have mnde a beautiful rhing
borh bec.:iuserhe rc5ulr would have been more natural .rnd because thar superior nam-
rnlness woukl it~elf have been rhe product of a particular relation of the depicted sitter,
and ultimately the pa1nring, to rbe beholder: to the extent rhar the dcrictcd sitter would
have appeared entirely caught up in bis reverie, he also would have appeared unaware
portrait" by struth d1~stra ia1genbn1.,rn de lahayP., and t1scher r10rdo11;ind parreno'c, z,cJant'! 193
u I Walker Evans, Alabama
Te11a111 Parmer Wl1fe{i\llia Mi.1e
Burroughs/, r9 ;6. Gc l:mn silver
print . .?.0.9 x q.4 cm.
The i\tletropo liran Museum of Art,
New York, Purchase, 1.001 Benefir
Fund, 1.001 (1.001 .41 5)
of being beheld, which is what Diderot meant when be insisted in the Entret,ens sur le
Fils ,wturel ( 1757} and Discours de la poesie dramatique (1758), his revolutionary early
cexts on the theater, on che need to treat cbe beholder as if he did not exist. 4
As has been mentioned more than once, naturalness so understood has also been a
photograph.ic ideal, based on the belief thar a person who is caprured unawares - who
does not know he or she is being photographed -will reveal the "truth'' about himself
or herself whereas a sitter who is conscious of the camera will at once alter and thus
falsify bis or her mode of self-presentation, as Barthes in Camera Lttcida <lescrihes
himself as invariably doing. To cire Sontag once more: "There is something on people\
faces when they don't know they are being observed that never appears when they do. " 5
On Photography, where this is said, was published i.n 1977, the year that marks the
start of Scruth's artistic career. la the history of twemierb-century photography, attitudes
to that approach have shifted back and forth, even wicbin street phocography, which
lends itself more readily than any other pborographic practice to ideas of capture and
candor (more on this in Chapter Eight). in general, though, portraiture in the standard
sense of r11eterm has had ro come ro grips with the frontal encounter, with all the cJif~
fic:ulties and embarrassments that that has been undersrood to involve. So for example
Walker Evans, in his portraits of tenant farmers ao<l their families in Let Us Now Praise
Famo1,1sMen ( 194 1 ), one of the most famous combinations of te'{t and photographic
images in twentieth-century culture, favored the close-range &onral encounter precisely
because ot what he and James Agee, wbo wrote the text, considered irs basic honesty
(Fig. I 21 }. Howev er, Agee expresses no end of anguish about rbe possible exploitation
of their subjects that this involved, and he also writes chat vans rook certain photo -
graphs surreptitiously, while the family in quesrion tboughr he was preparing
to take only their porcrair.1, Orber significant figures who regularly portrayed their sitters
face-on include the twentieth-cenrury Cologne documentary photographer August
Sander, whom Srruth greatly admires and whose work was sure ly an inspiration for him
(Fig. 122 and see ~igs. 203 and 204), and Diane Arbus, whose approach I shall briefly
discL1sslater in this chapter in relarion to rhat of Rineke Dijkstra. Then there are Thomas
Ruff's large, pointedly antipsychological "passport-sty le" photographs of fellow arr stu-
dents, already treated in Chapter Six, and of course Struth 's and Ruff's teachers at the
Diisseldorf academy, Bernd and Hill a Becher, who for more than forty years were com -
portraits lly s11utti, cJqf ,Ira, fa1genbaum, de lahaye, and t.sche r, ~101..ion,nrl rarreno's zidane
nutted ro a rigorou~Jy fronr,il and centered - in thar sense portrait-like - approach to
rhcir subject matter, not persons bur rather industrial strucrures of various kinds. Like
Snnclt:r'ssystematic portrayals of members of different professions, the Bechi:rs pictures
a.re rypological in intent, though in Chapter Ten I sha ll rry co show that ,;uch a formu-
lation barely scratches che ,;urface of the .Bechers' achievement . Struth 's portraits of
families arc someth ing else again but- as ha:. always been recognized - the importance
ro hi-; art of rhe B1ccher'-'reaching :;inclexampk can .<:carcelyhe overestimated.
"The profession depends so much upon the relations rhe photographer establishes
wirh tht.' people he's photographing, rhar a false relationship, a wrong word or amtt1Je,
can ruin everything," Henri Cartier-Bresson ha-. ..aid. 'When the subject is in any way
uneasy, che personaliry goes away where rhe camera can'r reach ir. There are no systems,
for each ca:-e is individual and demands char we be unobrrusive, though we musr be ilt
close range.''- Cartier-13resson was not referring specifically to ponrairs but his remarks
apply to rhem wirh a vengeance; if che phorographer's aim is unobtrusiveness, how is
that to be acbieved with.in a situation that explicitly faces off photographer and sirrer?
1lere are the seeps Srruth rakes in order co malke his family portraits:
1) As he explains in a -1990 discussion with Benjamin Buchloh, he photographs only
families or persons he knows and likes.11 Arbu, roo famously "befriended" persons
whom she met and wanted ro photograph, bu1t thar seems to have meant merely rhar
she somehow won their trusc and thus was allowed to photograph them, l)ften in their
homes (none of the sitters in her best-known image~ is 1.:.aughtunaware~}.~ Her inren-
t1011swere photographic from the outset, and chere ts no suggestion eirher in rhe sec-
ondary literature or in her own statements that her connections with most of her subjects
outlasred the making of the image. In Sr-ruth'scase, in contrast, the friendships or aqunin-
tance-.hips come first and the photographs follow ),1rer- indeed Struch tells Buehloh thar
"]mlany of rhe photographs were discussed as l ong as two ye;1rsbeforehand'' (29). The-
first rwo photographs cited earlier seem to have been maJe more or less a~ mementoes
after Srruth srayed with the fa111ilie,in Hiroshim ,1 and fife. HI
2) The actual triggering of rhe shutter i:- thus only a final stage of a much longer
process. In many cases, perhaps even all, rhe process involves extensive discussions with
rhe sitters, presumably dealing with rhe question of exactly how they wish to be por-
trayed. The idea seems ro be not just to put the sitters at their c<1sebur as much as pos-
sible n> engage them as collabor,Hors in the making of the porrrait (Buchloh interview,
29).
3) When rhe time come~ for the actual sboO!'ing, a room or pJace is chosen, presum-
ahl >1by rhc family jointly wirh ~uurh, who then asks them to dispose themse lves as rhey
like before rhe lens of his camera. More precisely, he shows rhem rhe limits of the picmre
field and invire1:ithen, ro arrange rhemselves within rbose limits (Buchloh interview, 19).
In an interview of 1 994, discussrng rhe family portraits, Mark Gisbomne asks ~truth,
' Are these h);ure-; ever posed?" To which Struth answers, "No. I decide upon the Iim-
irations of the frame, them I tell [hem to pose wh1:rever thev like wirhin rhe frame'' (8).
Tnnrher words, the circumstances are such char a certain element of posing is inevitable
(Barthes in Camem L11cidaholds this to be true of photography generally), bm as a
po1nr of prim:iple the sitters are not posed h>1S,rruth.
(for Buchloh, a rigidly Adorno-ec;que critic, "the rradirion of the reprcsenrarion lin
paimingl of the individual subject is obsolete,'' though he grams , seemingly with regret,
thJt ''somehow 1r LS mil possible to produce portraits with rhotography" l3 r J.L' The
question i., how.) Th e idea ~t'em1, to be rhar by <:repping to one <;jde in rhis way Strurh
effectively removes himself from the process - after all, projecting a mirror image i1,
something ooe does by oneself, typica!Jy in condirions of pnvacy. Narnrnlly this cannor
be taken literally; there is nn way for Struth to absent himself from the enrire scene . Yet
ir tvidenrly matters to Strurb to fed char he personally is not the object of hi!, sitters'
fronral gazes.
'i) Struth Jelibcrntely chooses to prolong the expmure rimes of the shots of his
families as mm :h as b feasible. This too emerges in the interview wirh BuchJoh. "The
exposure i..,very long," Strurh exph1ins,
sometimes up to one second- even in a case l.ikc the Japanese fami ly Hirose, where
there were 9 people in the sitting. Normall}' you would rhink it's pr~1ctically impossi-
ble, that it is at rbe limit of the photographic process. But it works when rhe people
perceivl' this process a1, their own. Once Lhey understand that it'!> going ro be rht'ir
photograph, rheir own rmage, they manage to sir still one full seconJ. Orhcrwi.,e, they
move. It's practicall y a form of con .c:ciousness about the mirror -image, the question -
ing of rht self, well, who am I? L~ol
nonr, 11t 1i~ stru1l1 ClqkSlr lri1tJertl),1ur11 11r.l.-1hr1v"' and 11.,cri,:;r aoro(,n anrJ nar,,~no's z1na11A
can he read and is visible. 1 know this from experience, as l often presenr the photos ro
several people and with certainty nearly everyone agi:ees and says, I find thi!. or that
shot the best. When r present chem wirh forty negatives of a ten-person family, they
practically always decidt upon the same rwo negatives rhat I would choose'' (31). 13
The result of aU these measures has been felt by commentators co shift the balanc e
between the phbrographer and his subjects in a decisive manner. Thus Masanori
Ichikawa writes: "The foremost achievement in Strmh 's rortraits should be attribuccd
to rhe models." 14 (This is in effect whar Struth said to Buch lob about Sander's portrait
photographs.) More broadly, Peter SchjeldahJ observes: "Struth's faimiJy porrrairs vivify
an approach char extends ro citic~ and forests. That approach is a revelation of rhe
conditions in and on which a given subject exists in the world. Thi! picture belongs to
the subjecr. In a way that counts, the suhject authors the picture." 15 Tbis too cannot be
taken literally burro the extent that it is imagined robe tru e, the plnoto~rapher cannot
be accused of exhibiting his sitters, which is ro say that one major source of rheatrical-
iz.ation is avoided. But the association between Struth's family photographs and the issue
of anrithearricality is far closer then these remarks su~gesr.
Here it will be helpful ro consider an extended commenrary oa Srrurb's portraits by
Charles Wylie, chid organizer of the :2002 retrospecrivc exhibitio n; I shou ld say at rhc
outset that my aim in citing Wylie is to use his commentary to help clarify che issues
that concern me. Wylie writes:
The idea of families, of how one's place in the world is determined by one's place in
the archirecmre of family, prompted Struth's second series [after his early hlack-and -
whire ciryscapesj. Citing nis own family's photo albums as .;in initial spur, in the mid-
1 980s Struth pictured groups of family members ananged in domestic settings that
brought out t he innate psychological intensity present whenever a family gathers.
Srruth s families are clearly relate<l in physical characteristics~ the viewer can trace
simi laritie s the children have with their parents, hrothers and sisters, atmts and m1cles.
Examining the phy,;ical, however, is only the beginning of the viewer's psychologically
loaded task of reading the relationships between one member and another. The group
must be read in irs entirety, and each family member placed by position, posture,
ges tur e, and facial expres:-.ion in the complex interweavi11g of emotion, gesture, and
facial expression we all encounter in relation to our own families.
The results of rJ1eexamination can be a slow, nearly unsettling intimacy: we are
hrougbr into contact with people we almost certainly will never me:et, and are .:illow ed
to ponder a group of individuals whose relationships arc cssentiallly unguarded, open
to our examination. Yer Srrurh avoids the sensationa l in rhese wo1rks by allowing the
sitters ro compose themselves for the camera. This approach is partly a function of
the camera he has chosen ro use (spet'ifically, rhe length of time the shutter must
remain open), but it means rhe subject!. are fuJly aware of rhemsdves and conscious
of how they present themselves ro the camera (and for che image). The same can be
5aid for the individual portraits, in which rhe sitter posing before th1: lens appears
quiet, even becalmed.
Struth has asked his own family, friends, and acquainrances too be subiects of his
portraits .... Regardl ess of their relations wirh the artist, awaren,ess is the hallmark
For Wylie, as (he believes} for Strurh, families are inherently psychologically incense
emities, and Srrurh 's photographs bring chat out in a singularly focussed way. They do
rhis, Wylie suggests, by making available to the viewer a wealth cif relationships, at once
of affinity and difference, thar for one re;1son or another are nowhere near as salient in
ordinary life. (This last point may be me rather than Wylie, who concludes by suggest-
ing that we <lirect our new awareness toward our own lives.) One species of affinity and
difference concerns the sitters' "physical characteristics": "rhe viewer can trace similar-
ities the chi ldren have with cheir parents, brothers and sisters, aunts and uncles." Th.is
i, dearly true, though I myself attach even more unportanc:e ro the viewer's recognition
of those similiarfries than Wylie seems to do. ln all three of the photographs that I
have been considering, for example, the physical resemblance among family members
teels extreme ly strong; at moments, especially in the portrait of rhe Bernsteins, it verges
.1lmost on the comic, as the ,;::imefeatures occur, with slight or s lighter variations. from
per:,on to person, female to male, youth to age (as if the photograph makes visib le the
tamily genotype icself 1-). Two "external" textual references are percinenr here. The first
I'- from the firsr volume of Wittgenstein's Last Writi,zgs on the Philosophy of Psycho-
lugy, where he remarks in a portion of rhe book given over to the idea of resemblance:
"Suppose there were a law of acsrherics rhat said rhar faces in a painring have to he
,imilar. Now I point to two people and say to someone 'Use these as models for your
picture; they are similar': ix Wirrgenstein 's gist, 1 take it, is char rhere would be :.ome-
rhin?, ahsurd in this, precisely because a painter is nor lj_mired in what he can paint hy
hi:- choice of models. Yet not only would it not be absurd for a photographer to proceed
in that way, it is hard to see how else he or she could produce the desired result. This
points up an ontological difference between pa.indogs and photographs, as does another
ctration, this one from an editorial aside by Melchior Grin1m, an astute critic of paint-
111g in his own righr, from Diderot's Saln11of r763, where Grimm says of the portraitist
Jean -Man. Nattier (by chen a relic of an earlier pictorial regime), "All his porrrairs
19
resemble one another, one believes one is always seeing the same figure." More broadly,
dose resemblance between persons in painted portraits is inbercnrly dubious in that it
invariably strikes the viewer as a mannerism of rhe painter, ra 1cher than as a veristic
report un che appearance of the persons themselves. (Not that it ii, impossible for a
painter ro report a<.:<.:urarelyon family likeness; bur the painting or paintings rhar result
will be powerless to pcrc;uade the viewer immediately rhar such likeness is grounded in
reality rather than in the painter's habits of seeing and depicting.) The opposite is rrue
of re<.emblance in photograpl1s, which in comparison with p:lin1rings '-trike the viewer
a, mechanically faithful to rhe reality they ostensibly depict; this has begun to change
with the advent of digitization, bur the basic distinction still holds.
1s bv s1t1Jll 1, rl1J\.:S11a,
r,ort1<11 fa,yenbaum. Jt>lahaye and f1sche1. gordon aml parreno's zidane 1~9
Another remark hr \'<'ittgenstein in the same volume also bears on the topic: "Suppose
we were ti) meet people who all had the same facial features: we should not know where
we were with them'' (29c). 10 This is nor quire true of our relacion ro Srruth's family
pictures, but for me at least there is a momenr of disorientation every time l take in the
strength of family resemblance among his subjects within a single photograpb (again,
rhe Bernstein one is an extreme case). Almost immediately, however, that sense of
di'>orienration is counceracted by a recognition of countless small and large differences
of physiognomy, expression, sex, age, dress, and demeanor among tbe various sirten,,
::is well as by an appreciation, which comes about more slow ly hut in the end is deci-
~ive, of rhe wlle<.:tive~tyle of presentation of the family group as a whole. Further, one's
appreciation of char collective style is made much more acute when twn or more nf the
family phorographs are presenred in close conjunction to each other on a gallery wall
or in a catalogue. So for example Norman Bryson in 1 990 contrasted the Hirose and
Smith fomiljes, noting how
In the presence of tht' camera, the family in Hiroshima foll!, um, a closely inrerrelared
group, with rhe heads of the women and children forming a single, unbroken wave,
flanked by the higher-placed males, as though the feeling of the family as a group rhar
supports and sustains aU its members existed in no particular conflict with its
internal sense of ranking according to gender and senioriry. The family in Fife, by
contrast, falls into a relatively scattered and individuated pattern, with no apparent
Jramati.zation of age or gender in terms of the figures' placement (central/margina l,
standing/seared). Ir i,; as if each sitter were ,;urrounded by an invisible cocoon of
personal space, extending quire far from the body, within wl1ich he or she presents a
relatively autonomous and free-standing -.ubjecrivity.1 1
Bryson's observations are shrewd, bur they stop well shon of Wylie's claim that each of
Struth's family groups "must he read in irs entirety, and each family member placed by
position, poi:;mre,gesture, ancl facrnl expression in the complex interweaving of emotion,
gesture, and facial expression we all encounrer in relation co our own families." No
viewer could successfully do wh;:ir Wylie c.lemanJs; Bryson is surely correct when he
insists thac the "quasi-nove listic'' approach raken in his comparison of the Hirose and
Smith families quickly reaches its limits (130), For two reasons: the first is informational
- there i!>so mu<.:hone does nm know and no phorograph could convey; 12 the second
is -:rrucrural, owing co the unresolvable conflict r>erween rhe viewer's empathic engage-
menr with individual family members on the one hand and his or her larger response
co and inrerprctation of rhe family grour as a who le on the other. The viewer's atten-
tion is divided berween the rwo, it shuttles continually from one ro the other ,is ,,.,ell as
from one member of rhe family group to another, without the least possibility of com-
pletely inregraring the various individuals in their p:micularity into the larger unit. To
my mind, the special magnetism of the best farnjly portraits owes mu<.:hco Srrnrh's han-
dling of that confl ict. Whereas in those family portraits where for one reason or another
the conllicr is muted-such as The Shimada Family, Yamaguchi (1986), in which only
six persons, apparently comprising three genernrions, are perhaps roo artfully distrib-
ur-edacross a Japanese garden complete with mossy rucb, flowering bushes, and a water-
fall, and The Consolandi Family, Milan (r996; Fig. r 1.3), in which an elegant modern
apartment competes on equal terms with its well-dressed occupants - the rota! impact,
while for from negligihle, falls short of the almost hypnotic force of the three portraits
I began this chapter by describing. Another factor is the strength and perspicuousness
of color, whicb tends ro u1still its own order of pictorial simultaneity, without relation
to the individual, the group, or the conflict between the two: a llthough of my three exem-
plary photographs only rhe Hirose Farnily is in b lack and white, in none of the three i~
color as salient a~ it is in the Shimada and Consolandi portraits; the nearest they come
is the Bernstein phowgraph, but there the main role of color is ro serve the rheme of
family resemblance by making visib le the blonde hair of most of tht.: sitters. (Tn a struc -
turally different ponrait of an older married coup le, the justly admiJed Eleo11orand
Giles Robertsull, Edinburgh I t987; Fig. J 24J, the slighrly our-of -focu s warm plum wall-
paper in the middle ground is vital to the overa ll effect, provicli11g an affective frame for
the physically separated but obviously well-matched pair. ln general, though, l think it
is fair to say that the family porrraits as such work best when color is minimized Y )
purtra 1ts by str1Jth, dqf stra, fa1genbauni, delA~1ave, and f1sche r, nordon and parreno's zidane 20 1
124 Thomas Strmb, Eleonor a11dGiles Rnbertso11,Edinburgh, 1987. Chromogenic proces~
print. 41.5 x 59 cm; 68 x 86 cm frame<l
Farther on Wylie says rhat we ''arc allowed ro ponde r a group of individuals whose
relationships are essenrially ung-uardcd, open ro our examination,'' and connects that
supposed openness with che fact that "the sub jects are fuJly aware of rhem selves and
conscious of how they present themselves to the camera (and for the image) '' though,
in a way that is typical of commentaries nn Strurh's work, he does nor explain exactly
how the second enables the fuse. Instead he underscores the theme of awareness by
dairning chat it and nothing else is ''the hallmark of all these figures- awareness of the
artist taking their porrrair, of the fact chat th ey are a subject to be looked ar, and, by
exte nsion, of their place in the world once the shutter has fa llen" (r51-2). It is not hard
to see why someone caught up in the ostensible logic of fronral address might wish co
:;a)' chi:,;- but nor is it hard to sec how and where sw.:h a claim goes astray. (Nor ro
mention the additional suggestion that "perhaps we are meant to rake [the sitters']
awareness wirh us" and apply it within om own lives IT52). There is something about
photography that encourages this so rt of well-meant moralism. 24 }
Let me try to clarify matters by noting the active presence in ~truth's famjly photo-
graphs of two complementary axes. Th e first lies wholly within the picture and is essen-
tially lateral; I think of it as the axis of family relarionships, which in the case of Strurh's
family portraits includes both che play of physical resemblance and difference Wylie
203
r 25 Thoma~ Struth, The Richter Ft1111ily.
Cologne, 2002. Chromogenic process print. 97 x 'F5 cm; r 3 0 x 174. 5 cm framed
of rheacrica l connotations bur actually makes it serve rhe interests of the overcoming of
theatricality. Such a conclusion is not fundamentally ar odds with the passages 1 have
cited from Wylie, Bryson, Ichikawa, and Schjcldahl. On the contrary, my sense is tbar
the family porrraits have been universally admired large ly on the strength of their
antirheatri<.:al qualities - indeed that these works, like those of rhe other photographers
featured in this book, have been the vehicle of a serious return to antitheatrical values
as well as of a resurgence, on the part not just of critics such as those just mentioned
bur also of a sizable portion of the artgoing public, of antithearrical sensibility- all this,
however, with almost no general awareness drnt anything of the sort has been going
on. 2 -
Two more family phorographs are word1 glancing at before moving on. In The Richter
Family, Diisseldor( (2002; Fig . 1 25), a superb ly intense picrure of the artist Gerhard
Richter, bis wife, young son, and daughter, the impression Richter conveys not only of
crackling self-awareness bur also of a wariness of delivering himself up to rhc camera
could scarcely be more palpable. Yet iris impossible ro imag1ne that all four sirrers could
be more vividly "present" to the camera, first individually, rhen in pairs (father/daugh-
rer, morher/son), rhen -spanning the gap in the middle of the composinon - as an almost
musical unit (a chord). What gives this picture its special eclar, however, is the coura-
geous stance of the boy, who faces the camera like a small gunfighter, his hands at his
sides as if at the ready. The contrast in this regard wich his seated farhcr is touching, as
is - in context- rhe physical resemblance between son and mother, whjch becomes more
strik ing rhe longer and closer one looks. (The photograph is in color bur irs feeling is
of black-an<l-whire.)
The last picmre I want to consider, The Martin-Mason Family, Diisseldorf (2001;
Fig. 1 26), comes with a brief anecdote. On 26 April 2004 I stood wirh Struth in a
Diisseldorf warehouse looking at chat photograph. 1 was already fruniliar with it from
reproductions, bur even in front of the original f coul<l not make it "work" for me. I
coulc.l nor "read'' it or ''get into" it, something about ir re5isrcd me, refused to yield the
por11a11s by s111ith. d11kslra, fa1genbaum cJefal1ay1:;,anrl f1sche1 gordon 'ind parre ,,os z1dane 205
sort of emotional access, or sense of overa ll inrelligibiliry., f had come ro associate with
his suongest works in rhis genre. 1 said as much to Struth, and, co my surprise, he was
delighted: my difficulties, he explained, sremmed from the fact rhe Martin -Mason family
i!'.a "mixed" one. Only the you11gesr daughter ar the right is the child of borh parents;
the dark-haired daughter at the left is the father's child by a previous marriage, while
th~ Jong-haired blonde girl next co her is che mother's child also by a previous marriage.
The blonde gir l's gesture of placi.ng her hands on the thighs of her half-sister and her
srep-fa th er was thus a moving and probably unconscious action of fami lial integration.
Ln other words, the lateral family relationships in th e Marrin-Mason pictun~ are more
complex and divided rhan those in the other photographs I have conside red , so much
so th.it no uninformed viewer could be expected ro work them out; in particular, it seems
to me, the reb rion s of biological resemblance are inscrutable. (In addition the family is
nearer the camera than in the other photographs we have looked at, which gives the
viewer less psychic ''space" in which to appraise what is going on.) What pleased Struth
was that I ha<l registered that complexity or inscrutableness without knowing what co
make of it, which he rook to mean that something of his personal understanding of the
family had hcen conveyed in the photograph. Lt remains an open question whether or
not the Marrin-Mason picture is artist icall y the equal of the Hirose, Smith, Bernstein,
anJ Richter photographs despite its emotiona l opaciry. lnirially T had my JoL1bts, but f
am coming around: in the terms of Struth's remarks co Buchloh ("My idea of a suc-
cessful photo is that it be readable, that everyone enters and plays his or her role," etc.},
the Marrin-Mason photo could be judged -.uccessful in its very resistance to being read,
and the more often I retLu-n to it (in reproducrion, unforrunately) the more persuasive I
finJ it.
approach differs from Srrurh 's in that her subjects are strangers a nJ she prefers single
figures or at most units of two or three per sons ro larger groups. She shares with him
,1 commitment to the frontal pose and to rhe protocol that the subject before the lens
should he fully aware of being photographed. And ljke Struth (in my reading of him) ,
she uses the fronral pose and fact of her subjects' awareness, which in her work amounts
often to sclf-consciousnes:., a!> a means of drawing attention to aspects of their
behavior thar escape conscious conrrol.
Dijkstra's classic statement about her approach occurs in a 2.001 interview with Jessica
Morgan. Morgan says: " Tt strikes me that what you are interested in captu ring in your
subject~ is nor a neutral lack of interest in the camera but rather the liminal, traosfor -
mative momenr between self -consciousness and a lack thereof." Dijkstra replies:
Lt's like wbar Diane Arbus said, you are looking for the "gap berween intention and
effect ." People dunk thnt they present themselves one way, but rhey cannot help but
show something else as well. Ir's impossible to hav e ever)'thin g under contro l. But
when I try to photograph somebody, especially with the full body, it always make s
portraits by strulh r!1Jkstrc. t 11wnt,a111n. il elatwye, and l1sc;l1er gordon a11d narrenr,s z,dane 207
them wonder "oh, whar am I going to do with 111yhands, etc." And 1 think, retro-
spectively, l really used rhat more or less in the beach photos. 10
Fverybody has that thing where they need ro look one way bur they come out looking
~rnother way and thar's what peop le observe. You see someone on the street and essen-
rially what you notice ahout them is the flaw. It's just extraordinary that we should
have been given these pecL1l iarities. And, nm coorenr with what we were given, we
create a whole other set. Our whole guise is like giving a sign to rhe world to think
of us in a certain way but rhcrc's a poinr between what you want people to know
about you and what you can't help people knowing about you. And that has ro do
with what I've alway,; called the gap between intention and effect. I mean if you ,cru -
tinize reality c.:losclyenot1gh, if in !)Orneway you really, really get to it, it becomes fan -
tastic . You know it reaUy is totally fantastic rbat we look like this and you sometimes
see that very clearly in a photograph. Something is irnnic in the world and it bas to
do with the fact that what you intend never comes our like you intend it. 11
In Arbus's practice this led to a kind of photography, large ly based on the frontal pose ,
that commentators have often found troubling precisely because of her consuming inrer-
esr in her subject::.. "flaw:/' and more broadly her fascination with sitters ~he herself
called "freaks'' -dwarfs, mrnsvesrires clothed and naked, a female stripper with naked
breasts in her dressing room, a human pincushion, a Jewish giant at home wirh his
parents in the Bronx, rern.rded people di!)porring themselves in a field. 12 The charge,
briefly put, has been that Arbus typically exploired her sitters by using photography to
reveal aspecrs of the latter's appearance rhat they could not have imagined wou ld make
the 1mprcs!)ion on others that those aspects inevitably do. "A large part of the mystery
of Arhus's photographs lies in what they suggest ahout how her subjects felt nfrer con -
senting to be photographed," Sontag wrires in On Photography. 'Do rhey see rhem-
c;elves, the viewer wonders, like that? Do they kncnv how grorc.<,qt1ethey are? It seems
as iJ tbey don't" (35-6).
Sontag strongly disapproves of such an approach, in the first place because it "makels]
.1 compassionate response feel irrelevant" (.p) - cbe viewer is being invited nor to
empathize or commiserate bur merely to look with equanimity (wirhout blinking, Sontag
also says} - an<l in the second because it i.uggests chat the phorogrnpher was essentially
a "collector' of painful images, for reasons rhac had co do with her own life and upbring-
ing in a particular rime and milieu (.+o}. Nor that Sontag's strictures have commanded
universal agreement; from rhe moment of Arbus's first coming to prominence in the
1960s she has not lacked influential advocates, starting with the Museum of Modem
Art curator John Szarkowski , and she is today widely regarded as one of the most orig -
ina l anJ important photographers of the r 960s. Yet questions a~ to the ethical impli -
cations of ber images have continued to color all seriou!) discussions of her achievement,
and what J wanr ro suggest is rhar rarher rhan try to resolve chose questions one way
or the other what is imrortanr i!>to understand that it is intrinsic to her approach that
<;uchquestions t1rose in the first place and have persisted to this day. That is, her pre-
portr;itrs t,y strulh d11kstra, /aigen!Jaum, t /~lahaye , and flscher, go1cic>r1and PiHrenc,s ,."11ir1ne 211
r 30 Rincke Dijkstra, Ted,,,
Amsterdam, The Netherlands.
May 1 6, L 99-t, 1 99+
Chrumogenic proce~s print.
153 x 12yc111
psychologically about ber subjects but rather the gap itself, rhe way in which her
subjects' awareness of being photographed nor only coexists with but positively fore-
grounds, makes visible to the camera, hence co the viewer, a range of feat1Jre~ that are
not "under control." Put slightly differently, her reason for preferring children and
adolescenrs - after the beach series she wenr om ro photograph young adults as wt::11(see
below) - is chat rheir psyches, or rather the interface between their psyches and rhcir
bodies, is still fundamentally "open,'' not yet marked hy the de.finiteness of adulthood.
M y further suggestion of course is that that interest, indeed Dijkstra's entire way of pro -
ceeding, is on the side of antitheatricality, unct:ir't~ciousncss of the sort l have been dis-
cussing lining up with the value of absorbe<l obliviou soe<;'>,real or apparent forgetting
of one's audience, in Diderot 's esthetics. "0 combien l'homme qui pense le plus est
encore automate" - 0 how much the man who chinks the most is nevertheless an
automaton - Diderot wrote in 17 5 8, 18 and al rho ugh the anritherical but complernenrary
structure of awareness and unconsciousness that l have claimed ro find in Struth's fami ly
photographs and Dijkstra's beach series wa~ nor one that painting in his time was
capable of devising, rhe core idea behind rhar structure, which is to say the values it
serves, could nor be more Diderorian in spirit. 19
Subsequent series of photographs by Dijkstra include three naked or a ll but naked
women holding babies taken shortly after giving birth (Fig. 1 :,o); roreros phorographed
at close range immediarely following bullfights (therefore disshcvelcd and spatte red wirh
blood); young Israeli men holding the powerful weapons they have just fired for rhe first
time (Fig. 1 3 r); a young en listee, Olivier, at various stages in his first years in the French
1nrtra1ts by strutl1. d1Jkstra fa1gen1Jaurn 11elahaye, and f1scl1er, go rrlon an(1 parreno's z1rlane 213
11ureign Legion; and a child asylum seeker, Almerisa, at irregular interval:, as she g.rows
into young woman11ood. (The list is not exhaustive.) ln ,ti! these series Dijkstra's concern
has been subdy different from the one in play in the beach series. '' I look for specific
things that ser mr
sitter.:;apart- little details, like a certain gesture or gaze," she remarks
ro Sarn.h Douglas.
I often find these in um:onscious moments, when rhey are not thinking about their
pose. I photographed bullfighters after the fight, mothers jusr after giving birth, and
male Israeli ~oldiers after a shooting exercise. When I was doing commis~ioned por-
traits, 1 found it very difficult to relate to my sitters' self images; 1 feel it is more inrer-
esri.ng when peopl<:>show things that are beyond their controL I look for something
authentic, something spe..:ial. I try to strike a balance between what people wane to
-;how, anJ what they show in spire of themselves, what Diane Arbus called "the gap
between intention and effect,'' the tension hetween reserve and openness, between
hiding and revealing. Bur never divulging their secrets. 178-9 I
fhe interest in self-revelation is consranr, as is the refusal to embarrass her sitters, but
in all these serie~ the ide::i is that Dijkstra's subjects - unlike her bds on beaches- have
been at lea~r temporarily marked by the experiences they have undergone (in the rhoco -
graphs of Alrnerisa by rhe move to the Netherlands as weU as by her maturing as a
yo ung woman).
Tvvo further poincs. Fi.rst, we have seen rhat Barthes in Camera Lucida holds that
"what fountls the nature of Photography is the Pose," 4 ri and goes on to express a sweep-
ing predilection for photographs of person s who look direcrly into the camera- as
Barrhes puts it, "fwbo look] me straight 111 the eye" (11 I). J have argued thar this is
cons1stenr with Barthes's antirhearricalism in that only if photography is understood
to be fundamentally theatrical, which is what it means to claim that it is founded in
and hr the Pose, does it offer the possibility, at least on the plane of theory, of being
rendered antithearrical, as opposed ro its being merely non- or untheatrical. Herc is
Barthes's theoretical "solution" to rhe problem: "One might say rhat the Photograph
5eparates attention from perception, and yield~ up nnJy the former, even if it is impos -
s ible without the latter ... " ( 111) - which is to say that his "solution'' is nothing of the
kind. Whereas the '>tructures of awarcnes::. and unconsciousness l have ascribed to
';truth's and Dijkstra's photographic portraits represent a genuine ''solution" -or at leasr
two serious responses - to the problem of por.ing. One would like to know what Barthcs
woul<l have made of their pictures.
Second, the emphasis on frontal poses .rnd maximum awareness on che part of the
sitters in Struth's family photographs and Dijksrra's head, pictures (and subsequent
serie~) lines up with what I have suggested has been rhc nece~sity in the wake of mini-
malism/literalism to acknowledge to-be-seenness in the course of pursujng antitheacri-
caJ aims - in that sense to drive a wedge between theatricality and co-be-seenness and
by so doing to establish antitheatricality on significantly new ground.
portra its by struth, dq~stra , fa,genbaum de lahaye, and f1sche r. gordon and pa,renos 211-Jane 215
Villa Medici in 1987. What makes the photographs ,uresting in the present context is
that Faigenbaum chose to photograph the busts ar extremely dose range, thereby not
only eliminating all evic.lcnce of their c,etting but also concentrating exclusively on the
heads and faces, with here and there a neck. (Tf one did not know that these were busts
- sculptural portraits cut off below the shoulders - one coulc.l not cell it from the photo-
graphs.} The result-considerations of lighring, film speed, and exposure time, as well
as rhe actual printing of che photographs, played viral roles in rh.is as well - is some-
thing new in my experience. Jn the first place, rhe photographs faithfully record the
present condition of the busts as nearly two thousand-year-old material artifacts; at che
c,amc rime, the cumulative effect of the closeness, cropping, lighting, printing, and so on
has heen to infuse the images themselves with a note of human interiority - what l earlier
ca lled mindedness - alto gether foreign to the imperial bust as an artistic genre, were one
viewing these in their room at the Capitoline rather than through the mediwn of Faigen-
baum 's photographs. Take, for example, Augustus (Fig. c3 3 ), with its missing nose,
battered chin and lower lip, blemished surface, blank open eyes (no irises or pupils,
though in other pictured busts there are such), and forehead almost wholly cropped by
the photographer: how many photographs of actual persons can one bring to mind that
offer so intimate, intense, and unguarded an expressive communication to rbe viewer, a
communica rion all the more poignant for its seeming restraint and also because one
simu ltaneous ly registers the fact that the foce belongs nor to an actua l person bur to a
portraits by suuth, d11kstrc:1fa,genbaum, delahaye anr:I f,scher, gordon and parre no's z1dane 217
marble image and rhat one is therefore authorized, indeed actively encouraged , co gaze
one's fill - co give oneself to the imaginary connection without the smallest risk of imper-
rinence or intrusiveness on the one side or defensiveness or embarrassment on the other.
(lt is hard to believe, in the grip of the photograph, that this is the great Augustus, victor
of Actium, supreme polfrician of his age, officially a god.) Orher photographs- Julius
Caesar (Fig. 134), the thoughtful face with its repaired nose and forehead shrouded in
darkness; Salcmine (fig. 135), widespread diverging eyes full of indefinable feeling;
Caracalla (Fig. r 36), as if lost in violent thought; Gordien JIJ (Fig. , 3 7); and Titus (Fig.
138)- have different expressive valences but are equally instances of the same artistic
tour <le forc.:e: the seeming animatjon of the merely material, an animation that on rhe
one hand is utterly dependent on the original sculptures, bur that on rh e other - by virtue
of the rransformative power of photography char I have more than once remarked on
in this book - goes far beyond the originals in the direction of a subjectivity effect of
truly uncanny force. (Tbe marks of damage and repair mysteriously contribute to that
effect.) Not surprisingly, l want to suggest that Faigenbaum's Roman emperors rhus
anticipate his later turning toward an absorptive esrhetic, and more broadly that their
inspired conjoining of materiality, hence unconsciousness, and expressiveness is implic -
itly antitheatrical.
ff l ha<l more space in this chapter J would go on to conrrasr Faigenbaum's pictures
of emperors with Hiro shi Sugimoro's large black-and -whice photographs of effigies of
Henry vm and his wives in Madame Tussaud's waxwork museum in London ( 1999:
Fig. 139) , a set of images that I see as ingeniously themarizing the effigies' absellce of
subjectivity, <lespire their ostem,ible lifelikeness, ro which the finely Jerailed photographs
do full justice and more- rhe ''more'' of course being the means by which that lifelike -
ness is in the enJ undone.-' ; (The marble onginals of Faigenbaurn's emperors, in con-
trast, are conspicuom.ly nor lifelike but in his photographs radiate life.) This mo might
be thought to link up with an antitheatrical estheric, a possibility given further credence
by Sugimoro's comments in a conversation with Tracey Ba!.hkoff. Bashkoff asks: '' H ow
does Ithe fomrnt of the Henry Vlll photographs relate ro rradirional portrait painting?''
Sugimoto replies, understanding the notion of format to mean something like 111ise-e11-
scene:
All che subjects are either three-quarter view or in protile. Very few of the figures are
looking :1ryou directly. One wonders why rhey appear co be avoiding eye contact with
the viewer? Frum the three-quarter view, cbe viewer feels as if he or she is invisible
and able to investigate this powerful person wicbout confrontation. Nor looking into
rhe eyes of someone in a different class or static)n. That's probahly the police thing to
clo.,j,j
The second body of portrait work l want to glance ar here is Luc Ddahaye'.s L4utre,
a hook of ninety candid shms of fellow passengers taken with a bidden camera on the
Pa ris Merro between t995 and r997 (che book appeared in r~99; Figs. 140 and 141). 4 '
"Controlling the shmrer from his pock er," one commentator ha:. written, ''he quietly
rook each photograph precisely the same way of whoevt:r entered his frame as the doors
of the subway came ro a dose .... He said aboll[ his prorocol that 'ir was a type of
nihilism, a zero poinr chat I couldn't do any le...,sthan.' " 4~ The ohvinus precedent, as
Delahaye SLLrelyknew, was Walker Evans'c: famous 'Suhway Portraits" of r938-41,
tinally cnllected in the volume Ma11y Are Cnl/ed4 - (see Figs. 55 and 58): starting in the
winter of 1938, Evans, often au :nmpanicd by his friend Helen Levitt, a first-rare photo -
grapher in her own right, ro<le the New York subways for hours on cod in order to take
photographs of fellow passengers with a hidden camera the lens of which peeked our
between two buttons of his topcoat. According to Mia Fineman, Evans later described
the subway series as '"a rebellion against studio portraiture .... 1 was angry. lt was
partly angry protest- not social, but aesthetic- against poseJ portraiture:.' " 4 N Fineman
goe$ on co say:
A pnrtrait "ession, a:. Evans recognized, is an inherentl y rhcarrical scenario, a
command pcrformam:e requiring costumes, props, an<l make-up .... This inevitably
falsifying sdf-consc1ousness is precisely what Evans sought to circumvent in his
subway series. What be w:rnred ro caprure on film was not l>O much the private self
of his subject/>a<;the 1mcomoo11s self: the self that is only perceived hr a stranger in
passing, the self that never appears in the batliroom mirror but can sometimes be
glimpsed in ::i plate -glass shop window, before you recognize rbe reflectjon as yuur
own. For Fvans, the enforced proximity and the mesmerizing tedium of the subway
offered a "dream 'locarion' for any portrait phorographer weary of rhe studio ::ind of
the horrors of v;u1irr ... Thl' gtiard is down and the mask i~ off: even mon:: than when
in lone bedrooms (where rhere are mirrors), people's faces arc in naked repose down
in the subwa y." I 108-9, emphasi5 in original]
Delahaye would have: been sympathetic to sucb thoughts, but only up to a poinr; at any
rate, his images differ signific ,rntly from Evans\ exnmple. Whereas Evans'<.subjects sir
acro~s the central aisle from him and are variously framed from one shot ro another,
Delahaye's photographs appear ro have been taken ar close range - also slightly from
below - with his subjects' hea<ls occupying most of the recrang le and rheir features
depicted in ~harp fo(us and with strong contrasts of light anti shadow as they look away
to one side or the other - anywhere, one feels, bur at the photographer. Moreover,
pc,1tra,1s tJ\ ztru!I, cliJk<;trn fa1genbr111n1. dtJlahaye. ancJ i1sch,-.r, g;'l1don and pareno's ::1dane 22 1
L'Autre as a book bas a !>harply different character from Many Are Called. The cumu-
lative effect as one turns its pages and confronts its ninety portraits - each on rhe right-
hand page, facing a page of shiny black - is claustrophobic in its intensity: the extreme
proximit y of Delahaye's subjects and the sameness o( rhe compositional schema throw
into relief nor only rhe physiognomic, racial, and age diversity of the individual riders
bur equally rheir uniform determination, as it comes to seem, ro absent themselves as
much as possible from rheir immediate circumsrances. This appears to hnve been what
Delahaye intended, along wirh a further aspiration to approach as near as possible co
a negation or, ro use his rerm, a "zero point" of authorial presence, Jespite what he
musr have realized would be the viewer's (the page-turner's) constant awareness of
Delaha)'e's sec.:retagenl'.y in the making of rhe pictures. Thu s the photographer in a brief
preamble to bis book alludes to "chat non-aggression pact we all subscribe to: the pro -
hibition against looking ar others." He continues: "Apart from rhe odd illicit glance,
you keep staring at the wa ll. We are very much alone in thl'se public places and there's
violence in rhis calm acceptance of a closed world. 1 am sitting in Front of someone to
record his image, the form of evidence, but just like him 1 too stare into the distance
and feign absence. 1 cry to be like him. It's al l a sham, a necessary lie, lasting long enough
to rake a picture. " 4 '' Faces on rhe Metro, in orber words, including Delahaye's, arc so
m:rny masks of blankness - they are. one mighr say, faces on hold - and parr of rhe dis-
tinction of L'Autre is chat ir obsessively records rhar fact.
Now, my purpose in introducing Delahaye's L'Autre at this juncture is both to call
artenrion to a compelling achievement J.nd co use rhe comparison with vans to under -
score the 5hifr of emphasis rhat I rake to be characteristic of what has happened in art
photography during rhe past few decades. Two points in particular are worth stressing.
First, the comparison exemplifies a general turning away from the antithearrical ideal
in its original or strictly Di<lerotian form, which in rhe case of F.vans's "Subway Por-
traits" 1sexpressed in the notion that persons who are unaware of being photographed
-who at the limit are unawar e of being beheld- manifest che inner truth of their being
on their faces. ;o The reason!> for ch.is turning away are many, bur perhaps the most
interesting is that given by Barthes in Camera Lucido, where he deprecates the practice
of capturing persons unaware of being photographed on the grounds that doing- so
amounts to nothing more than a certain sort of performance on the part of the
Operator (the photographer). Second, whar one finds in Delahaye's photographs in
T.'Autre is at once an acknow ledgmenr of the untenableness, as of rhe mid-1990s, of the
"Snbway Portraits" paradigm - Delahciye's subjects, not jusr individually bur in their
very repetitiveness, their structural similarity from one photograph to the ne>.t, appear
painfully aware of their exposure co the gaze of the Orher, chough not ro that of tlw
camera (which however threatens by its e.x.--rreme proximity ro violate their fragile psycl1Jc
space) - ,md an attempt to themacize that awareness as a collective if ultimately doomed
aspiration mward psychic absence, an aspiranon which, Delahaye's remarks suggest, is
shared hy rhe photographer . ("More t:han anything l wish to Jisappear," he has said
a hour his work, ' 1 :in avowal that bears also on the panoramic pictures discussed in
Chapter Six.) ln orher words, Delahaye's project in L'A11tre is consistent ""ith whar
l have described, in the first place in conne<.:tion with Jeff Wall's practice in works such
as Adrian Walker and Mor11i11gCleaning, as a combination of an acknow ledgment
of to-be-seennes" and a resolve, against the odds, not to succumb ro theatricality.
By acknowledgment of ro-be-seenncss in rhis context I refer not only to the Metro-riders'
subscript ion to the ''non-aggression pact" to which Delahaye's preamble alludes hut
also to the ro le played by the phorobook as such - the rurning of the pages under-
scoring a ,;ense of the photographs' repetitiveness - in the view ing of Delahaye's
portraits.
One last group of works to be considered is the German photographer Roland Fischer's
se ries of large-sea le, frontal, close-up color portraits of monks and nuns in their coifs
an<l cowls (1984-7; Figs. 142 and r 43 }, about which Regis Du.rand has written:
ort,ans by s11uth d1kstra fa1g<.lnbaum, clelahaye. ,md t1scher gordon and parreno's z,dane 223
1 42 Roland Fischer,
Untitled. Nuns and Monks
(N3 I ), 1984.
Chromogenic process prinr.
181..9 x 1 30.8 cm
One mighr chink char the work of Roland Fischer, who has photographed monks and
other religions persons lmoniales] in Benedictine monasteries all across Europe, [has
for its aim] the very image of aurhencicity, not simply of the individuals phorographed,
but by means of them of a life entire ly consecrated to a faith. And, in a certain manner,
fiscber's photographs stay close to a traditional photographic aspi ration, which is to
seize beings and things in their true presence, their being-there [leur et1'e-laJ.The sub-
jects themselves, in the present ca:.e, are in a sense already prepared, since they are,
by a life of ascesis and renunciation, divested of everything superfluous, as i_finwardly
purified and emptied out feuide].And it is doubtless chat involuntary coincidence with
the phorographic image (reinforced by the framing of the face beneath the coif or the
hood, irs frame) which has interested Fischer. ' 2
The implicat ion seems co be chat what Fischer 's religious sitters truly, deeply are is man-
ifest in their faces in a way that m}1kesthem ideal photographic subjects. Thus Durand
goes on ro describe them (the monks and nuns themselves, it appears) as "transparent
signs, fragile icon:,, places of passage and of exchange as rnucb as of the divine presence
as of the gaze, between an infinite depth and an absolute evidence and litera liry" (rn).
To which it should he added that in rhe painting and etching of Manet's generation, as
in earlier European painting generally, monks and nuns were almost always depicted
absorbed in prayer or medirntion (or as in etchings by Manet's contemporaries Edouard
Moyse and Alphonse Legros, in playing cellos). "All etchers slhould frequent cloisters,"
the critic Pnul de Saint-Vicror wrote in r863,
ponra,ts by s1,un, d 1kstra, Ia,genhaum, delahaye arid tischer 9ordon ,ind p,me:110 s z,dane 225
there rhey would find what their capricious and freedom-loving needle seeks: pic-
mresque tarters, cbaracrerisric heads, interiors shot through with light and shadow,
mystery nnd strangeness .... The Cart!JUsit111 Playing a Cello by Morse [sic: EdouarJ
Moy1:.el 1.smodelt:<l with fullness am l accuracy. The old man bends over his instru-
ment wirh his head bare. Vowed to rhe silence by his Rule, he seems to converse with
it; deprived of th e sociecy of men, he rakes refuge in the world of sounds: the voice
of the strings tnkes the place for him of rhe human voice. 11
The cloister, in Saint-Victor's account and in rhat of orher art critics of the 186os, was
ima~ine<l a:. a wor l<l apart, an absorptive space closed off From the world of ordinary
life. q What I want ro call attention m in Fischer' s portraits is the unlikely ~oking of
unmistakable evidence of years and in some cases decades of cloistered existence and
intensely absorptive spirirual activity- faces lined, paled, drawn, and pouched by 5.oli-
rary prayer, meditation, fasting, discipline - together with a largeness of scale, an unfbr -
r<:ringevenness of lighting, an even more unflattering hyper-visibility of epidermal detail,
rind what seems plainly to have been rhe roraJ .10.:eptance hy his sitters of being
photographed (by an artist, and at point-blank range), all of which taken together are
equal ly unmistakably on the side of to-be -see nneso;,.Such a yoking, inconceivable at an
earlier dare, perfectly exemplifies the new photographic regime rhat is rhe overarching
s ubject of rhis book.
Douglas Gordon and Philippe Parrcno's film, Zidane: A Twenty-First Century Purtrait
( 2.006), was ma<le as follows: during the enrirery of a ninery-miJ1ure c;occcr match
between Real Madrid and Villareal in chc Estadio Santiago Bern:ibeu i.n Madrid on the
evening of April 1.3, 2.005, seventeen synchronized movie cameras, using different types
of film and in various positions around the stadium, were trainee.I on one player, the
superb and legendary Real halfback, Zinedine Zidane. (Zidane, born 197 z. in Marseille
to an Algerian family, played spectacularly for France in the 1006 World Cup before
being red-carded - expelled - from the final shortly he fore the end for head-butting an
Italian defender. It was a ,;mpefying acr and brought his glorious internarional career to
a more memorable end than anything could have done except scoring the winning goa l.
Neverth e less, thousands of international journalists voted him the best player in the
tournament, awarding him the "Golden Ball.") Gurdon and Parreno sat in a trailer
outside rhe sradium looking ar real-rime images from the seventeen cameras fed tO TV
monitors in front of them; this allowed them to request individua l camera operators co
move in for a close ~up, ro pull back, co focus on Zidanc's torso or head or feet or raised
arm anJ hand, and so on. Later the arrii..ts, together with noted editor H erve Schneid,
edited thr raw takes, mont,1ging sequem:es from each of the cameras, as wel l as bits
from rhc TV broadcast, to make a single temporally continuous, a lheit visually exrremc ly
heterogeneous - at times almost c.lisorit>nting- ninery-minute movie; the sound track,
also heterogeneous, combines rhe Spanish commentator's relevised accounr of the game
144 fi~n still from Zida11e:A 2 rst Century Portrait, by Douglas Gortlon and Philippe Parreno,
2.006
(which runs intermittently through the film, giving ic a narrative spine), crowd noise,
sounds of contact from the field, hard hrcathing, music by rhe Scottish band Mugwai,
and silence. At several points statements hy Zidane appear in subtitles. The viewer
follows not the march per se but number 5, Zidane, from beginning to (almost the) end,
though at a few crucial juncrnres - once when he is knocked down and later, after Zidane
defianrly dribbles past defenders an<l senJs a fabulous left-foore<l cross chat is then
headed for a goal by his Brazilian teammate Ronaldu - the action is shown three rimes
and from different points of view, to make sure that the viewer grasps what has jusr
taken place. (Also given are t\VO views of a crucial penalty chat leads ro a goal - nor
acruaily shown - against Real, and rwo of a goal by Michel Salgado rhat puts Real ahead
to stay.) Zidane opened at the Cannes film festival in 2006, wai, projected in a stadium
at the Basel Art Fair, and shortly after char went into general release in Paris, where 1
caught it twice the first day it was in the theaters.
I did not do so by chance. I had learned about the project some time before and had
been looking forward to seeing the 61m for two reasons. First, I had become interested
in Gordon's work ever since happening upon his video projection Play Dead; Real Time
(2003), featuring an elephant that repeatedly lay down on the floor and rose with dif-
ficulry co its feet (presumably in response to instructions from a handler offscreen), at
the Gagosian Gallery in New York in 2003, followed by his rerrospective exhibition at
the Hirshhorn Museum and Sculpture Garden in Washington, o.c.. the following year.
Second, the project intrigued me. In particular Twas curious to discover whether or not
rhe designation of rhe film as a "portrait" could be taken seriously - whether ic meant
porna 11s by s t1111h,d11kstra. fa1genbau1n, delahave. a11d risctier, gordc,n and parro.~nbsz1dane 227
r4, Film ~rill from Zida11e:A 2ISt Century Portrait, b) Dougla~ Gordon and Phjlippe Parreno,
-2.006
simply that the film was a biopic or whether it had some deeper resonance. 1 hoped the
latter was the tase , and when J saw the film Ill) ' hopes were fulfiJJed.
Jn a shore joint c;tarement about their project., Gordon and Parreno refer to portraits
by Velazquez and Goya in the Prado, but identify Andy Warhol's real-time film portraits
of &iends and other V"isicorsto the Factor y as rhe "direct source for the pl>rtrair that we
hope to painr. "'' This is doubtless true, but girasping the significance of Zidane also
requires viewing it against the background of the issues I have been tracing in the present
chapter and, more broadly, in this book.
First and most obviously, Zidane himself is depicted as wholly absorbed throughout
almost the entire film (Figs. 144-6). What absorb& him, namrally, is rhe march, which
requires the keenest imaginable attention from start to finish and in addition ca lls forth
the mosr intense and concentrated physical effor1r on his part, nor continuously - he con-
serves his energy whenever possible - bur in explosive bursts and sallies that are nearly
impossib le ro follow as they unfold. Lndeed Zidane's dazzling and unerring footwork,
hi~ astonishing control of the ball, and bis instantaneous decision-making a ll exemplify
his seemingly unremitting focus on the game even as they combine co keep the viewer
perceptually on edge, as does the sheer violence of his high-speed physical encounters
with riva l players as rhey rry co srrip him of rhc bail or the ocher way round (the miking
of the sound of chose encounrers adds greatly to their vividness). Another facror in all
th.is is Zidane's physiognomy, not just its leanness and roughness, emblematized by his
balding, greying, closely cropped skull, but its basic impassiveness (his expression barely
changes afrer his brilliant cross results in a goal), wh_icb adds co the impression of an
inner ferocity chat, it rums out, could scarcely he more phorogenic. (To say that the
sevenreen cameras --love" Zidane is an understatement.) Through almost a!J the march
thar impassiveness gives way on ly once, late on, when he c;hares a joke wirb Roberto
Carlos: the effecr is marvelous, a sudden lightening, bur according w Gordon (in con-
versation) that was the nne moment that Zidane did not appreciate when he was shown
rhe film. He seemed to himself to have lost concentration and that annoyed him.
1n short J sec Zidane as belonging, first, to the absorptive current or tradition that I
have cried to show, in Absorption ,111d Theatricality and subsequent books, has played
a central a role in the evolution of modern art, and second, to rhe revisionary adapta-
tion of absorptive strategies on the part of Srrurh, Dijkstra, Faigenbaum, Debhaye, and
Fischer (among ochers I have ool considered) 111the interest of coming to grips with the
ongoing problem of porrrairure (see Srrurh's remarks to Ann Goldstein cited earlier in
this chapter). Cruci:1lly, however, Zidane's absorption in the match with Villareal is nor
depicred as invo lving rbe comp lementary unawareness of everyrhing ocher rhan rbe focus
of his absorption - which until recenrly has meant an unawareness of being beheld-
rhar has been rhe hallmark of absorptive depicrion from Chardin and Greuze down
a lmost to the presenr. On the contrary, a major part of the conceptua l brilliance of
Zidmre consists in rhe fact that its protagonist's sustained feat of absorption is depicted
as taking place before an immediate audience of eighty thousand spectators, with
mj]Jions more watching via TV. Thus throughout tbc film rhere jc; the unmistakable impli-
cation that Zidane himself 1 as we see him, could not be other than acutely aware that
literally unrold numhers of viewers have rheis eyes on hjm. (He knows too thar seven-
teen movie cameras are following his every move. At the same time, we also feel that
he has no way of kn owing that we in particular are looking un. In any case, tbis is the
portr,11ts by srn 1th rJql-.:sna, largenb;,;,um delahaye. a11d tiscl1cr g(11don and parrano':,. z1da11e 229
realm of ''ro-be-seenness" with a vengeani:e .) Yet the viewer 's conviction of rhe great
athlete's tota l engagement in the match is not thereby undermined. Instead, the film lays
hare a hirherto unrhematized relationship bcrwee 1n absorption and beholding- more pre-
cisely, between the persuasive representation of absorption and the apparent con-
sciousnes,; of being beheld - in the context of :art, a relationship which is no longer
simply one of opposirion or antithesis, as it was throughout the absorptive craclirion
until recently, hut inswad allows a gliding and i1ndeed ::to overlap berween the two. (In
Struth 's family portraits and Dijkstra's photogrnphs of adolescents on beaches absorp-
tion in being photographed gives rise t<>palpable effects of cmhli de soi, which is to say
that in their work the traditional antithesis is dispbced but not undone.)
Furthermore, not only does Zida,,e lay bare that new relationship, it goes on to
explore it, in the 1-irstplace, by the repeated foregrmrndi ng of the filmic and TV appa-
rarus (mainly by shots of the game as mediated by television monitors, including at least
one hlack-and-white monitor in the trailer outside the stadium) as well as by one brief
.. climb" to the upper reaches of the stadium, whence the camera plunges down to the
field; in the second by sequences involving Zid::111ehimself, as when the camera appar-
ently follows his gaze up co the '>tadiLLmlights or ro the scoreboard (0-1 against Real)
hefore returning to the match, or when it draws us close ro his face, then blurs his fea-
rurcs as ir brings the previously indistinct crowd be)'ond him into sharp focus before
zeroing in on him once more (the effect is to suggest Zidane's shifting consciousness of
the "rheatrical'' aspects of his situation)/h and in the third, even more explicitly, b)'
means of some of the handful of remarks hr Zidane that are reported in rhe form of
st1btitles. 'When you step onto the field," Zidane is quoteJ as saying at one point, "you
hear the crowd, you feel its presence. There is sound, the sound of noise." Then: "When
you are immersed in the march, you don't really hear the crowd. At rhe same time you
can almosr choose what you want ro bear. You. are never alone.'' Then: "l can hear
someone shift around in his sear. I can hear someone cough . I can hear someone speak
to the person next to him. 1 can imagine that l hear rhe ticking of a watch." And then:
''When things go badly, one is perhaps more attentive ro the reactions of the public.
When rhey don't go "veil, one fee.ls less co111.:entn1redand more inclined to hear the
insulr s, the whistles. One begins ro have negative rhoughrs, sometimes one want!> to
forget ... " All tht:se remarh-whicb we read avidly, grateful for a glimpse of Zidane's
inner life:- are set off by the sound track, in par6cular by haunting stretches of music
thar at rhese moments consist m,1inl)' of a repetitive, harmonic plui:king, sometime<; with
crowd noise in rbe background. Above tbe titles or during the ''silences" between srate-
mems we follow Zidane, sometimes in action, sometimes walking or standing srill, ar
momen~ in extreme close up, hooded gaze focussed offscrecn, sweat dripping as he
waits for the play to surge hack in his direction. rrom time to rime he spits. He wipes
his face with his arm or sleeve. He scratches his head behind his left ear. Now and rhen
be barks "Hey" or "Aie" or raises one arm asking for the ball. We are also given repeated
shoes of his legs and feet, including close-ups thtat reveal him scuffing the toes of his
dc<1tS against the rurf as he walks along-why does he do chat? His gait becomes inti-
mateJy familiar to us by the end of tl1e film. (Somewhere in rhc ne1ghhorhood is Robert
231
that of galleries, museums, art . 5'' ln my view they have succeeded, and what is charac-
teristic of Gordon's work to date (I do not know Parreno's well enough to speak of ir)
is rhar arristie ~m:cess turns out to have gone hand in hand with deep theoretical and
philosophical interest.
* There is more ro rhe philosophical i1Jreresr of The ~econJ ~ou1ce of phiJosophicaJ imeresr
L.1da11eth::in 1 h.ive suggesred. Two lines o~ wc,rch noting concerns the question a"' LO whether
thought pre,ent themselves. 1-irsr, with respect ro human percepnon 1s inherently "cnncepruru m
the issue of worldhood. there 1s the implication 1rs content. This has heen a topic ot contention
char Zidanc's absorbed conscwusne!ts, for all its between John McDowell, who is ,:onvinced rhar
"hareness'' and narrowness of focu~. nevertheless ,c is, and Hubcrr L. Drerfus, who .argue~ on phe-
opens upon (Heidegger would say "discloses") a nomenologica l gr01111d~that it is nm. A represen -
shared world - in ocher words, thar rhe film is not tative paragraph from McDowell\ Mind and
u1 .1ny sense a ~rudy tll solipsism (in the usu.ii World (Cambridge, Mass., .md London, [994)
under,tandmg of the term ). Thi~, l rake it, 1, ont' reads:
mea111ngof the sequence of tourteen extremely
r have been UJgingthat we must cc,nceive expe-
hrief, extremely diverse news dips from differenr
riences as srares or occurrences in which capac -
part~ of the world during rhe shnrr hal~ime
mcs that hclong ro spontaneity are in play in
hrea.k: ~uch as a puppet show fearuring a Bnb
actualtzat1ons of recepriviry. Expenences have
Marie)' figutt' on a beach in Braztl, the dcsrruc-
rhrir conrent by virtue of the focr char conccp -
tion of homes by flnoding in Serbia-Montenegro,
tunl capacirics arc operanve in rhem, and char
Elian Gnn1.alez speaking 011 Cuban TV, rhe sale
means capacities that genuinely helong to rhe
vi:1 eBay of a l1tesizc X-wmg tighter frorn rhe
understanding: it is essential to 1rhe1rbeing the
movie St,.1r W.zrs. the space ship "Voya~er"
C'1paciries chey Jrc rhar rhey can lhe e-x11loircdin
recording plasma wave ~minds at the solar wiml
a.:civl:' and pmenrially self-cririca I rhinking. Bur
termination boundary. a reading marathon mar-
when thc~e capacities come into play 111 expe-
king the four-hundredth anniversary of the pub-
rience, the experiencing subject i.s,passive, acred
licarion of Don Q11ixute, the issuing of a rn.w
on by independent reality. \X!Jien experience
~eries of video games, the explosion of a car bomb
makes conceptual content av:tih1hle to 0ne, rh.H
in Na1af, Jr::iq (a hysundcr 1s wearing a hlack
i:, itself one's sensibility in operar.ion, nonmder-
Jersey bearing the mLmber 5 and the name
standin~ puning a construc-tion on ~ome pre-
"Zid,rnc" in white), the death of the Briiish actor
co11ceprual deliverances of sensibility. At lease
S1r John .\1ill .\, the first s1ghri11g1n twenty years
with "ourer experience." cunceprual conrent ii.
of an ivory-billed woodpecker, the close of the
cilrea<ly borne hy impressions char indept'ndent
As1,rn-African sumnm in Jakarta -followed ny re:iliry makes on one's senses. (66-7)
rhe ~amr mysterious and hard-ro-trauslare ,:,rarc-
ment (in \Ubtirles ) thar w,hers in rhe film: "Qui With respect to what Dreyfus ca.Lis "absorbed
aurair ru imaginer que darn, le furur on puisse se coping" - as in physical sports, a key example for
souvenir de ce jour exrraordinaire commt' d 'une him - conceptuality for him involves stepping
promenade dans ltn pare" (rougWy: ''Who would back from such copint; an<l rhcreby disruptmg it.
have been ahle to imagine that 1n rhe future one So that wherca~ (in Dreyfus's words) "McDowt'II
Lould remember tbjs extraordinary day a ... t.f it holds rhar our coping 11111st l>e implicitly co11cep-
were a walk in a park"). Toward the end among tl/a/ ,:mdpermeated by mindednes$ [emphasis in
d1e news dip$ are .ilso rwo unassigned sratc- original!;' Dreyfus contends char "if Ian!expert
rnencs ": " My snn had a fever this mornmg" and coper is to rem.am 1n flow, J1e mu~t respond
" [ had something to do roday." Ir is nor entirely directly to the sohcirnnon w1thot11.nrrcndmg to
cle,H what w m::ike of all rhis- rhe statements" the object doing the soliciting [Dre)lfus's example
in particular arc hard ro interpret- but rhe unex- i!oa doorknoh on a Joor that we rea,ch for without
pecred opening up of the lilm m a global per- consciously perceiving it as we le:ive a rooml,
spective, or rather to the simulraneirr o t multiple There i~ no rlace in the phenomen ,olog) of ~kilJ-
pcrwectives. feel, inspircJ. ful action for conLeptu:.11mi.n<lednc~~s." l do not
porua1ts by Strlith d1Jkstra , fa1genl)aum. delahaye- ,;nd i1scfle1 gordon and parrnno's -::,dane 233
147 Jeff Wall, Mimic, 1982 . Transparency in lightbox. 198 x 228.5 cm
street photography revisited:
jeff wa ll , beat streuli, philip-lorca dicorcia 8
In x982 Jeff wall made Mimic (Fig. r 47), one of his best -known photographs . The setting
is a street in Vancouver, which recedes into the distance toward the left -ha nd edge of
the picture. Three persons are shown walking more or less directly toward the camera :
on the left, nearest the cmb, a young Asian man in a short -sleeved shirt and dark gray
trousers, and on the r ight a couple, a young Caucasian man with dark unkempt hair
and a mousta'che and beard, wearing a T-shirt and an open denim vest (in an interview
1 shal l cite, Wall describes him as a "lumpenproletarian"), who holds the hand of a
heavy-thjghed young Caucas.ian woman in shor ts, heels, and a waistless top. The action
of the picture consists in a gesture of mimicry (hence the title) in which the bearded man
raises a finger to the corne r of his eye so as to mock the "slanted" eyes of the Asian
man. The exact relativ e position s of the three figures are important, as are th e dir ec-
tions of their gazes. The couple have not quite drawn abreast of th e Asian man, who
may be conscious of their proximity (the woman in particular gives the impression that
the couple have been walking faster than he) but who on close looking seems not to be
in a position to take in th e hostil e gesture; he glances toward his left (our right) as if at
something off-picture, and his expression, which perhaps betrays a certain tension, is in
the end unreadable. (There is something strong ly cinematic in Mimic, as Wall would
freely acknowledge; one's sense is of a fleeting moment in a more compl ex narrative.)
The woman, a half- step behind her companion, squints as she looks straight ahead into
strong sunlight, and appears oblivious not only to th e action of her companion bur
perhaps to the presence of the Asian man. As for the bearded aggressor, he looks toward
his targ et as he raises his finger to his eye; his entire demeanor bespeaks hostility, and
it is to him and his gesture and facial expression that the viewer's attention returns again
and again.
Wall's Mimic is an early example of his career-long interest in reviving what Baude-
lair e called "the painting of modem life" - la peinture de la vie 1noderne. In fact a major
composit ional source was surely certain pictures by Caillebotte, notably Paris Street,
Rainy Day (1877), the canvas in $truth's Art Institute of Chicago 2, and Le Pont de
/'Euro pe (c. 1876), both of which give evidence of Caillebo tte 's interest in the photo-
graphy of his time . Mimic is also characteristic of Wall's engagement in his art of the
r98os wit h social issues (itself an interpretation of Baud elaire's rubric) , in this case the
accepta nce or non-acceptance of "for eigne rs," as the bearded man would doubtless
regard his Asian cont emporary. (This hardly exhausts the social dimension of th e picture,
str eet photography rev isited: jeff wall , beat str eu li, phtlip-lorca dicorc,a 235
148 Gar ry Winogrand, Hollywood Boulevard, Los Ange les, 1969. Gelatin silver print. 27.9 x
35.5 cm
as will be seen.) A further aspe ct of Wall's thinking, one of particular interest to this
chapter, concerns the relation of Mimic to the conventions and trad itions of street photo -
graphy . ln for example the work of Carcie r-Bresso n and Winogrand, two of the most
famous practitioners of th e genre, the photographer walks the city streets, mingl es with
crowds, plunge s int o politica l ra llies or attend s parties or news confer ences, armed with
a lightweight 3 5-mm camera and shoots what he sees all around him. More often than
not, the persons in such pictures appear unaware of being photographed, as does Wall's
three some, or the sub jects of Walker Evans's "Su bway Portraits" (not strictly speaki ng
street photographs but cons istent with the esthetic; see Figs. 5 5, 58), 1 or th e dozen or
so persons of widely disparate status in Winogrand's Hollywood Boulevard, Los Angeles
( c969; Fig. q8), a parti cularly brilli a nt instan ce of his art. (Winog rand, usuall y con-
sidered the pr eemi nent Amer ican street photo grapher o f the r9 6os a nd '70s , wou ld have
been acutely present in Wall's 1rund in 1982. 2) In an important essay of 2001 on recent
street photography Ru ssell Ferguson remarks that Wall's depiction of a "decisive
moment" in Mimic seems " perhaps too go od to be tru e," but at once adds that "many
stre et photographers hav e managed to captu re such moments . " 3 (The moment depicted
in Hollywood Boulevard is ext raordinary, as is the play of sha dow s and reflections; the
tilt of the camera, a signature Winogrand device, emphas izes the fleetingness of the con-
catenation of eleme nts. Th e phrase "dec isive moment" is of course Cart ier-Bresso n's. 4 )
Yet, as Ferguson goes on co say, Mimic, Jjke almost all Wal l's pictures featuring persons,
Consisting of a backlit tran sparency mo re tha n six feet wide, Mimic deliberat ely
inflates the small incident it depicts to the sca le and presence traditionally associated
w ith the most amb itiou s painting. Wall makes it clea r that despite its anti-pictor ial
rhetoric, the tradition of street photography does indeed ha ve a spec ific vocabulary
establis hed enoug h for him to be abl e to use it alongs ide that of other traditions of
representation, suc h as h istory painting. "I am nor necessa rily inter ested in different
subjects in an," Wa ll has sa id, " but I am int erested in different types of pictur e." Parr
of his achievement is to allow the viewe r to under stand that the scene is not a uthen -
tic in the traditional sense of street photogr aphy yet at the same rim e to accept it as
fund ament a lly truthful neverthe less, a doub le consciousness unavai lab le to straight
document ary. r16]
I am not sure what "fu nd amentally truthful " mean s in this context , but rather than
press the point I want to cite som e furth er rem arks by Wall, from a r98 5 inter view with
Els Barents.
" In my pictures," Wall states , " ther e is a lot of non -gesturing, or very small, com-
pulsive gesturing, what I ca ll 'micro-gesture' ." He cont inues:
Th e men 's gestu res in No or Mimic are micro -gestures . These ar e gestu res whi ch seem
auromatic, mechanica l, or compulsi ve. Th ey well up from somewhere deep ly socia l,
somewh ere 1 don't pr imarily identif y wit h the individu al's unc onscio us as such . Th e
abusive white lump enpro letarian in Mimi c, for exa mp le, is making a gesture, pulli ng
up his eyelid in a mimesis of the Ori ental eye . In my dr ama tiza tion of it for myse lf,
I tho ught of it happenin g so quickly that nobody in the picture is rea lly aware of it.
The white man's gestur e is welling up with incr edible rapidity from his ow n person-
a lity, and he h asn't a ny contro l over the exp ression. It h as an automatic, compulsiv e
character .... When thi s particular type of man undergoes certain kinds of stress, stim -
ulation, or provocat ion, this kind of thing emerg es. I don' t chink it's accidental; it's
determined by the socia l totality, but it has to come out of an individual body. 5
Th ere is a polit ical cla im here , a theo ry about the relation of certa in sorts of spont a-
neous aggressive micro-gestures to the social and political totality of late cap ital ism . But
what I want to emphas ize is, first, Wall's notion that the micro-g estur es he has in mind
are auto matic, mechanjca l, compulsive, which is to say that not only are th ey no r p os-
itively willed by th e persons who enact them, ther e is also a sense in which th e latter
are (to say the least) not fully conscious of wha t th ey hav e don e; and secon d, that in
Wa ll's account the aggressive micro -gesture in Mimic is so fleeting, it happ ens so quickly,
thar "no on e in th e picture is reall y awa re of it" - and indeed , as I have rem arked , neith er
the Asian ma n or the caucasian woman seems to registe r ir in any way.
In other words, what int erest s me is th e wa y in which the appea l to the soc ia l is simu l-
taneously an engagement with a strin gent and original ideal of antitheatricality. I began
street photography revisited . Jett wall. beat strellh, ph1ilp-lo1ca d1corc1a 237
Chapter Two by discussing Wall's Adrian Walker, a deliberatel y absor pti ve imag e, and
went on in Chapter Three to consider his involvement during th e 1990s and after with
the pictorial mode he ca lls near documentary, defined as images "that claim to be a plau-
sible account of, or a report on, what the events depicted are like, or were like, when
they passed without being photographed." Toward the end of Chapte r Three I br iefly
surveyed a range of mostly recent work that in different ways may be understood as
seeking (up to a point) to deny or neutralize the viewer's presence: for examp le, by
depicting figures leaving a room or a campsite or walking dir ectly away from the viewer,
or by virtue of a degree of darkness that almost defies seeing into, or by mobilizing the
motif of blindn ess, hence unawareness of being viewed, with extraordinary force (more
on that later in this chapter). Wa ll's 1985 remarks on Mimic show that a concern with
antitheatrical values goes back earlier, as if that picture is idea lly to be unde rstood as
making visible, henc e accessib le to analysis, a distinctly modern kind of micro-gesture
that in crucial respects would otherwise escape sustained attention. (I am putt ing matt ers
this way to indicate that although the Asian man and th e woman in the pictur e seem
unaware of the micro -gesture in quest ion, the latter is surely not to be understood as
invisible other than to the camera . But it is imagined by Wall as so fleeting and min imal
as to be all but invisible, as well as una vailable to the consciousness of the man making
it.) For me personally, I feel compe lled to add, the sheer perspicuou sness, not to mention
th e fixity, of the bearded man's aggressive gesture works against the notions of fleet-
ingness and automatic ity with which Wall would have us associate it, with the result
that I see Mimic more predominantly in the register of the to-be-seen than Wall, or Wall
in 198 5, would ha ve me do. It is important to rem ember, though, that throughout the
French pictoria l tradition between Greuze and Manet (or, slightly later, Caillebotte) the
issue of antitheatricality was fundamentally unstab le and unre so lvable , never more so
than when a work sought to achieve antitheatrical ends throu gh the depiction of a more
or less transitory "moment" in an action, as in Mimic, rather tha n of temporally pro-
tracted absorptive states as such, as in Adrian Walker, After "Invisible Man," and
Morning Cleaning.
This is not the place for even a capsu le history of street photo graphy in the 195 0s
and aftet~ a genre made possible by th e invention and refinement of the lightweight,
rap id-firing Leica starting in the mid- 19 2os as well as by the availability of high-speed
film, but suffice it to say (others, including Ferguson, have said it befo re me) that
alth oug h the 19 50s and '6os saw the flour ishing of major figures like Robert Frank,
William Klein, and th e early Winogrand, at some point durin g those years the standard
conventions of the genre began to show considerab le strain . A ma jor aspect of the strain
precisely concerned the question of theatricality, or say the linked issues of the aware-
ness or non-awarenes s of being photographed on the part of the subjects, and the implied
presence, not just to those subjects but in the very fabric of the photograph, of the photo-
grapher him self (or herself). So for example William Klein, whose Gun 2, New York
(19 55) is illustrated in Camera Lucida, 6 said much later of his approach dur ing the first
half of the 19 50s, "I was very consciously trying to do the opposite of what Cartier-
Bresson was doing. H e did pictures withou t interv ening. H e was like the invisible
street photography revisited: j eff wall, beat streuli, phil ip-lorca dicorc ia 239
aggressively self-declaring work, by no means all of which featured such figures,
belonged to a distinctly earlier mom ent ), any more th an Lee Friedland er's frequ ent inclu-
sion of his own shadow or reflection in his playful "se lf-port ra its" of the 1960s - thereby
acknow ledging his presence behind the camera - pro vided a means of dealing with the
larger pro blem. 11
Viewed in this con text, Wall's exp loitation of the look of str eet photogra ph y in Mimic
amounte d to a new conception of the genr e, according to which th e traditiona l strat egy
of capturing subjects who appear unaw are of the came ra is reasserted at the sa me time
as the pictur e itself mo re or less open ly proclai ms its identit y both as a delib erate ar tis-
tic constructi on (on the level o f depic tion) and as a n image intend ed to be hun g on the
wa ll and viewed by beholders in a face-to -face relationship (on the level of artifact ual-
ity ). No t that Wall' s "so lution " has been taken up by ot her ph otogra ph ers. But starti ng
in th e 1990s tw o figures in particu lar, th e Swiss pho tograph er and video-m aker Beat
Streuli (born in 1957) and th e American ph otograp her Philip -Lorca diCorcia (born in
1953) , have crea ted bod ies of work tha t give a new lease on life to the centra l stree t
photography conv ention of the sub jects' ob liviousnes s to being ph otog rap hed while at
the same time dir ecting the viewer' s att ention as never before to th e app aratu s or tech-
nology as we ll as, in a broad er sense, to the artistic stra tegies by means of which tha t
has been accomp lished.
A characteri stic digita l video wor k by Streuli is called Four Tw o Screen Projections
(2001 -2 ; Figs. 149-52) . Eac h of the four pa irs o f twenty- minute loo ps is set in a dif-
ferent city, in particular locati ons in th ose cities: The Pallasa des, Birmin gham; George
Street Bus Stop, Sydney; BKK Siam Squ a re, Bangkok; a nd 8th Avenue and 3 5th Street,
New York City. Streuli's proc edur e was the sa me in each case: using a sma ll, compact
Sony video camera and digital video mini -tap es (nothing " profess iona l" qua lity, in other
wo rds), he sho t moving crowd s or persons wa iting for a bu s or wa lking past a street
corner in such a mann er th at th e viewer is left in no doubt that the subjects of the videos
are una ware of being ph otographed. (Precisely where the camera is stati oned is never
specified in the videos themselves.) All the videos were shot in co lor and in rea l time,
and on ly later adapt ed to his a rtist ic needs; in three o f th e videos thi s entailed slowing
the action to thirty-th ree percent of th e real speed, thou gh in the Bangkok pro jectio ns
the or iginal tem po has been reta ined. 12 Each of th e fo ur sites yields different sorts of
scenes, as follows:
1) In The Pallasades, Birmingham 05-o I -OI (2001) - the name of a major shopping
stre et in Birmin gham (Engla nd) - a n endl ess tide of pedes tri ans wa lks dire ctly towa rd
th e camera (in fact there is ano th er str eam wa lking away from it at the left, but the
came ra is po sitioned so as to center on th e approac hing multitud es). Beca use th e pro -
ject ions are in slow moti on and because Streuli uses a telephoto lens we as viewers follow
indi vidu al per son s for long stretches of time, and ind eed they only loom large (and go
out o f focus) at th e last moment, as th ey seem about to eliminate the last bit of distance
between them and the ca mera . Th e camera appears to be loca ted the other side of a
cross -str eet. We have a distinct sense of the pedestrians we have been trac king stepp ing
off a curb in the near for eground and some tim es pa using as if to orient th emselves before
moving on, and of others, appearing from off-screen, crossing our line of sight eithe r
from left to right or right to left. Ther e is no sound track, or rather, the images are
accompanied by silence.
2) George Street Bus Stop, Sydney or -23-or (200 1-2 ) offers, as its title suggests, a
different mise-en-scene. H ere we are shown at close range a relatively limited number
of individual persons waiting for a bus (we assume that that is what they are doin g), as
cars, trucks, and other vehicles glide past in the middle distance and various peop le pass
by at even closer range, momentarily blocking the primary target from view. The viewer
is thus offered a sequence of living portraits, often cut off just below the shoulders. Here
too slow motion is in force, and the impression is of the camera lingering as if appre-
ciatively on one person and then another, each of whom remains oblivious to its gaze -
in fact at certain moments the camera moves, again as if on impulse , with one or anothe r
person, who however never strays far. In this pair of projections the sound track is a
mix of silence, traffic noises, voices, Hare Krishna chants.
st reet photog raph y rev isit ed: je ff wall , beat str eu li, ph il ip-lor ca d icorcia 241
150 Beat Streuli, from George Street Bus Stop, Sydney 01-23-01, 2001-2. Video projection still
3) BKK Siam Square, Bangkok 03 - r2 - 02 (2002) is both similar to George Street Bus
Stop in that it too depicts persons waiting, presumab ly for a bus, and different in that
it featur es close -range frontal views, often of pa irs of persons in co nversation w ith each
ot her (also smoking, eating snacks, mi ldly making out); in contrast, the Sydney projec-
tion s tend to focus more or less excl usively on isolat ed indi vidual s and to do so ma inly
in profi le or largely from behind. Here too the sound track is active, a mix of traffic
noises, mu sic, and voices, in no obv ious relation to the ima ges on the scree ns. Unlike
the ot her videos, the scene has been shot in rea l time, though it ta ke s a few minutes
before th is becomes evident. (Appa rently the heat that da y was so great th at further
slowin g of the ima ges seemed unn ecessary .)
4) As its title suggests, 8th Avenue and 35th Street, New York City 06 - 0 2- 0 2 ( 2002 )
is set at a stree t cross ing, but un like The Pallasades we are not show n a flood of pedes-
tr ians adva ncing toward the camera; rather, the camera is directed, at a slight angle,
to wa rd one corn er of th e cross ing, and no effort is mad e to focus on individua l perso ns
- the dominant impres sion is of fixation on a particular spot, with a sort of passive reg-
istering of whoever and whatever happens to cross or occupy it. Again, the projections
are in slow motion, accompanied by a lively sound track full of horn s, other traffic
sounds, voices ("You see what I'm saying? They found, like, ... " rings out more than
once), and - also more than once - the brilliant song of a bird, the source of which is,
as with all sound s in Four Two Screen Projections, never specified.13 From time to time
someone lingers on the corner but by and large pedestrians pass by in both direction s,
many carrying shopping bags or similar items. Frequentl y the corner is blocked from
view by the backs of people waiting to cross the street; when this happen s the camera
remains unmoving, biding its time. 14
Th e antitheatrical implications of Streuli's video projections are pr etty much self-
evident (it is no accident that more than one commentator has chosen the word "grace"
15
to characterize the psycho-physical state of his subjects}. Far more than could be
achieved by candid photographs, the projection s convey the feeling that th e viewer is
street photography revisited: jeff wal l, bea t streuli, philip-torca dicorcia 243
r52 Beat Streuli, from 8th Avenue and 35t h Street, New York City 06 - 0 2- 02, 2002. Video proj ection st ill
offered somet hing like unimpeded access to th eir human subjects (a statem ent that will
need to be refined ); at any rat e, we get to look at th em , to study th eir fac es, expre ssion s,
gestures, and clothing, often at clo se range, virtually for as long as we could wish, with
a freedom never allowed to us, espec ially with regard to stran gers, in ordinary life. 16 At
the sam e time, the overa ll effect of the projections is co nspicuously "warm," one might
say "caring," as in Dijkstra 's beach portraits and related series: the prolongation of the
camera 's engagement w ith particular individual s or alternatively the flow and, for the
most part, what might be called th e ontological seamlessness of the stream of images
turn out to mitigate the imp licat ion of voyeurism (as if the latt er wer e assoc iate d w ith
a certain mom ent-to -mom ent sense of insecurit y on th e part of the onlook er ), as doe s
the fact that we are never sho w n even trivial instance s of behav ior on th e part of Streuli's
subjects that might expose them to criticism or ridicule (pres um ably the tapes are edit ed
to eliminat e th ese). 17 Another factor contributing to the "warm th " of th e projections is
the youth of man y of tho se depicted; w hatever can be discerne d on th eir faces it is not
ma rk s of experi ence or for erunner s of mor tality (no punctum of time and de ath). And
street pho t ography revis ited: jeff wa l l, beat str eul i, phi lip -lorca d ico rcia 245
is th e most obstructive to the dance: for the force that lifts them into the air is greater
than that which pulls them to the ground.' " 22 This is not exactly what one finds in The
Pallasades and other videos of peop le on the move, but it sufficientl y evokes the almost
magica l transformation of wa lkin g in Streuli's vid eos to ju stify its citation in this context.
There is a lso in Kleist's essay the th eme of motion in a stra ight line giving rise to curves
(2rr), wh ich might be ana logized with the revelatio n of wa lkin g straig ht ahead as a
kind of wave like mov ement in th e videos .
In my discussion of Jeff Wall's work in Chapter One, I called attent ion to an internal
division in his art. On the one hand, starting in the early 1990s, he has ofte n depic ted
absorbed persons, and more broadly has devised scenes that in one way or another may
be seen as seek ing an amitheat rical relation to the viewer (thi s is tru e even of Mimic).
On the other, th e conspicuousness of the lightbox apparatus, together wit h the more or
less self-evident stagedness (not stag in ess, however) of many of his image s, contrib ute
to w hat I ca lled th e to -be-seen ness of his pictures, which if not in conflict with th eir
antitheatrica l thematics is at any rate by no means simply aligned with it. (That such
to -be-seenness does not irr evocably comprom ise that thematics was suggested in Cha pter
One by the terms of Sontag's adm iration of Wall's Dead Troops Talk, and of course it
has been basic to everything I have had to say about his work.) My further claim has
been that this internal division is character istic of advanced photographic or pictorial
art at the p resent moment; I now suggest that Streuli's vid eos are a further, ingenious
instanc e of this. For consider:
I) Streuli's video images are in numerous respects visually crude or rough , using the
terms in a non -pejorative sense. Among those respec ts are a certa in softness of focus,
the glaringness of the co lor and the starkness of contrasts of light and dark (Streuli
favors sh oot ing in strong sunlight), the way in which persons or vehicles passing in the
near foreground loom unnaturall y large and are usually out of focus, the way in w hich
such persons or vehicles seem to "shudder" past th e camera, the impre ssion they some-
times convey of a virtual tran sparen cy relati ve to the rest of the scene, and so on. (For
Streu Ii, the crudeness or roughne ss - a result of his choice of equ ipment - underscores
the sensual impact he wants his work to have .23)
2) In cer tain works, for exa mple Broadway/Prince Street or - 04- or (2001 - 2) and
Venice Bea ch 0 9 -2 0 - 0 3 (2003), Streuli do es not hesitate to mix bla ck-a nd-white and
co lor images, w ith no inbuilt ra tional e for why one or th e other should prevai l in a given
projection or at a part icu lar t ime.
3) For the most part the camera is fixed, but now and th en in certain pro jections it
mo ves so as to track a part icu lar individ ual. There is no way of pred icting when this
w ill happen or of under sta nding in the m oment or afterward why it doe s.
4) There is no single device gove rnin g the trans ition within a projection from a con-
centrat ion on one person or pair of persons to a concentration on another; sometimes
one sequence of images cuts to th e next sea mlessly, sometimes ima ges briefly overlap
before the previous one disso lves and dis appears, and occasionally, in certain projec-
tions, th ere are black interval s of va rying leng th s of tim e. Again, no det ectable princi-
ple gove rn s these var iat ions.
street photography revisited: jeff wall, beat streu li, philip-lorca dico rc1a 247
153 Beat Streu li, fro m New York City 2000 - 02 . C hrom ogen ic process print
sta nd out against a black background that scarcely seems int elligible in " realistic " term s
- and yet th e blackn ess is not th e pr oduct of digita l or oth er manipul ation. Th en, too,
mor e oft en than not the sunli ght shin es dir ectly int o his subjects ' faces, cau sing them to
frow n or squ int or loo k down , express ions w hich on th e on e hand suggest an inn er sta te
of th oughtfuln ess or even sadn ess and on th e oth er can seem a pro du ct of t heir situ a-
tion and nothin g more (a strat egy that also turn s up in var ious videos). In either case,
howe ver, th eir unawa reness of the camera is self-evident. Another point is th at in all the
photo graph s with non -black backgro unds secondar y figur es and obj ects, even on es on ly
slightl y rem oved from th e figur e or figur es in the for eground , qui ckly slip out of focus ,
which again ca lls att ention to the ph oto gra phic appar atu s (blurr ing is not p aintin g's w ay
of impl ying distance). All in all, Streuli's photo gra phs are memorab le, even admirab le,
but to my mind his mo st ori ginal and comp elling w ork remain s the videos.
street photography revis ited: jeff wal l. beat streuli, philip-lorca dico rc ia 249
154 Philip-Lorca diCorcia, Mario, 1978 . Kodak Ektachro me paper. 38 x 58 cm
what could plausibly be seen as a paradigm of naturalness in Pari s in the 1730s could
no longer pass for that in New York or Los Angeles in 1978 - and yet I have quo ted
Martin Schwand er respo ndin g to Wall's Adrian Walk er in th e forme r terms (in Chapter
Two ), so perhap s my remark s should be somewhat qualified (wh at I earlier called the
"magic" of absorption con tinu es to exert its po wer). Finally, th e lighting is peculia r -
at any rate, th ere is nothing natural about the contrast betw een th e br illiant illum ina-
tion striking Mario's face and shirtfront and the greenish cast and relative darkness of
the rest of the room ; Galassi explain s how the illuminati on was produced but wha t
matt ers to th e viewer is the sense of discrepanc y. The result is an image of all but explicit
contradictions - absorptive-seeming but unmistak ably posed, "ut terly ordinar y"
(Galassi) and qui etly bizarre , of modest dimen sion s (approx imate ly fifteen by twent y-
three inches) but classically composed - and my suggestion is th at precis ely some suc h
stru cture of contradiction, varied in its particulars from photo graph to ph otog raph, pro-
vides the basis of di Corc ia's artistic practice from that mom ent on.
So for examp le in a series of works from the 1980s diCorcia poses persons who osten-
sibly are unaware of being photogr aphed in that they almo st never gaze at th e photo-
grap her and yet their pos edn ess and absence of candor are never in doubt. Another
Mario (198 1; Fig. 155) depicts the photographer's brother sandpapering a distur bingly
low ceiling in a room und er renovation; Mario's gaze is directed up but the phot ograp h
is taken from directly in front of him and a fairl y short distance away, with the resu lt
that the viewer senses that although Mario appears nominally absorbed in his ta sk he
cannot possibly be unaware of being photographed. 26 Much the same can be said of
Max (1983 ), a variation on the first Mario (here the protagonist is seated in a low sling-
back chair as he exhales a stream of cigarette smoke from his mouth), Davide (1985),
Igor (1987; Fig. 157), Auden and Emma (1989; Fig. 1 56), another Mario-like arrange-
ment, and Teresa (1990), in each of which the sitter is portrayed as if lost in his or
her own thoughts and yet there is not the slightest doubt as to the artificialness of
the lighting and mise-en-scene. In Auden and Emma, for example, th e br illiant illum i-
nation falling on the blue armchair casts the black Scottie's shadow on the side of
the chair even as the dog itself gazes directly at the photographer - a sign of candor
(but conveyed by an animal). Igor for its part pays humorous homage to Evans's
"Subway Portrait s," but inst ead of having been shot with a hidden camera and reveal-
ing a private state of mind (acco rding to the standard account), diCo rcia' s ima ge seems
palpabl y staged, th ereby und ercu tting the point of Evans's project. Igor rests his head
against the Subway map behind him and looks vaguely upward, as if in a state of reverie;
at the same time, the pointblankness of the mise-en-scene, the bright illuminati on that
strikes his forehead and casts the shadow of his head and collar against the map , and
the farther comic detail of his holding in his left hand a plastic sack containing wa ter
and a goldfish, all declare the seated man 's willing participation in the mak ing of
the picture. "One's interiority is not really perceivable on the surface," diCorcia
street photography revisited : jeff wa ll, beat streuli, ph ilip- lorca d icorcia 251
156 Philip -Lor ca diCorcia, Auden and Emma, 1989 . Ekt acolo r print. 50.8 x 6r cm
has remark ed, 27 a stateme nt th at his early portraits - if that is what th ey are - seem in-
tent on justifying. H oweve r, it is a striking fact about those works that they do so by
flirting with or at least a lludin g to the idea of absorption and/or reverie and the absorp-
tive ideal of th e subj ect's obliviousness to being behe ld - as if their stagedness, their
to-be-seenn ess, was given added point, made all th e more self-evident, by virtu e of that
fact.
A fundam entally different approach yields curiou sly ana logo us results in diCorcia's
exper iments in street photo graphy of the first half of the 1990s (and after ). I have in
mind pictur es such as Los Ange les (1993; Fig. 158 ), Ne w York (1993), and Naples
(199 5), in whi ch ped estrians on city streets are cap tur ed approaching the camera, either
directl y or at a slight angle. "Workin g in eight major cities including London , Rom e,
Ne w York and Tokyo," Sophie Clark explain s, "diC orc ia set up a system of flash-light s
in th e street and then stood several feet awa y, hidden from immediat e view. The camer a
and lights were both synchroni zed to a radio signal that diCorc ia could trip whenever
som eone int erest ing walked by. " 28 (It is sometimes said that the pedestrian s triggered
the ta king of the ph otograph s by breaking the beam of an electric eye, but that is not
the case.) In a mor e int erpreti ve vein, Clark continue s:
Th e res ultin g ph otogra phs seem to offer a commentar y on the so litude of modern
living, the th eatrica l lightin g spotli ghtin g just on e individual in a bu sy street, and
show ing the way in which peop le fail to relat e to one anoth er. Di scussing thi s con -
trad ictory noti on of so litu de within th e metrop olis, d iCorc ia comm ent ed , "the str eet
does not indu ce peop le to shed their self-awa ren ess. Th ey seem to withdraw int o th em-
selves. They beco m e less awa re of th eir surro un dings, seeming ly los t in th emselves.
Th eir image is the outward fac ing front belied by th e inwar dly gaz ing eyes. " [258]
This goes beyond say ing that on e's inter iorit y is not per ceiva ble on t he su rfa ce; rather
the idea seems to be that peo ple on th e str eet in big cities wear ex pr essio ns o f inten se
inwar dne ss, even as th e content of th eir inn er lives is not th ereby mad e accessib le to
viewers. Thi s is pre tty much the stan dard lin e on stree t photograph y of th e " un aw are"
(Barches wo uld say "s urpris e") variet y, but wha t sets diCorcia 's str eet photograph s a part
from earli er work in that tr adition is th e dram atic to- be-seenn ess, not to say theatrica l-
ity, impart ed to th e image in the first pla ce by the hidde n flas hes (Ga lass i co mp ares them
to " th e cr escendo of vio lins that an noun ces th e crux of a movi e's dra ma " [14] ) and in
the second by a sens e of captur e, even of vio lence, that seem s to be a by-prod uct both
of th e unn aturalnes s of th e flash es and of th e dispositif of instant aneo usly dep ictin g
peop le as th ey app ro ac h th e cam era w ithout regard to whe th er th ey become aware of
it or not. The woman with red hair in New York (1993 ) and perhaps also th e man in
a topcoa t in Nap les (1995) give th e imp ress io n of just thi s instant noti cing what is going
st reet pho t ography revisited : jeff wall , beat streuli, philip -lorca dicorcia 253
,,?
~
;-- --
158 Philip -Lo rca diCorcia, Los Angel es, 1993 . Chromo genic pro cess pr int. 76 .2 x 10 r.6 cm
on, and in both cases the effect is of the came ra's indifferenc e to thei r feelings. The man
with long unk empt hair and an open wi ndbr ea ker in Los Angeles (1993) appears
unaw are of the camera, but there is an even grea ter sense of violence imp licit in photo-
grap hica lly arresting him in his dissheveled state. It follows that with respect to expres-
sion the pic tures in question differ radica lly from Streuli 's videos, in whic h the
hiddenness of the camera fun ctions not as a means of cap tur e but, it may seem para-
doxica lly, as a medium of release . (DiCo rci a's st reet ph otos are "cold," not " warm.")
H oweve r, from the point of view of the argum ent of this book, what links their respec -
tive projec ts - an assertion of to-be-seenness in the contex t of the issue of absorption or
distraction, hence un awareness - is mo re imp ortant th an w hat secs them apart .
A more co mpl ex and much admired str eetscape of the same period, N ew York (199 3;
Fig. 159), take n near Times Squar e, makes this point almost prog ram matica lly. In it,
Mark Stevens wr ites,
DiCorcia frames severa l people in close proximity, eac h of whom appears intensely
self-abso rbed. In the cent er background [I wou ld say middl e distanc e1,a blind beggar,
his face illumin ated , sta res skywar d. In th e fo regroun d, a man walks ahead with his
fingers touching, as if he were leading a religious procession; he is followed by a man
lost in monkish concentration. To the right th ere is a street preacher and to the left,
a ma n on the phone. Part of the pictu re's wit is the bea utifu lly broken rhyme estab-
lished between the preach er's mike and the man's telephone receiver . Should the two
wired men be talking? New York (r993 ) has a strangely religious quality but the
photographer do es not force thi s upon the viewer. 29
What Stevens calls the pictur e's religious quality is a function of the figures' self-absorp-
tion (note the adjective "monki sh"), which is to say their air of apparent obli viousne ss
to being photographed (and ultimately to being seen ), though it probably also ha s some-
thin g to do with the blind beggar's upward tilt of the head as well as with the especially
bright illumination from diCorcia's lights that strike s him from the left rear, outlining,
almost haloing, the right contour of his coat in light and casting a dark shadow on th e
pavement at his feet. (The sunlight, in contra st, shines down right to left. ) The beggar
is also in sharper focus than any other figure , which tog ether with the lighting and his
central position make s him the picture's protagonist.
In Ab sorption and Theatricality I not ed th e use of the theme of blindne ss by mid - and
lat e eight eenth-centur y French painters and suggested that its attractiveness to them was
based on the idea that a blind person would be unaware of being beheld and hence
could serve as a template for an antitheatrical state of mind. 30 And in Chapter Three I
street photography rev isited: jef f w all, beat streu li, philip -lo rca d icorcia 255
compar ed Jeff Wa ll's Blind Window No. I and Blind Window No. 2 with Pau l Stra nd 's
Blind of r9 16 (see Figs. 52-4 ), a close-up im age of a blind woma n and one of the ca no n-
ical images in ea rly mod ernist ph otogra phy, and suggested th a t th ese too were impli -
cated in an antith ea trica l pro blemat ic. As Stevens impli es, the isolation of the blind
beggar in diCorcia's photog rap h is fram ed by th e self-ab sor pti on (Stevens's wo rd ) of a ll
th e othe r person s, th ough it is ju st possib le that the man in p ro file at th e left-han d edge
of the image is look ing toward him (we noti ce on ly the ma n in pr ofile, if we do at all,
after close inspection of th e image). At the sa me tim e, the picture as a who le, by virtu e
of its lighti ng , its frontality, and th e brillian ce of its mise-en-scene, not to mention the
gra phic w it of the park ing sign abo ve th e "m onki sh" man , is on th e side of to-b e-
seenn ess. (Note too the similar ity of st ructu re to Wall's Mimic of more than ten years
before. On e cou ld even ima gine, in th e after math of Wa ll's breakthroug h achiev ement ,
th at di Co rcia's New York wa s simil ar ly cast, rehearsed, repeatedl y photog raph ed, and
digitally impro ved by th e photo grap her, th oug h in fact it was not. ) Earlier in th e same
art icle Stevens rema rks, "Ma n y of [diCo rcia's) pe destr ian s assume wo nderfully artless
poses, as if surpri sed in a mom ent of unconsc iou s stre et th eate r " (97). In a r 999 a rticle
on oth er stree t photo g raphs with multiple figure s, Andy Grundb erg wr ites:
Whil e peo ple ma y be the ma in subject of th ese p ictur es, it' s th e lighting th at keeps
yo u entr anced . Sun shines in most of them, but th e shadows seldom correspond to
its position . Electro nic flash illumin at ion pro vides the unex pected shad ows as we ll as
une xpect ed highli ghts . By han ging his flash light s on lam p po les and street signs,
hidd en high and o ut side th e field of view, di Corc ia ens ures th at his relat ion to th e
subj ect is indi rect. He sets up h is camera near by and wa its for his unsuspect ing actor s
to p erform . Few of his p rincipal subjects seem awa re th at th ey are the centers of lenti c-
ular att enti on, w hich th en serves to deflect the viewe r's awarene ss of th e
photograph er's pr esence. As a result , we are left with images th at draw att ent ion to
them selves but not the ir ma ker.3 1
Th e poses are ar tless, uncon scio us, but somehow th ea tr ical, wh ich for D idero t would
be a co ntradiction in term s (the wor d "poses" itself is scar ce ly neutral with respec t to
th eatri ca lity); th e per son s in the photo graph s are un awa re and unsuspec tin g but th ey
are neverth eless actor s a nd w hat the y ar e said to do is perform (Did erot wo uld have a
har d tim e with thi s as we ll); and th e images th at result ca ll atten tion to t hemselves -
thi s co uld be a definit ion of to -be-seenn ess - but not to the p ho tographer, thou gh Gru nd-
berg also goes on to remark that diC orcia's "autho ria l presence is by no means tran s-
pare nt " an d conclude s by suggest ing th at it may be "pr ecisely th is inh erent cont radi ctio n
- th e p ho tograp her 's simult aneo us pre sence and absence - that m akes any tid y readin g
of his images so peculiar ly elusive " (83) . I take it that by now the reader has reco gnized
a fami liar sta te of affa irs.
Prett y mu ch th e sa me "inh ere nt co ntr ad ictio n" is rend ere d even more int ense in a
late r series of ph otograp hs, heads (200 1), wh ich as its title suggests "focuses o n th e head
and should ers of indi vidu als, th e str ength of th e flash bu lb blacking out the major ity of
th e background informatio n " (Fig . 160) .32 No t surp risingly, given thi s descripti on, th e
photograph s in quest ion have much in co mmo n w ith many of those in Streu li's New
York City 2 00 0 - 02 . Ind eed all the pictures in heads were taken in New York, specifi-
cally in Times Square, and once again the protagonists - captured at long distance wi th
a telephoto lens - appear obliv iou s of being photographed . For the first time in diCor-
cia's wo rk, though, the images are larger th an lifesize, and the com bin ation of largeness
of scale, extr eme light/da rk contrast, and satur ated local hu es - products of the ar tifi-
cial lighting - jux tapose d agai nst the mostly black backgro und s gives them tremendous
dramatic force. "It might be possib le to read some of these pictures as actu al stage sho ts
if they we re viewed sing ly and bereft of co nte xt," Luc Sante writes, "b ut for the obv iou s
absorptio n of his subjec ts." He continu es:
street photography revisi t ed : jef f wall, beat streu li, philip-lo rca dicorcia 257
Their thought s may very well define banalit y, but th e lighting, in isolating and high-
lighting them, in putting them unknowing on a stage for an audience of one [pre-
sumably the viewer], afflicts these thought s with an almost unbea ra ble gravity. The
lighting suggests organ or theremin mu sic, suggests thunder and lightn ing, suggests
th e private amusement of an extraterrestrial mast er race or the inspection tour of a
deity. 33
For Vince Aletti in A rtforum, "Because the subjects of diCo rcia's larger-than-lif e head
shot s are unaware that their pictur es are being taken, th ey exist in a weird sta te of
grace " 34 (that word again), a remark that chimes with Sante's metaphors and Stevens's
ascription of a religiou s quality to New York. This is what absorption even w hen wedded
to to-be- seenness can do to commentators: trigger religious rhetoric in them. But of
course the high mod ernist abstract painting and sculpture of the 1960s, which I claimed
was fundamentally antitheatrical, had a similar impact on me at th e close of "Art and
Objecthood."
Finally, di Corcia's recent photobook, A Storybook Life (2003), gathers seventy-five
color photo gra ph s of identical dim ensions (seventy-six if one include s the cover imag e)
mad e between 1977 and 1999 in a sing le continuous uncaptioned sequ ence. 35 There is
no discern ible narrativ e or subtext of any sort (the list of plates at the back gives only
locations and dates ), no detectable principle of arrangement (the images are not in
chronological order), in sh ort nothin g to guide th e reader/view er through the book other
than the pictu res themselv es. This may seem to undercut the import ance of sequence
but in fact a subliminal sense of sequ entiality soon becomes an active factor in one's
" reading " of the whole. H ere it matte rs that the pictures appear only on th e recto of
the bound pages, the white verso of th e previous page being blank excep t for the faintest
pos sible indication of the numb er of the facing image (compar e the structure of
Delaha ye's L' Autre ). This has the effect of concentr a ting the reader/view er's attention
on each pictur e in turn and it also , after a while, gives rise to a dawning awareness,
which becomes more acute as the "reading" proceeds , that while th e compositions of
the individual images are fairly diverse, in only a handful of image s - four or five at
mo st - does a subj ect look directly at the camer a (none more directl y than a cat). Ind eed
a numb er of the most striking imag es feature persons - Coney Island (199 4; Fig. 16 1)
is a case in point - who face or look point edly into th e depths of the pictur e (in fact this
emerges as a kind of leitmotif of the boo k); others - includin g Mario (1981) and a few
other early photogr ap hs - depict person s in obviously stag ed scenes of ostensible absorp-
tion (in one such image, Los Angeles [1990 ], a man seated on the ground and coaxing
a small white dog could hardl y be nearer the camera, which was positioned near th e
ground as well ); and still others show figures lying down or asleep and ther efor e seem-
ingly disengaged from all relation to the photo graph er. The cumulative effect of turnin g
slowly through the book thu s becomes to a significant degree one of registering in
sequ ence a range of ways in which th e subject or subjects of a picture can avoid, or be
instructed to avoid, directly engaging the camera - a basic feature of mo vies, as ha s been
noted. Even the images that have no peop le in them, roughly a third of th e total, tak e
on, in thi s cont ext, a self-consciously abandoned, came ra -avers ive feel. Finall y, A Story-
book Life begins and end s with shot s of a beard ed man, the phot ogra ph er 's father, lying
on his back w ith his eyes close d - in the first image on a bed (with th e TV on but of
co urse the person on th e scree n cannot see what lies beyond th e screen ), in th e second
in an open co ffin at th e fro nt of a funera l pa rlor (the camera is pos itioned towar d the
rear of the roo m and to th e side, behind rows of empty cha irs). All thi s is to say th at A
Storybook Life ingeniously reinvent s t he genr e of the photo boo k as an apparat us or
techno logy for themat izing an an tith eatri cal relat ion between image and viewer, even as
the cum ulative impr ession of th e stage dn ess of many of th e images together with th e
recogniti on by the viewer of his or her active ro le in brin ging the a ntith eatri cal theme
to light - by turnin g the pages, gra du ally recog nizing th e preva lence of the motif of
avo idance of eye-cont act w ith the camera, increas ingly becomin g awa re of stru ctu ra l
similar ities betwee n widely sepa rated images and turnin g back to check, and so on -
amounts to a further, un expected twist to the imperative co ncernin g to-be-seenness that
I have been track ing thr oughout thi s book .
stree t photograp hy revisited: j etf wa ll, bea t st reul i, philip -l o rca dicorcia 259
162 Thomas Demand, Archive, 1995. Chrom ogenic process print with diasec. 183.5 x 233 cm
thomas demand's allego ries of intention;
"excl usion" in candida hofer, hiroshi sugimoto,
and thoma s struth
9
Thomas Dem and was born in r 964, which makes him roughly ten years younger than
$truth, Ruff, and Gursky . 1 Like them he studied at the Diisseldorf academy, but unlike
them his initial formation was as a sculptor , and there is an important sense in which a
certain sculptural practice lies at the co re of his photography (as has oft en been said).
In a catalogue essa y, Dean Sobel describes Demand's procedure as follow s, starting with
the end product, the photog raph itself: "r. Thomas Demand makes large-sca le color
photographs . 2. Hi s photograp hs are of life-size paper mode ls he makes himself. 3. These
models are recreations of actua l p laces . 4. He bases th e mode ls on image s he obta ins
from a variety of sources. " 2 This way of putting Demand 's proj ect has the virtue o f
emphasizing its photographic celos, but it needs to be supplemented by an account that
runs fron1 start to finish. "As a ru le, Demand begins with an image," Rosana Marcoci
writes in her essay in the cata logue of tbe exhibition at tbe Musetun of Modern Art,
New York, in 2005, "us uall y, although not exclusively, from a phot ograp h cu lled from
the media, which he tran slates imo a three-dimensiona l life-size paper mode l. Then he
cakes a picture of the model with a Swiss-made Sinar, a large-format camera with tele-
scopic lens for enhanced reso lut ion and heighte ned verisimilitude. Contributing to the
overa ll illusion of realiry, his large-scale photographs are laminated behind Plexigla s and
displayed without a frame .... Thus, his phorographs are triply removed from the scenes
or objects they depict . " 3 .
Among the subjects Demand has ex ploited one recu rrent type has been describ ed by
variou s co mmentators as th e scene of a crime (loosely speaking). 4 So for example Room
(1994; Fig. 163) looks back to a ph otog raph of Hitl er's headquar ters ar R aste nbur g,
East Prussia, afte1 the failed bomb attempt on his life of July 2.0, 1944; Corridor ( 1995;
Fig. I65), one of his best -known works , is based on a hallway in the Milwauk ee apa rt-
ment hous e where th e serial killer Jeffrey Dahmer lived and com.mined atrocious
murd ers; Archive (1995; Fig. 162) alludes to Leni Riefenstah l's film archive, Riefensrahl
having been th e maker of Triumph of the Will, the notor ious propaganda film about
the Nazi Pa rry's rally in Nuremb erg in 1934; Office (1995), with scattered papers every-
where, is based on images of looted Stasi offices following tbe collapse of East Ger many
in r989; Bathroom (Beau Rivage) (199 7; Fig. r66 ), another well-known image, repro-
duces a news photograph of a barhrub in a Geneva hotel in w l:ticb a prominent Germ a n
politician was found dead und er mysterious circumstances in r987; Camping Table
(r999; Fig. 167) derives from a photograph sent by th e kidnappers of Jan Philipp
thomas demand, candida heif er, hiroshi sugimoto. and thomas struth 26 1
I63 Tbomas Demand, Room, 1994. Chromogenic process print with diasec . r83.5 x 270 cm
Reemtsma in March 1996 to show thar he was still alive (rhe camping tab le was in the
background of that phorograph );; Podium (2000), refers to rhe Serbian leader Slobo-
dan Milosovic's inflammacor y speec h on June 28, 1989, the sixth- hundredth anniver-
sary of the battle of Kosovo; Model (2000), is taken from a photograph of Hitler and
his favorite architect, Albert Speer, look ing at a mode l of the German pavilion designed
by Speer for the International Exposition in Pa ris in 1937; Poll (2001; Fig. 168) depicts
rhc Emergency Operations Center in West Palm Beach, Florida, where a manual recount
of some 425,000 ballots took p lace in 2000 in hopes of (legitimatel y) determining
whether Al Gore or George W. Bush would be presidenr of the United States; 6 and
Kitchen (2004) is based on a photograph of Saddam Hussein's hideout in 1Iaq. Two
sho rr films also fir this pattern: Escalator (2000), a loop comprising rwenry-four srill
ima ges, evokes a location near Charing Cross in London that muggers passed through
before at ta cking a cou ple (and killing one of chem); and Tunnel (t999) depicts the
passage through a model of the tunnel in Paris where Princess Diana died. Other spe-
cific locales reconsrructed and then pho tographed include che dormitory room in which
Bill Gares created his first computer operating system (Corner f1996J); the hote l room
in which L. Ron Hubbard, the founder of Sciento logy, wrote Dianetics (Room I1996 ]);
che office where rhe rebuilding of the ciry of Munich was planned after the Second World
War (Drafting Room f1996]); the barn on Lo ng [sla nd where Hans Namuth phoco-
grap hed Jackso n Po llock making one of his all-over drip paint ings in r950 (Barn [1997 ;
Fig. 1641); and an underground room in which an Austrian miner was trapped in total
darkness for almost ten days before being miracul o usly rescued (Pit [1999) ).7 ln addi -
tion there are works based on more o r less straightforward architectural motifs - fo r
example, Staircase ( t 99 5) - and photographs that fit none of these categories, such as
Studio (1997), which for a German audie nce recalls rhe set of th e popular TV show Was
bin ich? (W hat's My Line? - a question char might be asked by Demand h imself); Lab-
oratory (2000; Fig. 172), imagi ng a n anechoic chamber, used in the motor indu stry for
testing engine no ise levels; Collection (2001; fig. 171), based o n photographs of the
singer Engelbert Humperdinck's coJlectioo of best-selling go ld reco rds; a nd S1>ace Sim-
ulator (2003 ), a roughly ten -by-fourt een- foot image of th e device used for training Amer-
ican astro na uts. Fina lly, there are photograp hs based on paper simulacra of grass (Lawn
11998 1), a nd of thick foliage with lighr filtering through it (Clearing [2003; Fig. r7ol).
Several points are wo rth emph asiz ing. T he first concern s Demand's choice of an image
- gene rally from newspapers, media, or the internet - and even more his subsequem
investigatio n of the circums tances of its produc tion. As he says in an illuminating inter-
view with Ruedi Widmer:
chomas demand, candida hofer h1roshi sugimoto. and th omas stru th 263
You have ro have a sense of where the photo has come from. I try to find the photo-
grapher, the p ublish er, how it came to the photo agency. And I ofte n discover even
more interesting photos in the process. For example this Corridor. 1 was looking for
the inte rior of Jeffrey Dah mer 's apartme nt, the mass murderer who was beaten to
death in prison with a broom a few years ago . H e had killed six or seven black guys.
Dahmer is a nega tive American idol. 1 saw a pho to of his apartme nt on a p lane once.
I tded co get hold of it and went ro Milwaukee. Everyone ro ld me char th ese photos
of Dahmer's apartment didn't exist - where he had bad some of his victims in rhe
shower - because the po lice had not let anyone take any pictures there. Th en I went
ro rhe place the house was loca ted. Bur since the evidence had been heard, the house
had been pul led down, for one thing because no one wanted to live there and, for
another, because a kind of touris m was sta rring that th e city wanted to avo id at all
costs. So thi s place no longer exists eit her. I found th e ph oto Later, someo ne show ed
it ro me. Althoug h it's not really interesting, I saw hundreds of photos of this hallway
and of the ou tside of the hou se wh ile I was trying to get hold of tbe phows. T he
hallway becomes the qu intessence of the banality l was looki ng for in the apartme nt
and jn the photo, but which 1 coul dn 't find. (II)
A second point, stressed by almost all his comm entators, concerns the viewer's two-stage
response to his photog raphs - a first stage in which the image seems cold and a bstr act
but ot herw ise unexceptional, and a second stage in which the viewer senses that some-
thing {ind eed everything) is "off" or wrong, and progressively comes co recognize, from
different sorts of clues, that che ostensib le subjec t of rhe image is nothing mo re nor less
than a reco nstruc tion. In Fran~ois Quinton's account:
When yo u look ac an image by Deman d, everyt hing seems unifo rm , regular, buc traces
of their making can stil l be seen in certain areas. Each deta il gives warning: what you
see is nor the reality o f what is sbo wn. This fragile con struc tion of cut and folded
paper reveals its imperfectio ns. "1 don't cue our paper on pur pose so tha t you ca n see
how it was cur fDemand has said j. Bur it is true char at every stage T can choose
whet her or not to leave chesc visible flaws. O ver rime I have developed a more
acute sense of thi s kind of sub tlety. That, maybe, is the perfectio n my efforts are
direc ted at. " 8
Actually, this scarce ly ackno wledges how perspicuous th e stran geness or "off ness" of
Deman d 's images ofte n is: one sees scat tered papers wit hout wr iting on them; boxes,
bottles, and rubes without logos; telephones witho ut but tons or numb ers; ballo ts
without names or markings; light sw itches with o ut on- off mechanisms; above all there
is a comp lete absence of signs of wear an d tear or ocher ind ication s of use. (fr goes
wit hout say ing tba t there ar e no persons in view.) As Deman d states:
The product io n of mod els is ar the co re of a comp lex process. My wor k rea lly
developed out of sculpture. The surroundi ngs that l portray are for me so mething
untouched, a utopic con struction. No traces of use are visible o n their surfaces, and
time seems to have come to a stop. From chis arises a paradoxica l state of inde ccr-
mina cy, which of course in one sense opposes the idea of momenta riness (so impor-
tant to the beginn ings o f photography) but also opposes the true natu re of sculpt ure .
. . . [W]hat one might be justi fie<l in calling a dehistoricized effect is per hap s related
to the influence that digita l image production a nd distribution on the Net have had
on our conception of rea liryY
Anot her factor contributin g ro that '' dehisroric ized effect" is Deman d 's systematic
refusal co provide more tban th e mo st minimal titles for his photog raph s. As Widm er
remarks (following the statement by Demand cited earlier): "The criminal aspect o f Cor-
ridor can only be ascerta ined if you have some basic knowledge about Jeffr ey Dahmer.
Without this knowl edge, all we have is th e ' quint essence of banality' you're talkin g
about. The banalit y is rel eased when the image is radica lJy detached from the wor ld it
po rtrays . A certain hallw ay sme ll returns wit h a vengeance although you have removed
most of the direct signs." To which Demand rep lies: "Abso lut ely. Essentially, l'm nor
int erested in the act itself, but rather the photo of tbe act as a type. Th at's why my pic-
rures neve r have names indica tin g whe re the thin gs are fro m. Primar ily, I'm really only
thomas demand, cand 1da hoter, h 1rosh1 sug,moto, and t11omas srru1h 265
interested in the fact that something has entered circulation in the form of a photo. And
then l want to know how far you can abstract something without the work losing its
autono my ... " (u -14 ).
Third, a related point, the photographs themselves, once one has grasped the con-
structedness of their 1eferents, are deeply disconcerting, which I take it is what Demand
means by the reference to "indeterm inacy " - what exactly is the viewer to mak e of them?
(Mor:e on determinacy versus indeterminacy farther on. ) Thus Parv eeo Adams:
"Con front ed by these umu flled, silent office interiors, these unpeopled rooms, these
blind balconies and these frozen garages, I no longer knew what it was that r was looking
at. Neither beckonin g nor sinister, these pictures couldn' t be includ ed in the world. " 10
"Demand's world is a paper world," she continues, but of course the question is whether
one can speak of his photographs imaging a world ar all. Regis Durand illuminatingly
characterizes "the paradoxical impression Demand's work s make on us" as follows:
As pho rographs they capture some part of their subj ect's energy, its dull , obs tinate,
mysterious presence. Something was there, and they are linked to this object, its name,
its meaning, its history (and this is aside from the fact that what we have before us
is a visual trick, a reconstruction), but nothing in these images vibrates; they do nor
elicit any projected desire or presence on our part. The space is entirely saturated,
without depth a nd with no hint of anyt hing outside it. Rather than looking for
references to minimal arr here, we need to realise that this saturation , this slightly
suffocating dullness, is at the heart of the artist's inten tions. For, beneath their varying
for mal appearances, the und erlying ronalicy of these works remains the same: there
is the same saturation of motifs, the same unnatural light- a light that is only meant
ro give so me sense of volume to the objects wit hout suggesting any depth of field. 11
By "saturation" Durand refers co the qu ality the photograph s convey of wanting nothing
from the viewer, of giving him or her no opportunity for empathic projection of any
kind, indeed of contravening rhc very possibility of imaginin g any relation co the
depicted scenes other than one of mere a lie11ated looking.
Demand hjm self thinks of this in terms of the depiction of a certain sort of place.
Demand to Widmer:
I wonder - What are the key derails that have to be included to make rhe place a place
[Ortl , as oppose d to a common place lAllgemeinplatzJ . J don 't want to show the desk
as such , bur rather this particular desk that we have in our minds. The important
thing here is bow the picture is taken. Io the bathroom fwhere the German politjcian
Barsc hel diedl it is the way the bath mac is lying there. And the fact that someone is
standin g there raking pictur es. It gives the viewer a sense of security. A feeling that
he has nothing to do with it .. . [n J
Bur of co urse this "sense of security" or "feeling chat be has nothing to do with it" is
precisely a way of emo rionall y and imaginatively shu tting the viewer out- of "excl ud -
ing" him or her, to use the term I int roduce d apropos Busrarnante's Tableaux in Chapter
One. H ere is one more exchange between Widmer and Demand:
Demand seems co be referring (ar least at fast) co the models alone, bur his remarks also
apply, making allowance for the fact char the viewer is not actually moving through the
co nstructed places, co the photog raphs he makes of them. As he also says of h.is project
as a w hol e, "I'm sitting in the very same media world as you arc, an d l realise char there
are places that we all know bur have never set foot in. And 1 feel rhar it's a lot better
to sray in these places and reinterpret what's there than to invent new rhings. It's a kind
of privatisation of che pub lic world of images instead of just going along with creating
more and more new images that compe te with each other ... " (14).
Put sligh tly differently, Dem a nd 's project- as various wri,cers have recognized -
amounts to a reimagi.ning of the traditiona l link between photographs and indexica lity.
" Every photograph is the result of a physical imprint transferred by light reflections onto
a sensitive surfac e," Ro salind l<rnuss writes in "Notes on the Index ," a key critical essay
of the 1970s. "The phorograph is thus a type of icon, or visual likeness , which bears an
indexical relatio nship t0 its object." 12 (As was noted in passing, the not ion that photo-
graphs are indexical is crucial tO Barthes 's arguments in Camera Lucida . The topic wiU
come up again ia the conclusion ro this book.) Now in an obvious sense this is also rrue
of Demand's photographs: they bear an indexical relationship co the paper models
Demand made, carefully lit, and equally carefully photographed. However, rhe models
themse lves differ from their original, real-wo rld (that is, pre-mediacized) so urces in that,
by virtue of having been reconstructed in paper, and also because the terms o.f chat recon-
struction are, in crucial respects, radically inco mplete, they have been divested of every
hint of indexicaliry pertainin g to those sowces and their contexts - every mark of use,
every trace of human presence and action, wh ich also means of the least suggestion of
pastness, of historicalness, of the "that-has-been" in which Barth es saw the noeme of
photography. (Demand: "No traces of use arc visible on their surfaces, and rime seems
to have come to a stop.") Put slightly differently, Demand's photographs depict places
and things abso lutely devoid, indeed systematically purged, of all trace s othe r rhan those
pertai ning ro rhe physical construct ion of the cardboard mod els of those places and
things by the art ist. Such an aim is made al l rhc more salient (and all rhe more puzzlingl
by the repea ted choice of scenes of crimes or other notable events , scenes that in their
origina l (or origina lly photogr ap hed) manifestati ons inevitably bore traces of the history
of those events on their surfaces. This is why the German police closely stu died the
photograph of the kidnapped R eemstma for clues as to his whereabo uts. It is also why
curiosity-seekers in M ilwauk ee kep t visiting the apartment house in w hich D aluner had
lived, and why finally a redevelopment agency there had no reco urse but to tear the
building down in order to prevent that happening .
The quest ion, of co urse, is why Demand has chosen to proceed as he has done - what
the artistic an d intellect ual poi nt of so labor-intensive and in obvious respects so bizarre
an endeavor has been . Insistin g on the importance of the fact that Deman d started our
his artistic life as a sculptor provides no satisfying answ er: why sho u ld sculptural ambi-
tion s have led to reconstruct ing already or formerly existing thin gs and places, and w hy
thom as dema nd: candida hofer, hirosh 1 sug1moto, and thomas struth 269
then go on to photograph the reconstructions? Nor, to my mind , do statements such as
Marcoci's "D emand 's Bathroom points co the evasions and ultimately ro rhe failure of
photography's attempt to tmderstand the violence behind the apparent ambiguity of
political life" (22), or her closing claim that "Demand ensures that photography becomes
a vehicle of consciousness as much as a form of testimony to seeing anew" (27). (The re
is plenty more in Demand criticism in this vein.) I propose a different account of what
Demand has been up to during rhe past fifteen or so years.
ln "Art and Objecthood" and related essays, I drew a sha rp distinctio n between mod-
ernist painting and sculpture and the work and writings of the minimatists, or as I mainly
called chem, literalisrs- Donald Judd, Robert Morris, Cad Audre, and Tony Smit h,
among others. 13 To the Jireralisrs, what manered or ought to have mattered was not the
relationships within a work of arr, as in high modernist painting and scu lptu re, but the
relationship between the literalist work and the experiencing subject, as the latter was
inv.ited to activate (and in effect co produce) that relationship over time by ent ering
the space of ex hibition, approaching or moving away from or circumnavigating the
ostensible work (or in the case of Carl Andre's floor pieces> walking on ir), comparing
changing views of rhe work with an intellectual comprehension of its basic form, and
so on. To quote Morris (as 1 did in "Arr and Objecthood"):
The better new work rakes relationships out of th e work and makes them a function
of space, Light, and the viewer's field of vision. The object is but one of the terms in
the newer aesthetic. It is in some way more reflexive, because o ne's awareness of
oneself existing in rhe same space as the work is stronger than in previous work, with
its many internal relationships. One is more aware than before thar he himself is estab-
lishing relationships as he apprehends the object from various positions and Lmder
varying conditions of light and spatial context. [1 53]'"*
Whar mattered, in ot her words, was the sub ject's actua l, real-rime experience of the
work, or rather of the total situation in which the work was encountered, a situation
that, as l put it in "Ai:t and Objecthood," "virtually by definition, includes the
beholder" 15 - which is also to say that to refer co the relationship in ques tion as lying
"between" the work and the beholder does not quite capture the licera lisc idea (nor does
"beholder" quire fit the case). The literalisr work, in other words, was by definition
incomp lete without the experiencing subject, which is what l meant by characterizing
such work as theatrical in the pejorative sense of the term. High modernist paintings
and sculptures, in contrast, I claimed were fundamemaUy antir hear rical in that (to speak
on ly somewhat metaphorically) they took no notice of the beholder, who was left to
come to terms with them - to make sense of the relationships they comprised - as best
he or she co uld. (Th at high modernist paintings like Morris Louis's "Unfurleds" may
be said to face the beholder with extraordinary directness makes their str uctural inclif-
fcrence to his or ber actual presence before them only the more perspicuous.) A further
contrast, which in "Arr and Objecthood" remains largely implic it, concerns the fact that
whereas in modernist paintings and sculptur es the constituent relationships were
intended by the artist> 16 the relationship betwe en the literalist work and the
t hemas demand; candi da heifer. hirosh1 sugimoto, and themas st ruth 271
phrase. 111More precisely, it has long been recognized that in the making of phorographs
there is "a n irreducible discrepancy between intention and effect, " 20 or ro pur chis more
simply, that a photographer docs not know exacrly what he or she has done until the
phowgraph is developed. As Winogrand famously said: " 1 phorograpb to find out what
some thin g will look like photographed. " 1 1 To which Lee Friedlander famous ly added:
"J o nly wanted Uncle Vern standing by his new car (a Hudson) on a clear day. J got
him and the car. I also got a bit of Aunt Mary's laundry and Beau Jack , the dog, peeing
on a fence, and a row of potted tuberous begonias on the porch and seventy-eight trees
and a million pebbles in the driveway and more. It's a generous medium, photo -
graphy. u As Fried land er's remarks suggest, Berger's "wea kness in intentiona lity" is cor-
relative with an extraordinary copiousness built into the technology (the photographer
in this view always gets more rhan he or she bargained for), a feature of the medium
that it has been the genius of certain photographers, Friedlander among tbem, to exploit
to the full. (So whatever "weak in intentionality" means, it does not preclud e photo-
graphy being the vehicle of the st rongest imaginab le inte ntions on the part of gifted
photographers. Ar the same time, it is precisely that feature of the oncology of the
photograph that underwrites Barth es's notion of the punctum.) In the late nineteenth
and early twentieth centur ies the mechanical component in photography was consid-
ered by some theorists, including important practitioners, to Rose a dire problem for ir
as an an on the gro unds thar a work of arc shou ld be in every particular determined by
che maker 's intentions .2 1 fn the co urse of time this ceased to be an issue, 24 in large
measure beca use generations of art photographers from the mid-nineteenth century on
came increas ingly to be seen as having produced pictures of the highest individuality,
and of cotuse with the advent of digitization it has become possible to make photo-
graphic images that invite being seen as wholly intended both as representation and as
artifact, th us eliminating all taint of "weakness" in Berger's sense. Gursky and Ruff are
the well-known figures who, mor e than any ocher, exemplify the latter development, bur
it has become widespread and is likely to play an ever increasing role in arc photo-
graphy in the years co com e.
Demand's photographs, however, are not digitized- the ultimate effect of his work
depend s on the viewer's conviction, once he or she has had time ro reflect, that the photo-
graphs are stra ight depictions of settings and objec ts that actua lly existed and that in
fact were painstakingly fabricated by the artist. Only if the photog raph is taken as
straight (that is, as iodexical) can the apparent madeness of the places and objec ts be
taken as factua l by the viewer. To repeat a previous point in a new co ntext, Demand 's
aim is nor to make a wholly intended object - in this case, a who lly digitized photo-
graph - but rathe r to make pictures that represe11tor indeed allegorize intendedness as
such, and this _turns out to require exp loiting the "weakness" of the traditional photo -
graphic image precisely io chat regard. An incufrion of chis sor t, r suspec t, is wbar led
Demand to photograph his sculptu ra l mode ls in the first place, and it is also why, in the
interview with Quinton cited earlier, he was moved to say, "At this point louce the
photograph is taken], the sculpt ure is no lon ger that imporrant , but nor is the photo-
graph .... T have never thought in terms of my work culmin ating in pure phorograpby"
(46). What is important to Deman d is a higl1ly specific onto logica l project, whicb the
raking of th e photograph brings to a conclusion. Seen in this light , Poll emerges as par-
ticularly exe mp lary o f that project in that what took place in the Emerge ncy Operations
Cente r was ostensib ly a days-long attempt by the election authorities to determine the
intentions of a subs tanti al number of Flori d a's voters by rhe close study of paper ballots
that were assumed ro bear the traces of those intentions, in however dubious a form
(the notorious " hanging chads" and the like). ln Demand's picture, however, the ballots
are not just pristine bur also devo id of text, which is to say that they - like the tele-
phone s, flashlights , folders, Post-its, and tablehke surfaces on which all these rest and
befor e whi ch there is no place for workers to sit or stand - are manifestly the bearers
of no int ent ions ot her tha n the artist's own.
FLLrtherm o re- it turns our - rh.e intentions in question must be wholly co nscious ones.
This become s clea r &om the circumsta nces surrou ndin g the mak ing of another, differ-
entl y exemplar y work, Sink ( 1997; Fig. r69 ), which originated in Demand 's imp ulse to
reconstruct his own sink full of dirty dishes. "My aim," he cold Quinton, "was to make
an extreme ly sim ple work - nothing spectacular, devoid of any narrative. The day 1
them as de mand: cand ida heifer. h1rosh1 sug1mote. and themas struth 273
169 Thomas Demand, Sink, r9.97. Chromogenic process pr int wirh diascc. 52. X 56.5 cm
decided to make this piece, I soon realised thar, without meaning ro, I was ending up
making a rea l composit ion in my sink. l fell into my own trap . When J understood rhar
l would never make a sink that was innocent eno ugh, I called a friend and said, 'Can
you go to your kitchen and photograph your sink for me?' I wanced this piece to be suf-
ficiencly devoid of signification to crea te a baJance. Sink is a precious counterpoint to
my other works" (56). Demand could never make a sink that was innocent enough
because he could never rule out the possibility that unconsc ious intent ions wou ld lead
him to make "a rea l composition" in his sink no ma tter how strongly he co nsciously
intended not to do so. Making a mod el of his ow n sink wou ld therefore have produced
at best a "mixed" resu lt, whereas reco nstructing and then representing in his usua l
ma nner someone else's sink meant that alJ the intentions that counted in rhe final image
were under his contro l. T his is nor ro deny rhar unconscious factors could in principle
170 Thomas Demand, Clea-ring,2003. Chromogenic process print wirh diascc. 192 x 495 cm
the mas rlemand , candid a ho fer, h1rosh1 sugimolo, and l.homas s1rut r1 275
1 7r Thomas Demand, Collection, 2.001. Chromogenic process print with diasec. ,, 50 x 200 cm
local facrors of soi l, light , an d so on ) but rarher by the delibera te actions of the artist
(in this case aided a lso by assistants), just as Constellation (2000), an image of the sky
over Switze rland exactly rhree hundr ed years after the date of the opening of an exhi-
bition of Demancl's work in Zurich, invo lves the rep lacement of a similarly objective
forn1 of causa lity by the artist's intentions; a nd so on.
Finally, ir will be helpful briefly to compare Dem and 's ontologically exceptional
project with th at of Thomas Strurh's early, modesr -sized, exceptiona lly deta iled black-
and-white photographs of streets in New York, Diisseldo rf, and other European cities,
most of whic h feature centered co mpos itions based on one -point perspec tive (Figs. c73-
5). (Struth's photographs will also have a bear ing on Can did a Hofer's pictures of inte-
riors, to be considered shortly.) Almost from the first, Strurh's cityscapes were placed
under the rubric of "unco nsciou s places, " 26 by which what seems to have been meant
is char the urban scenes they depict were imagined as exerting an unconscious influence
on their inhabitants - who, howeve r, are conspicuo usly absent from the photograp hs.
Another eq ually important feature of those works (anothe r aspecr of their " uncon -
scious" resonance) is that most often rbey show places or milieux whic h the viewer is
invited to understand took their prese nt form through the exercise ove r time of archi-
tects', developers', and simp le builders' intent ions a nd decis ions, as well as the actions
over time, for good and ill, not o nly of th e inhabita nts of those places but also, so to
speak, of th e various social and eco nom ic forces that sha ped the neighbor hoods in ques -
tion, but whic h nevertheless convey the impress ion that each plac e or milieu as a who le
was never int ended by anyo ne to be pr ecisely what it strikes the viewer of the phoro-
graph as being. Put slightly differen tly, the places in Str uth 's ph otog raphs typ ically rep-
resent the collaging to get her of traces of multiple intenti ons, traces laid down at
different , even widely disparate moments, th ereby modifying, covering, or effacing the
rraces of previo us intention s, so that the scene as a wh o le presents itself as everywhere
stamp ed by intention a lbeir (with a few excepcjons) not by a single or a collective inten-
tion to pro duce th e scene, th e plac e, the mi lieu as it appears to the viewer. 27 Even in
themas demand . candida hofer, h1roshl sugirnoto , and themas struth 277
17 J Thomas Struth, Crosby Street. New York (Soho), 1978 . Gelatin silver prim. 44 x 56 cm; 64 x So cm ramed
th ose photographs- H order Brieckenstrasse, Dortmund (1986; Fig. r76), for example,
or South Lake Street Apartments 2, Chicago ( 1990; Fig. L77) - that deJ?ict a building
or group of buildings th at was erected at a single moment and thus might be imagined
to embody a single des ign, the viewer is made to feel that there was at chat moment no
means of envisioning - th erefore of intending-what those stru ctures wou ld look like,
how they ,ivould strike a sensitive, attune d viewe r, at a later date; or, a close ly related
point, what subl iminal influence they would exert over time on inhabitants and passers-
by. In char sense Struth's early urban pictures not only exemplify the indexicaliry or trace
scruc:cure traditionally assoc iated with photograp hy, they systemati cally exploi t that
stru cture so as to produce an effect of heightened mean ingfulness - at once global and
minutely detailed - thar at the same time refuses to be pinned down, reduced to socio -
logica.l or psychological commonplaces. Th e effect itself is acutely described by Peter
Schjeldah l, one of Struth 's best comme nt ators, who wr ites:
175 Th omas Stru th, Diisselstrasse, Diisseldorf, r979 . Gelat in silver print. 32.7 x 38 cm;
66 x 84 cm framed
176 Thomas Srruth, I-larder Briickenstrasse, Dortmund, 19 86. Gelatin silver prim.
44 x 56 cm; 66 x 84 fram ed
177 Thomas $truth, S011thLake Street Apc1rtme11ts2, Chicago, L990. Gelatin silver
print . 46 x 57 cm; 70 x 84 cm framed
We see a space of passage formed by structures eloquent with history, cultur e, time,
cha nce, and vernacular use .... A conviction of meaningfulness, like a pressure in the
bra in, grows on us. lt is not a matte r of anything norma lly "inte resting." The place
is unremarkably, merel y real. At the same time, it seem s a rebus urgent co be read, as
if it secreted evidence of a crime. We do not feel nec essari ly that the photographer
knew th e secret. He is not toying with us. It is rather as if be had a Geiger counter
for meanin g, whose meter happened to go crazy at this location. 28
As Schjelda hl concludes elsewhere: "Seen in Struth's way, the world is a ju mbled con-
cretion of sometimes wond erful and so metime s horrible, a lwa ys impenetrable intentions
amid which we must live. " 19 (" Always impenetr ab le" is not exactly right but one takes
his point.) For Rob err Musi l in The Man Without Qualities, a work tbat bears an
uncanny re lation to recent ph o tographic practice (reca ll Bustamante 's interest in the
notion of "without qualiti es" or Gurs ky's re cast pag e in Untitled XII; see Fig. 108), it
is precisely the marks and traces of former intentions - or, as Musil writes , "mea nings"
and "op ini.ons" - as carried by urb an architecture that pr ovide definition for the other-
wise formless individual. Th e following appears not in the novel proper but in "No tes
for Chapters (r932../33-4r)":
Building s - breathlike mass , condensa tion on surfaces that present themselves . ..
Freed from connections, every impul se momentarily deforms the individual.
The ind ividual, who co mes about only through expression, forms himself in the
forms of society. He is violated and thus acquires surface.
He is formed by the back- formations of what he ha s created. If o ne tak es away
those back-formations, what remains is some thing indefinit e, unshaped. Th e wall s of
rbe streets radi at e ideo logies. 30
My thou ght is that Srruth's reticent, inexplicit, bur meaning-impregnated citysca pes were
a crucial element in the artistic and intellectual context within which Demand 's almost
exactly a nti thetical init iative - the remova l from his subject matter of all traces of pre -
vious intenti ons, conscious or un consciou s, and the replaceme nt of th em with his own
conscious ones - took shape .
The notion of place, fundamenta l to both Demand and early Struch, makes a link with
the art of a some what o lder German photo graph er, Ca ndida Hofer. Hof er was born in
1944 a nd studied at th e Kunstakademie in Diisseldorf between r973 and 198 2, three
years in the film class of Ole John, thereafter in th e photo grap hy class of Bernd Becher
along with Struth, Gursky, Ruff, and ochers. [non e respect she has remained mor e faith-
fu l than anyone else to the Bechers' pra ctice: just as they have sysrematically pho to-
graphed indu strial struc tures in Europe and Ameri ca, so she has, with a few brief
diversions, devoted her ca reer to rhe photograp hing of sign ificant interiors - rooms - of
all sort s, aJso in Europe and America . (The cities of her pictures consist of the designa-
thoma s demand, cand1da hofe 1, h1rosh1 sug ,mo to , and thomas st ruth 281
tion of the bui lding i_nwhich th e room exists, plu s th e city, plus th e numb er of th e shot
made in that place.) From the firsr, Hofer has worke d in co lor ; for a long rime she
restricted herse lf to a 35 mm camera th at resulted in 15 x 221 inch p rint s, but starting
in 1997 sbc began to use a 6 x 6 cm Ha sselblad that enabled her to make five-foot square
photog raphs, and since 2003 she bas worked with a 4 x 5-inch view ca mera rhat has
allowe d her to make even Larger images shou ld she desire to do so. Her pictures are
often beaurifuJ, in an unprob lemati c sense of the word, but for a long rime 1 cou ld nor
quite see how her work belonged to the larg er ar gume nt of this book , if in fact it did.
Then one da y, en route to :::tnexhibi tion of recent photograp hs by her ac th e Sonnabend
Gallery in New York , I had a sudde n insight.
Befor e relating char insigh t, l want to glance at three representative phorographs from
differem momencs in Hofer's ca reer. In Museo Civico Vicenza II (1988; Fig. 178), an
early work, the camera is situat ed almos t dir ectly oppos ite and at a conside rable dis-
tance fro m a corner of a large room . On the left -hand wall hang thr ee dark Renaissance
or seventee nth-c entury paintings (more pr ecisely, we are show n two suc h pajn ti11gsand
parr of a third); we see mainl y thei r shape s, whic h sugges r that rhe two upper picrures,
with ro1rnded upper hal ves, orig in ally belonged ro anoth er room, probably in a church
or refectory . To th e right of the lowest of rhe three pictures th ere is a dar k woode n door
w ith glass pane ls set in a han dsome molding, an d to rhe right of rbe d oo r and a foot or
so from rhe wall a large cent uries-o ld globe sits in a glass showcase with a woode n base.
A few feet ro the right a sma ller globe rests in a case with wooden legs. The right- hand
wall is dominated by nvo rows of windows, high ones below and smaller ones above;
the window s are cove red with gauzy curtains and are filled with light, the wh.ire radi-
ance of which, dissolvi ng all detail of the windows' internal st ructure, cesrifics to the
duration of the exposure required to make the photograph (the actual interior, one gra d-
ually realizes, must have been rather dark). Toward the top of the picture is glimpsed a
bit of coffered ceili ng, and the bottom third of the image, more or less, is tak en up by
a warm brownish polished marble floor thar gleams with reflected light from the
windows. (The reflecdon s, namrall y, are oriented relative to the posit ion of the camera,
but note how patc hes of light from the windows fall on the floor at a differenr angle,
incidentall y revealing th e internal struc tur e of th e windows thtlt is otherwise invisible.)
Finally, low on the right-hand wa ll, between th e windows, are whar appear to be modern
heaters, which is to say that the photographer has made no efforr ro disguise the h.is-
torically composite nature of the room irself.
Another cha racterisric work, Nett e Nationalgalerie Berlin V 11(200 r ; Fig. 179 ), depicts
the entra nce floor of M ies van der Rohe's museum of modern art in Berli n. Th e sq uar e
format bespeaks the Ha sse lblad ca mera wirh which it was taken, and the point of view,
parallel co che rear mainly glass wall, therefore yielding a sense of one-poi nt perspective
(as in Struth 's early street scenes), is typical of H ofer 's late r work. Again, the exposure
seems to have been relatively long: thu s the trees a nd buildings beyo nd the tran sparent
rear wall are largely bleached our, and the reflections of light from the inlaid srone floor
chat occupies the bottom half of the picrurc are sufficient ly intense to all bur dissolve
-thomas deman d ; candida hoter, hi rosh1 sug1moto 1 and thornas struth 283
rhe more distant portion of the floor plane. A ceiling wirb reced ing supports and slender
red crossbars rakes up much of the upper half of the composirion. ln the middle dis-
tance and to rhe left of center a broad greenish-gray marb le column - more like an abbre -
viated freesta nding wall - connects floor and ceiling; immediate ly in front of the column
sit two Barcelona chairs and a small bench; and roughly halfway between the column
and the camera the re extends from left co right a row of Barcelona benches in a repeat-
ing patter n (the last of rhe benches is cue off by the right -hand edge of the picture). Also
nea r the right-hand edge is a wooden structu re, the function of wh ich the viewe r can
on ly guess at.
A more recent work, Ca' Do/fin Venezia I (2003; Fig. 180), depicts a marvelously
ornate, tho ugh rat her compact, salone in a Venetian palazzo. Ir seems to be a room in
which performances of some sort a re held (whet her this was its original use is nor clear);
at any rate, the photog raph has been taken from a slightly elevated view point - as if
from a stage or ra ised platform - and once again the rear wa ll, wich three rococo-style
mirror inserts, is parallel to the picture plane. O nce agai n, roo, the compos ition is
rigoro usly centered: the viewer looks down at approxima tely ten rows of reddjsh-
upholstered chairs, divided left and righ t into rwo banks of sears, with a polished
wooden floor visib le betwee n them, as weU as up at a frescoed, shallow ly concave ceiling
from which hang cwo spectacular ly ornate white crys ta l chandeliers beari ng long artifi-
cial cand les (with electric bulbs at their tips). Toward th e rear of the room two call
windows bor dered by red drapes allow lighr ro flood the scene and, as in che other
works, rhe dw-arion of the exposure has led to a bleaching out of rhc windows them-
selves. Ow ing to tbe central position of the camera, the windows are reflected in the
farthest righ t mirror on the rear wall. In anothe r of Hofer's Venetian palazzo phoco-
graphs, Palazzo Zenobio Venezia fTl (2003 ), rhe photographer and her came ra are actu-
ally imaged in one of the mirrors on the rear wall, but in the present work this is nor
the case. 11 Un like Museo Civico Vice11zaII and Nette Nationalgalerie Berlin Vll, both
of ,vhich make a point of compositional spareness, Ca' Do/fin Venezia I is replete with
sens uous detail, the richness of whic h, one soon comes to feel, goes far beyond the ability
of the un aided eye to register and enjoy.
T hese three works by no means encapsulate rhc range of Hofer's interiors, but they
prov ide a basis for discussion. One way to begin that discuss ion is by noting cha r all
Hofe r's commentators have remarked on the absence of people from her interiors. (ln
fact that absence is not tota l; for examp le, BNF Paris XX l1998j, a view of the peri -
odicals read ing room in the former Bibliorheque Nationale on the rue de Ric helieu,
dep icts researchers sitt ing at rabies and before microfilm projection mach ines; bur it is
an except ion, and in the end the effect of the picture is nor essentially di fferent from
that of all those without huma n prese nce.) Jndced a 2005 retrospective exhib ition of
H<>fer's phocographs bears the title "Architecture of Absence," a p hrase meant co aUude
bot h co the absence of perso ns and to someth ing more encompassing - an "abs tracting"
effect that Ma ry-Kay Lombino, one of the ex hibition's curators, associates with the idea
of giving "blankness an emotiona l plenitude" (a phrase used by the pho tographer Ura
Barth co describe her own projecc). 32 Hofe r's masterly treatme nt of light plays a key role
in chis, as Lombino recognizes . She adds: "However, Hofer not only reveals these rwo
qualities" - blankness and light - "in her reductive images of vacant, minimal room s,
but also in her more baroque pictures o f rooms adorned with plentiful details and num er-
ous identical objects, which m ight o rdin aril y conflict with the idea of blankness and
pose a compos itional challenge. Hofer overcomes th is obstacle by emphasizing che sym-
metry and alignment inherent in her subjects, creating works chat embody at once both
abunda nce and empti ness" (25). Lombi no also remarks on Hofcr 's eradication of clutter
"in the name of achieving complete clarity and evoking detached tranquility" (26). In
the sa me sp irit, Cons tance W. Glenn, another of che curators, writes that th e square-
thomas dem and, cand,da heifer. hi ros ht sug1moto, and 1homas struth 285
picture format that Hofer added to her reperto ire in r994 " has bad the effect of empha-
sizing the et hereal qui etude of her spaces - a quietude that defies the usual weight of
arc hitectural detail." 33
Not ions suc h as detached tranquility and ethereal quietu de ar e related to the effect
of distance, another charact eristic of her art , as we have seen. And beyond all th ese qual-
ities is the ove rriding question of the viewer's relation co the photographic image, by
which I mean the question as to what extent and in what sense the viewer is either
invite d to "e nt er'' the depicted room o r prevented from doing so in spite of tbe clarity
of the mise-en-scene.
What makes this a tricky question to answer is, first, d1at all of Hofer's images are
unqualified ly ope n to the viewer's gaze - there is no feeling of things being hidden from
view, while the use of a wide-a ngle lens, the overa ll sharpness of focus, and the sheer
duration of the exposure mea n that the viewer is enabl ed ro see much mo re and in
greater derail tha n wou Id be possible if he or she were looking ar the room itself (as I
have already suggested). And second, that the rooms are full of objects meant for human
use - rabies, cha irs, benches, doorways, ramps, light sources, card files, books, flighrs of
sta irs, and so on. A third potentially inviting facto r is the historical speci ficity of many
of her subjects, which the viewer rightly understands as co nnoting a particular style of
life: the orig inal social world o f Mies's mu seum was nor rhe same as chat of the Ca'
Dolfin, and neid1er had much in common with rbe social world or worlds evoked in
Mu seo Civico Vicenza II. In chat respect, Hofer's ph otog raphs might seem to offer access
to vanished realms of expe r ience. Nevertheless, I want ro claim that the viewer feels
himself or. herself ro be rigo rou sly "exclu ded" (from now on I shall drop the quotation
marks) from Hofer's int erio rs excep t as regards the sense of sight operating in an almost
wholly disemb odi ed mode. Despite the fact that the actual interiors are self-evidently
places that in coun tless ways are phenomenologica lly keyed to th e act ivities of incar-
nate human beings, th e viewer of her photographs is noc led to respond ernpathica lly
to those keys (more than the bare minim um , so to spea k) - to imagine being seared in
rbe Ca' Do lfin's chairs or ncgor iaring that br oad e>..'J)anseof floor in th e Musco Civico
o r the Neue Narionalgalerie - but rather is i11duced to survey the pictures in question
with a blend of heightened visual alertn ess and all but explici t bodily decachmenc. A
picture chat drives thi s home with almost didactic intent is Ballett zentrum Hamburg {IT
(20or; Fig. r81), with its single functiona l chair- the ba llet teacher's? - placed in self-
conta ined iso lation in the middle of a large practice room. It is not a cha i1one imag-
ines oneself approaching, muc h less seated in. Ar the same time, the interiors th emselves
strike th e viewer as w1quesrionab ly actual, compre hens ible, ac least at first glance con-
tinuous with his or her own exper iential realm. (What I am crying to convey is that the
viewer's sense of exclus ion from the spaces in H ofer's photographs is nowhere near as
radical as the sense of "sever ing" that I have associated with Gursky's art. No r for that
matter do her photographs act ively repulse tbc viewer in the mann er of Busramanr e's
Tableaux, or make a poinr of their own "saturation" in that of Demand 's pictures.
Perhaps it is simply that they cont inua lly find means ro emp hasize their "opticaliry," to
use a term from my crit icism of rhe I96os that Jeff Wall has recently app lied to his own
181 Candida Hofer, Ballettzentrum Hamburg 111, 2.oor. Chrnmogen ic process pr int. T 52. x
152cm
photographs .34 ) Thus when Lambino remarks that Hofer's images "revea l only the traces
of those activi ties foui1d embedded in the details of the work " (24), everything depends
on what she means by "traces" and "embedded ." On the one hand, the individual room s
are indeed, as she suggests, almost always treated as "places for socia l and cultural
encounters and vital interchanges" (2 4 ); on the other hand, even in a photograph like
Museo Civico Vicenza Tl which in a certain sense contain s the evidence of diiferent sets
of intentions (Mus il's "meanings" and "opinions") - those that went into the making of
the paintings and globes, those char went into the initial construction of the building,
those that went into the design of the modern museum - there is nothing whatever of
the conspicuous trace srrucrure - the mater ial evidence of wear an d rear, of years of ha rd
For the space of the room itself is a struc tur ing factor both in its cu bic shape and in
terms of the kind of compression different sized and proportioned rooms can effect
upon th e object-subject terms . [Morris is imagining the su bject - the viewer - encoun -
ter ing liceralist work within a cubic gallery space.] That the space of the room becomes
of such importance does not mean that an environmental situat ion is being estab-
lished. The coral space is hopefull y altered in certain desired ways by the presence of
the object. le is not contr o lled in the sense of being ordered by an aggregate of objects
or by some shap i11gof th e space surrounding the viewer. [154 ]36
In my gloss:
The object, not the beholder, mu st rema in the center or focus of the sirnat ion , but the
situation itse lf belongs to the beholder - it is his situa tion. Or as Morris has remarked ,
"l wish to emp hasize that things are in a space with oneself, rathe r than ... rtha t] one
is in a space sur rounded by things." Again, there is no clear or hard distinct ion
between the two stares of affairs: one is, after all, always surrounde d by th_ings. But
th e things th at are litera list work s of arr mu st some how confr ont the beholder - they
must, one might almost say, be placed not jusr in his space bur in his way . .. Ir 54,
emphasis in or iginal]
This is where the room - the galle ry int er ior - comes in as the ideal arena for the par -
ticu lar sort of confronta tion "Art and Objecrhood " sought to analyze, a confrontation
in which, as has already been remarked, the literalist object itself is in effect replaced
by the embodied subject's ongo ing and in principle open-ended experience not on ly of
that obje ct but a lso of rhe cocal sit uati on in whic h the subject finds himself or herself
by virtue simp ly of entering the room (163). "The concept o f a room is, mostly clan-
destin ely, important to literalist art and theory," I remarked in a footnote. "In fact, it
can often be substituted for the word 'space' in the latter: somethin g is sa id to be in my
space if it is in th e sa me room with me (and if it is placed so rhac I can hard ly fail co
notice it)" (p. 170 n. I4}.
Along the same lines, tho ugh not at all cr itically of minimalism, Dan Gra ham wrote
in 1985:
While American " Pop" art of th e ear ly r96os referr ed to the surrounding media world
of cultura l information as framework, "Minimal" art work of the middle through
lare I9 6os wou ld seem co be referring to the ga llery 's interior cube as the ult imate
contextual frame of reference or support for rhe work. This reference was only com -
(From my point of view such an acco unt , wh ile tru e as far as ir goes, fails to mention ,
no doubt beca use it takes for granted, the primacy of the expe riencing subject. } Graha m's
observat ions are bound to str ike the informed reader as re calling nor just "Art and
Objecthood" but another text as well: Brian O 'Doh erty's Inside the Whi te Cube: The
Ideology of the Gallery Space, a short book compris ing four essays the first thr ee of
which first ap peared in Artforum in I976. O 'Dohe rty's thesis is that the white cube of
the mod ern gallery inter ior has played a fund a ment al, albeit for the most pa rt unac-
knowledged, role in the development of modernist painting a nd sculpt ure (and beyond
these, of minimalism). "T he history of modernism is intimately framed by that space,"
he writes early on:
ro ]r rather the hisrory of modern art can be correlated wit h changes in that space
and in the way we see it. We have now reached a point where we see no t the art but
the space first. (A cliche of the age is to ejac ulate over the space on enrer ing a ga llery.)
An image com es ro mind of a whit e, ideal spa ce that, more than any single picture,
may be the arche typal image of twent ieth century art ; it clari fies itself thr ough a
process of historical inevitability usually atta ched to the art it conra ins.38
thomas demand; candida heifer, hiroshi sugimoto, and thomas struth 289
L82 Ca ndid a Hofer, DHFK Leipzig IV, r99r. Chrom ogcnic process print. 38 x 57 cm
study . This Cartesian paradox is reinforced by one of the icons of our visual cultur e:
the installation shoe, sans figures. Herc at last the spectator, oneself, is eliminated. You
are ther e without being there - one of the major services provided for art by its old
antagonist, photography. T he installation shot is a metaphor for the gallery space. In
it an ideal is fulfilled as Strongl y as in a Salon painting in the 1830s. I 15]
Perha ps it is already clear where my argument is tending. I suggest that a fundamental
poinc of reference for Hofer' s p hotographs of interiors, whether or not sht: is aware of
it, is the modernist galle ry space, which her pictures at once allude to and critique in
severa l highly specific respects. On the side of a llusion there is not only the emptiness
of Hofer's interiors and the transcendent clarity with which they are depicted, but also
what Glenn describes as "her reticent but richly nuanced ha ndling of co lor, character-
ized by a compelling use of the range of white (19, emphasis added). As Glenn aptly
remarks:
[H ofer] chooses to let white define a great many of her compositions, from the most
subtle contrasts illuminating archi tectura l detail or refining perception of the space,
to the motifs highlighted by emphasizing repetitive forms, such as row upon row of
spotless library reading tables. Look closely at the images as a whole. Th e over-
whelming effect is that of being tonall) ' pale, suff used with light. In one portion -
Glenn's observations perfectly fit the picture s by Hofer I have looked at, as well as
numerous others, early and late , such as DHFK Leipzig IV (r99r; Fig. r82), Schindler
House Los Angeles Vf/ (2000; Fig. L83), and th e spectacular Ca' Rezzonico Venezia I
(2003; Fig. 184), thre e images of w idely different types of interiors which nevertheless
belong to a single colorisr ic sensibility.
No doubt H ofer's predi lection for white rooms (and white light ) has temperamental
roots. The fact remains rhar the strong ly white ronality of her art harks back to the pris-
tine whiteness of the modernist gallery, as does what might be ca lled the rracelessness
of her interiors (note the "u ngrubb y" surfaces of the modernist works of art chat
O'Doherty characterized as "untouched by time and its vicissitudes"). On the side of
critique are other conspicuous features of H ofer's photographs. For one thing, the
interiors themselves are not literall y featur eless but more often than not are highly
detailed and richly articu lated; for anot her, the windows are not sealed off so that the
outside world cannot enter but rather are crucial and consp icuous sources of bri!Lanc
illumination; and for a thi rd, the emphas is in her photog raphs is only occasiona lly on
t83 Candida H ofer, Schindler House Los Angeles VIL, 2000. Chromogeoic process print. T 52
x 192 cm
lho mas demand; candida hofer. h1roshi sugi molo, and them as struth 29 1
t84 Candida Hofer, Ca' Rezzonico Venezia l, 200 3 . Chrornogenic process print . 15-z.x 18 r cm
tbe walls, which more often than not are subordinated to the floors, ceilings, lighting,
and various objects such as tables, chairs, bookshelves, mi;;rnrs, windows, lamps,
statues, and the like. More broadly, the "t imelessness" - also rhe placelessness39 - of the
modern gallery space is contradicted by the historical and geographical specificity of her
diverse, carefully chosen locales.
A further issue concerns the status of the viewer, and her e, preci sely with respect co
minima lism, O 'Do herty's insistence that rhe modernist gall e ry is antipathetic to the
embodied subject undergoe s a certain modification. In his words:
themas demand; cand ,da hofer, hi rosh1 sugimoto. and thomas strut h 293
are there without being there," as he puts it). In that sense, the installation shot as
described by O'Doherry anticipa tes the strictly visual, beholder-excluding esthetic of
Hofer's photographs of interiors, though of cvurse the latter go infinitely beyond even
the most artfu.l installation shot in the explorat ion of their rich and variegated main
motif.40
There is space in this drnprer for only some brief remarks about four additional bodies
of work - Sugimoro's black-and-w hite ''Seascapes," which he began making in 1980 and
which by now number in the hundreds; $truth's "Paradise" photog raphs of forests
and jungles, made between r998 and 2.ooi; and t\vo photobooks of animals in zoos,
Winogrand's The Animals (1969) and H ofer's Zoologische Garte,z (1993), which aU but
demand to be compa red with each other.
Of the first of Sugimoco's "Seascapes," a p hotograph of the Caribbean Sea taken in
Jamaica in 1980 (Fig. 185), the artist has explained that he was on a cliff above the sea,
"oot very high, probably ten meters or so above the level of the sea. The spot was prac-
tical for surveying the ocean: no boar, or yacht, or ste::imer,solely the water and the sky.
Thar was what I wanted. I decided always tO keep exactly the same composit ion, with
the horizon line as a fixed center; half sky, half water, nothing else. "'11 According ly he
made a mark on the frame of his viewfinder in order to determine the correct posirion
of the horizon line for all subsequent photographs. What this has meant is that the
"Seascapes" all have the same extreme ly simple internal struct ure though they also differ
considerab ly from one another depending on the lighting and weather conditions and
the precise stare of the water. Indeed there are photographs in which the horizon line is
invisible owing to fog or mist, but in those cases Sugimoto appears ro have ascertained
where it wo uld have been and to have stuck rigorously to his formula. When one encoun -
ters a single "Seascape" in a gallery or museum, one is invariably struck by its quiet
grande ur. For Sugimoco himself the almost identica l pictures compose a vast, open-ended
series, and he prefers ro think of the viewer as being invited to compare a number of
them with one another so as at once to notice small differences - by looking closely at
individual images to the point of "drowning" in them - and to become increasingly
aware of what rhey all have in common. 42
Another way Sugimoto has of speaking of the "Seascapes" as a group is in terms of
an imaginative journey far back in time. In the "Seascapes," he has said, "there is no
human presence. Because I try to depict the prehuman state of the landscape. It is as if
r were the first man to appear on chis planet which is the earrh. The first man who lam
looks around and discovers his first landscape, a marine landscape. Made solely of air
and water. That is why there is no human trace. " 43 The notion of tracelessness recalls
both Deman d's reconstructions (which bear traces only of the ir manufact ure) and
Hofer's interiors (which although "historical" are also pristine), while the theme of the
prehumao is broad ly suggestive witb respect to theatrica lity - as if the "Seascapes" are
imagined by Sugimoto as depicting so many nearly identical elemental scenes that had
never previously been observed by human eyes; ind eed as if, to amend slightly Sugi-
moco 's though r, the "or iginals" of chose scenes ha d been seen only by his camera, nor
by Sugimoto himse lf, before th ey were made available as representation by means of his
photographs.
Both Sugimoto's remarks and m y eme nd ation are clearly ficrions but there is anothe r,
more ft1J1damental sense in which the beholder and perhaps a lso the phoro graph er are
exclu d ed from chc "Seasca pes." This begins to emerge if one co nsiders che relat ion of
the in div idual imag es co their titles, which in all cases cons ist simply of the names bo th
of the sea that the photograph depicts and of the place where it was taken. To cite three
more repre sent a tive works in th e series: Sea of Japan, Rebun Island ( t996; Fig. 186);
N orth Atlanti c Ocean (r996; Fig. I 87); and Black Sea, Ozu luce (r991; Fig. .c88). What
themas demand. candida hoier, h1rosh1 sug 1rnoto. and Lhomas struth 295
186 Hiroshi Sugimoto , Sea of Japan, Rebun ls/and, J996. Gelarin silver print . .u9.4 x 149.2.
cm, Negarive 460
1.87 (facing page top) Hiroshi Sugimoto , North Atlantic Ocean, Cape Breto11ls/and, 1996.
Gelatin silver print. u9 .4 x i49 .2 cm, Negative 464
188 (facing page bottom) Hiroshi Sugimoto , Black Sea, Ozuluce, 199 1. Gelatin silver print.
n 9.4 x 149 .2 cm, N ega tive 366
is obvious ly striking about th ese is that the scenes in the photographs are all more o r
less identical; more precisely, such differences among them as can be discerned (and as
no ted earl ier, Sug imo to encourages rhe discerni11g of differe nces) have no bear ing on the
question of local e. Topogr a phica lly th ere is no difference ar a ll between one "Seascape"
and another: this follows from Sugimot0's decisio n ro seek rhe same elementa l motif
thr ougho ut the enr ire series and to frame it identically. The titles thu s assure the viewer
of someth ing chat cannot be seen - that the "Seascapes" were shot in different places.
More precisely, they an nounce that the photograp her has had to trave l to different par ts
of the world and set up his unwiel.dy, o ld-fash ioned apparatus above o ne shore line or
another in order to take bis pictures. And w hat is crucial to grasp is that Sugimoto has
done all this not so as ro show the viewer what th e places in question look like (no one
co uld recogn ize the places from the pictures or vice versa) but in order that the viewer
comes to see that the photograph er has not been tak ing picrures of what they look like,
understanding by th is nor some curious sort of failure but rather a deliberate, ontolog-
ically ambitious project. In other words, the "Seascapes," despite appearances, are in
no sense views - a po int drummed hom e by the pictures shot at night, among the most
compelling of the ser ies (Fig. r 89 ).''
"Jn Chapter One of chis book l discussed The sea, a nameless sea, the Mediterranean,
several passages on voyeurism from Yukio the Japan Sea, the Bay of Suruga here before
Mishima's The Temple of Dawn, and in the con- him; a rich, name less, absolute anarchy, caughr
clusion 1 shall discuss Wall's After "Spring Snow" after a great struggle as something called "sea,"
by Yukio Mishima, a photograph based on an in fact rejecting a name.
episode in the first novel in the tecralogy. Here, As the sky clouded over, the sea fell into
however, I want to quote a longish passage from sulky contemplation, studded with fine nightin-
the opening chapter of Th e Decay of the Angel, gale-colored points. It bristled with wave-
which brings The Sea of Fertility tetralogy to a thorns, like a rose branch. in the tl1orns
close: themselves was evidence of a smooth becom-
ing. The thorns of the sea were smooch.
Thre e ren. There were no ships in sight . tanr bell. A ship ap pears and sers th e bell to
Very stra nge. T he whole vast space was ringin g. ln an instant the soun d makes every-
aba ndoned. rhing irs ow n. On the sea they are incessanr, the
Ther e were not even wings of gulls. bell is forever ringing.
Then a phanrom ship arose and disappe ared A being.
toward the west . It need not be a ship . A single birter orange,
The Tzu Peninsu la was shrou ded in mist. For appeari ng no one knows when. It is enou gh to
a time ir ceased co be the lzu Peninsul a. It was set rhe bell ro ringi ng.
the ghost of a lost peninsula . Then it disap - Thr ee rhirty in the aft ernoon . A single bitt er
peared entirely. 1t had becom e a fiction on a orang e rep resent ed being on the Bay of Suruga.
map . Ships and peni nsula alike belonged to (Yukio Mishima , Tl,e Deca) of the Angel, tr.
"the absurdity of existen ce.'' Edward G. Seiden sticker [I 97 1; New York,
They appear ed and disappeared. H ow did L97 41, pp . 8-ro)
they differ?
If the visible was the sum of being, then the ln Sugimoto's "Seasca pes," of course, there are no
sea, as long as it was not lost in mist, exis red ships, no bitte r orange, ever. Nevert heless, from
rbcrc. Ir was heartily ready to he. rhe perspective of the passage just quor ed, Sugi-
A single sh ip chang ed ir all. moto's seas , in their very sam eness - their resis-
Th e who le compo sition cha nged. With a tance to ident ity, themari zed, I have suggested, by
rending of the who le pan ern of being, a ship their tirles (or rather by rhe "fa ilure" of the rirles
was received by th e horizo n. An ab dicat ion was to capt ure any intrinsic qua lity il1 the images as
signed. A whole uni verse was thrown away. A such) - mighr be regarde d as so many pictures of
ship cam e in sight , ro throw out the universe the same " rich , namele ss, absolure anarch y,
chat had guarded its absence. caugh t after a great strug gle as something called
Mulriple cha nges in rhe color of the sea, 'sea,' in fact rejecting a name. " As for the visible
mome nt by mom ent. Change s in the clouds. as "rhe sum of being," on e questio n might be
And the appearance of a ship . What was whether it is not Sugimoro's photograph s rhar
happenin g? What were happenings? confer being on the seas, insofar as the larcer muse
Each insta nt brought them, mor e mome n- be und erstoo d as hav ing been "visib le" onl y ro
rous than the explosion of Krakatoa. le was the eye of rhe camera. In any case , a certain con-
only that no one noti ced. We are too accus- cordan ce between Mishima's text and Sugimoto 's
tomed to the absurdity of exis tence. The loss of photograph s seems not hing less than starrling .
a universe is nor worth taking seriously. My thanks to Walter Benn Mi chaels for helping
Happ enings are the signal s for endless recon - me think through the beho lder-excluding aspects
struction , reorganization . Signals from a dis- of Sugimoro 's "Seasca pes."
thornas demand; cand,da heifer, hiroshi sug 1moto, and lhomas struth 299
faced with the overwhelming existence of che plants, we are made co feel that such incen-
rions can wait." 4 5 And Daniel Birnbaum: "Struth originally saw these dense textures as
illegible cext, as impossible to grasp as caJligraphic writing for an untrained Westerner.
Thus a zone of natural phenomena appea rs beyond the antinomies of subjectivity, a
realm of raw but nor entirely alien experiences of the world of trees and planes and
splendid blossoms. Pure visibility, the Aesh of the world, colorful things in rhe sun. "46
Struth himself bas said that the photographs "contain a wealth of delicately branched
information, which makes it almost impossible, especially in large formats, to isolate
single forms. One can spend a lot of rime in fr onr of these pictures and remain helpless
in terms of knowing bow to deal with them. "'17 Srruth's own understanding of his project
is characteristically "spir itual" - rhe picrnres in his view "emphasize the self" and
provide occasions for meditation and interna l dialogue (r sc}. No doubt this is true, bur
their deepest artistic significance lies elsewhere, in rhe charged space between
photograph and viewer.
190 Thomas Strurh, Paradise 6, Daintree. Australia , 1998. Chromogenicprocess prinr. r 69.7
x 214.3 cm; r 76.7 x 22.r.3 cm framed
Fina lly, it is instru ctive to compare two slender books of photo grap hs of animals in zoos,
Winogrand's The Animals (r969) 4 ~ and H ofer's Zoo /ogische Garten (1993) 49 -instruc-
tive because the contrast between the respec tive sets of images is star k, and also because
that contrast belongs to the shift from a black-and-white street photography esthctic,
by t969 ente ring a critical phase, to the mor e auste re and deliberate attitude keyed
to effects of exclusion that I have been examin ing in this chapter (indeed Ho fer's zoo
photographs hard ly q ualify as street photography in any sense). instead of Winogrand 's
unexpect ed a nd often hum orou s juxta positions of onlookers and a nima ls, his tilted
ground planes suggest ive of his own impul sive movem ent through the scene, and the
overall impression his photographs convey of having been taken on the fly and for the
most part close up (if not to rhe an imals at least to the perso ns looking at them), H ofer's
themas demand. candida hoter, hirosh1 sugimoto. and thomas st1uth 301
9 demand, hofer, and others sister wa s the culprir " (Thomas Demand in "A Co nvcrsa
tion between Alexander Kluge a nd Thomas Demand,'' in
T Recent works on Deman d incl ude: Thomns Dem and: Thomas Demand flondonl , p. 85).
Pho tography, exh. cat ., with an essay by Ralph Rugo ff and 8 Fran~ois Quinton, " TI1cre is no Inn ocent Roo m, .. Thomas
a sro ry by Jul ia Fran ck (Bregenz, 100 4); Roxa na Marcoci, Demnnd , cxh. car. (Paris , 2.000), p. 52.. Further pnge refer-
Thomas Demand , ex h. cat., with a sho rt story by Jeffrey ences co thi s interview will be in parcnth e~es in the text. As
Eugcnides (Ne w York, 2.005); and Th omas Dcmnnd, exh. Marcoci writes: " despite their illusionism , Demand 's stag ed
ca r., with an essay by Beatriz Co lomina and a conversa tion tableaux revea l the mechanism s of their making. Minu te
berween Alexander KJuge and Th o ma s Demand (London, imperfectio ns - a pencil mark here, an exposed edge ther e,
1006). a wrinkl e in rhe paper - arc deliberat ely lefr visible . Th e
1 Dean Sobel, " Th omas Demand : Th e Basic Facts," in lack of deraiJ ,,nd cool, uniform lightin g CX"posethe whole
Th omas Demand , exh . cat . (Amsrerdam and Aspen , 2.001- as a co nstrucrion. Once the>' have been ph ocograp hed, the
2.), n.p . Purth er references co this essay will be in par en- mod els are destroyed. The resulting picrur es are convinc
th eses in th e texr. ingly real and strangel y artificial" (''Paper Moon," 10).
3 1Vhlr,coci, " Paper Moon," in Marcod , TIJomas Demand, 9 Yilma z Dziewio r, .. A Thousand Words: Th oma s Demand
pp. 9-10. Furrher page referenc es to thi s essay will be in Talks About ' Po ll,'" Artfomm , vo l. 39 (May 2.001): 1.-15.
par enth eses in the texr. 10 Par vecn Adams, " Demand wirhour Desire: Th e Work of
4 Sec e.g. Ruedi Widmer , " Interview with Th omas Dema nd : Thomas Dem and ," Portfolio: Contemporary Photography
Building the Scene of the Crime ," Camera Austria lnt emll in Britain, no. 38 (Decembe r 200 3): 20. She also suggests
tional, no. 66 Uuly t999}: 10. Th e releva nt exchange reads: chat the objects in Deman d 's photographs, because plainly
Widmer: " Lee's begin ac the beginning. To begtn wirh it is not o bjects of desire, arc "objects as tbe )' arc, or at least as
an everyday place. Somethin g happens ... " Demand:" ... near 10 rhem as it is pos.sible ro be" (ibid., slightl y recast in
and thi s is some thing char is rabooed or condem n ed in the plural) . Thi s seems wrong.
society .. . ,. Widmer: ~ ... an act .. . ~ Demand: " ... 11 Regis Durnnd, ..Tra cings," in Thomas Demand (Paris),
exac tly. an act. And th is act is ex-pelled from its everyday p. 1!7.
contexr because it doesn't belong th ere. Becau se it produces 12. See Rosa lind . Krau ss, "N ote s on the Index: Part r," The
somethi ng that influences sociery; because ir is beyond the Originality of the A11a11t-Garde111ulOther i\fodemist
bounds of th e general run of even rs." Widmer: ''Th en alon g Mytl,s (Ca mbridg e, Ma ss., and London , 1985) , p. 203; see
co mes so meone and rak es a pictur e. And further on ( 1 1 ): also ch. 6 n. 32. above. The terms icon and index ore derived
Widmer: " Th e way you see things is som etim es referred LO fro m the wr itings of Charles Sand ers Peirce; Krauss refers
as like a derecrive.' Whar d oes char mean? " For Dcmand's to C. S. Peirce, " Logic as Semiotic: The Theory of Signs,"
a nswer see his remark s abour Corridor, cited in the text l'/Ji/osophic Writings of l'eirce (New York, -r955 }, p. ro 6.
bdow. Furth er pag e references to Widmer's inrerview will Nlorc rccentl)', Krau ss's views, alon g with her use of Peirce,
be in p:1renthcses in rhe text. have been criti cized by Joel Snyder in "Pointless, " in Jam es
For Lnrs Lerup, coo, ''Dem,rnd 's photographs often Elkins, ed. Photography Th eory (Ne w York and London,
appear ... ns " reconstru ctio n of a crime scene (for 1007), pp. 369- 400. For Wolter Benn Michaels in "Pho-
examp le, Office of r995). Bur these arc scenes devoid of a ll tograph s and Fossils" (ibid., p. 431), how ever. responding
criminnl poraphcma lia, human imprints, and accretions - ro Snyder and more broadl)' ro the questioning of rhe notion
the y co ntain on ly suggestive residue. Demand 's scenes have of ind ex icaliry as a mark er of the photograp hic elsewhere
been verced and san.icized ro such a degree that the crime in Elkins's vo lum e, " indexicalicy- if only in the form of a
irself is only apprecinb le in its most hein o us essence" prob lem - is central to both rhe medium specificity of the
(" Demand' s Demand ," in Thomas Dema11d [Amsterdam photograph and, at lcasr in the lasr 2.0 years, co what
and Aspen!, n.p. ). Abigai l Solomon- Godeau calls rhe othe r topic of interesr
5 See Jan Philipp Reem rsma, /11 the Cellar, trans . Carol ond controve rsy in this volum e, 'phocograph y's relation ro
Brown Janeway (New York, t 999), for a gripping account art historic.11discourse."' Michaels adds in a note: "lndex
of th e kidnapping and his H days in captivity . icaliry is [centra l to the medium specificity of tbe photo-
6 Sohel writes: "Poll, like m;my of Dema nd's works, has the graph, etc.I , but Peirce probably is not. We ought to
Look of the ahermath of a cr ime sce ne (which the accual discon nect the claim that rhc disrin ctivc causal connecrion
loca tion perhaps wa~ - according to some repons, foul pla )', ber.vcen rhe referent o f a photo gra ph and the phot ogra ph
fro m participants such as th e ca nd ida tes' advisors and the irself is impomrnt ro the 1heory of photography from
Florida Secretar y of Sta te, ma y ha ve had an effecr on d1e the claim that Peirce's semiotics is similarl y imp orrant. The
recount }'' ("Thomas Demand: Th e Basic Faces." n.p. ). latter claim might be true but it doesn't follow from the
7 More recently, Demand exhibit ed at rhe Scr penrine Gallery, former'' (p. 448 ). I shall hav e more ro say nbour M.ichacls's
Lo ndon in Summer .z.006, fi,,c phocographs making a com- essay in the Conclusion ro this book .
pound piece ca lled Tavern (1006), based on " an incident at 13 See Michae l Fried, "Art nnd Obj ccthoocl" (191>7), in idem,
a small bar opposite the railwa)' sration in Burbach , a dis- Art and Obiecthoo d: Essnys a11d Ru11i e1us (Chicago and
rricr of Saarbriickcn, where a littl e boy ... wa s suffocared Londo n, 1998), pp. 148-7i . Furth er page references ro this
wirh a cush_ion and rhcn dispo sed of in a bin -liner. His step- essay will be in parenthe ses in the tex t. See als<>idem,
Meditating on the question of thingness in chis context, I was led to revisit the notion
ofobj ecchood as ir appea rs in my 1967 essay, "Arr and Objccchoo d," where iri s asso-
ciated with a pejorarive norion of rheatricaliry. Briefly, I argued rhac the minimalist
(or, the term I prefe rred, liceralisc) ent erprise involved the proj ection of objecrhood,
characteristically in rhe form of a more or less simple three-d im ensional shape or
gesralr (at the limit a hollow cube}, as a mean s of bringing about a particular so re of
open-ended yet also rigo rously cont ro lled relat ions hip among rhe work in questio n,
rhe embod ied viewer, and rhe gallery space within which rhe encounter berwc en t he
firsr rwo was ar ranged ro rak e place. Wirhour rehearsing rh ose arguments her e, I wanr
co speculate chat Welling's int erest in a s imple t wo-by-four in 1976 may well have
been influenced, however indir ectly, by the minimalist intervention; indeed it is pos-
sible ro see his pl ank as a real-wo rld ana logue co rhe California m inimalist (o r posr-
"good .. versus ..bad" ob1ecthood James welling, bernd and hilla becher, jeff wa ll 303
193 James Welling, Lock, 1976.
Chromogcnic print from origina l
Polaroid. 9.52 x 7.3 cm
min imali st ) Joh n McC racken's high-gloss, "abs tract " planks leaning agai nst gallery
wa lls t hat we re a featur e of the avant -ga rde scene in the late r96os and r97os . (In
poin t of fact the examples of Ro bert Morris, Richard Serra, and Robert Smithson
were more imp ortant for Welling personally.) But the con cern in Welling's photograph
wit h th e speci ficity of this particul ar rwo-b y-four, with its individ ual histo ry and iden-
ti fying nicks and blemis hes, com es our the other side of minima lism or literalism inro
t he world of real and no r "gene ric" objects, to use a philo soph ical dist inction that
has t he virrn e of locating the issue of t heat ricality wit hin a larger prob lemat ic of philo-
sop hical skept icism. (From this point of view, rhe troub le wit h Dona ld Jud d's Specific
Objects was that they were never specific enough .) Anot her way of characterizi ng
Welling's focus on the two-by-four might be to speak of an inter est in real as opposed
to abstract litera lness or even in "good" as distinc t from "bad" objecthood, under-
stan din g by the first term in bo t h opposi tion s qualit ies pertaining to ob jects that can
only be revealed or manifeste d in and by the art of photography (no "good" object-
hoo d tou t court) . [2.7]2
When I wrote this passage l never imagined t hat rhe dist inct ion betw een "good" and
"bad" modes of objec tho od - un derstood as tenab le only in photograp hs, not in the
wo rld at large - might be relevant to any topic I was likely to work on in the furure;
rather, I took it to be a way of characterizi ng certain aspects of Welling's Lock, period.
Yet t he mo re I have reflecte d on t he work of the Bechers, the more I have become con-
Bernd and Hilla Becher were born in Germany in 193 1 an d 1934 respectively, he in
Siegen an d she in Potsdam, just ou tside Berlin. ; H illa Becher (born Wobeser) learn ed rhe
rudiment s of ph otogra ph y from her mor her, and wh en still very young served as
an appre nt ice ro a local ph otograp her before defecting to West Germany in 1954.
Bern d - who died in 2007, afte r rhis cha pter was dra fted - began by stud ying "decora-
tive pa inting" and rhen pa inting and drawing, rhc larrer ar rhe State Acade my in
Srurrga rt . In his words:
I first made dra wings, etching s and paintin gs of indu stria l ob jects in rhe trad ition of
the Neue Sachlic hkeit [New Obje criviry]. My reacher in Srurrgart was close ro rhis
gro up in rhe !arc , 920s . Th en towards rhe end of rhe 1950s, in my nat ive region, a
mining area, rhe mines began ro close, an d t hen rhe bla st furnaces began ro close. And
I beca me awa re that rhcsc bu ildings were a kind of nomadic architec tur e whic h had
a compara t ively sho rt life - maybe 100 years, often less, then they disappear . It seemed
imporranr ro keep t hem in some way and photograp hy seemed the mos t app ropri ate
way ro do rhat. 4
By 1957 both had co me ro Dlisseldorf ro study ar rhe Kun srakademie; by 1959 t hey
were working togethe r, and wit hin a few years rhey arri ved, more or less, ar the typo -
logica l approac h rhey hav e pursued ever afte r. (They married in 1961, which is also
when their studi es ca me roan end.) In 1962 and '63 rhey ma de rheir first working rrips
abroad, and in 1966 a fellowship from rhe Brit ish Coun cil enab led them ro spe nd six
months phor og raphin g in rhe industri a l regions of Wales and England . Thr oug hout the
decades that followed they co nti nued ro trav el exte nsively throughout Europe and
the Un ired Stares in sea rch of subj ect matter. In 1976 Bernd Becher was appo inted to
the faculty of the Kun srakademie in Diisseldorf ro start teaching photo grap hy, whi ch
until then had not been part of the curri culum; among his early studen ts were Gursky,
Hofer, Ruff, and Strut h, as well as ot her no table figures not trea ted in thi s boo k (such
as Axel Hiirre and Petra Wunderlic h). In the course of t he 1970s the Bechers' work was
exhib ited wide ly (the ir first New York show, at Sonnabe nd , rook place in 1972) and,
starri ng in 1970 w ith the pub lication of Anony mous Sculpture: A Typology of Tech110-
logical Struct ures bur ga inin g momentum in the late 1980 s and '90s, they bro ugh t o ur
a series of remarkable books, for the most part ded icated successively ro a sing le t ype
of indus t rial struc t ure. In 2004-5 a compre hensive ret rospec t ive ex hibition of the ir work
was held at the Kun stsamm lung No rdrh ein-Wesrfa len in Diisseldorf, the Ce ntre Pom -
pidou in Paris, and the Hamb urger Bah nh of in Berlin.
Their manner of proceed ing is we ll kn own . For mont hs each year, ma inly in the spring
and fall when they were likeliest to find the " light ing" they requir ed - "t hat diffuse bu t
..good" versus "bad"" obJecthood: James welling. bernd and h1lla becher. Jeff wall 305
steady light un der a sligh tly clouded sky rhar keeps any shado wing, with all rhe emo-
tion al associations suc h might evo ke, ro a minimum " 5 - they traveled to one or anot her
ind ust rial sire or ot herwise pr omis ing locale (so far only in Euro pe and the Un ired Srares)
and photog raphed various structures that rhey found there (Figs. 194-7). They did this
at first with an old-fas hioned plate-bac k camera, using long expos ures that yielded black-
and -whi re images wit h remarka ble detail and dept h of field; subse quen tly, they worked
with modern large-for mat cameras, whic h are ca pable of shar per focus, and wit h fine-
gra ined film t hat enab led t he motif to be ph orographed in a highe r resolurion. 6 (Ir is one
of rhe hallmarks of rheir wor k rhar borh of rhem did everyth ing; rheir pho rographs are
t herefore rhe producr of a joint efforr in rhe fullest sense of rhe rerm .7 ) From rhe srarr
rhey discovered rhe virt ues of photogra phing their chosen structures from a raised
vantage poinr; rhis had the double function of revea ling some t hing of rhe srrucrure's
immediare surround ings and of allowing rhe st ru ctur e itself "ro appea r .. . in its full
reach and free of distortio n." 8 Anot her earl y decision was to phor ograp h rhe st ructures
in q uestio n as "o bject ively" as possible, by choosing as head-o n a viewpo int as cou ld
be found (rhe elevated vantage point played a role in t his) and by centering rhe struc-
tu re in the im age rectangle and reduci ng the enviro ning space co a bare minimum by
cropping (bur nor elimina ting ir ent irely; more on rhis fart her on ). H illa Becher to James
Lingwood: " I was interested in a srraighrforw ard 19rh-cenr ury way of photograp hing
an objecr. To photogra ph things frontally creares the stro ngest prese nce and you can
elimina re rhe possibiliries of being too obviously sub jecrive" (194). In the same inter-
view, Bernd Beche r com pa res rhe resulting images w irh rheir "clear outer form " to sil-
houerres, an intriguing assoc iat ion on several cou nt s (194) . 9 In dealing wirh more
co mp lex srrnc rures or ent ire indusrr ial landscapes, more than a single phorogra ph was
needed. As rhey remark ro Susanne Lange:
Principally you coul d say rhar rhe object is rhere in irs ent irery and shou ld be depicted
wirhour alrerarion in irs typ ica l form . Some objects have to be photographed from
vario us perspect ives - a frontal view, in profile, and from an angle. Thar depends on
rhe srru crural rype and irs co mpl exiry, as well as rhe co ndit ions in which the phoros
are ta ken. Bur wirh some objects we have raken photos from eighr different perspec-
tives, for example, by wa lking around rhe object and pho togra phing it at a 45-degree
angle. The re are also details rhar we have pho tograp hed from the support st ructures
of rhe headgear rower or photos show ing the func t ional elements of a bla st furnace.
And fina lly we show some objects, for example ... in the indust rial landscapes, in
t heir entire surroun ding s. Th is ap proach was followed from the very beginni ng and
basica lly carri ed ou r for every group of pho tos we rook. 10
In t he decades since rhey began working toge t her, man y of the srrucrures they photo -
graphe d have bee n torn down, and entire indust ria l sites no longer exist as such. "Time
has a differen t dimension in t his field," Bernd Becher remark s in rhe interview wirh
James Lingwood already cired. "Ten years in rhis archirecru re mighr be eq uivalent to
roo years in another kind of archi recrure. Ten years of sreel architecture is equivalent
to 100 years in stone . Planrs are created, develope d, and abandoned very quickly, in
relat ion ro eco nomic needs and circ um srances" (192). 11 A significa nt aspecr of rheir
achievement was th us ro d ocument a rapidl y vanis h ing rea lm. Yet they also insisted that,
in Hilla Becher's wo rds in t he Lingwood interview, "p reservation wasn't the mot ivat ion.
It's a side effect " (r 92 ). (Bernd Becher, less ab so lute than his wife, imm edia tely adds
that it is neverthe less " an impor ta nt point. " He goes on: " lf you visit a Go th ic ch urch ,
you have the poss ibilit y ro go back to its time, to the cultur e which built it . Our ph oro-
graph s of industrial p lan ts create t he possib ility of being in this indu stria l time " f 192 J.)
Another source of interest might loo sely be ca lled esth etic an d invol ves t he recog nition
that, as the Bec hers pu t it in 19 69, "The o bjects th at interes t us have in common that
they were co nce ived with out con sidera tio n for prop o rt io ns o r o rnamenta l structu res.
Their esthetic co nsists in the fact tha t they were cre at ed w ithout esthet ic inte ntion ." 12
Or as Bernd Becher sa ys ro Ulf Erdmann Z iegler, "It's not a case o f phorog raphing every-
thing in the world , but of pro ving that the re is a form of arc h itect u re tha t consists in
essence of appa ratu s, tha t has no th ing ro do w ith design, and nothi ng ro do with a rchi -
tecture eithe r. They ar c enginee ring con st ructi ons wi th their own esthet ic" ( 140) . For a
moment, around 1969 - 70, rhey rook up rhe norion of "anonymo us sculpture" as a
..good" versus "bad" o b1ecthood: 1ames welling. bernd and h1lla becher. Jeff wall 307
196 Bernd and Hilb Becher, Gasometer, Havercrofr, Wake- 197 Bernd and Hilla Becher, Blast furnace, Steubcnvill<
field, United Kingdom, ,997. Black and white photogrnph. Ohio, U.S.A., 1980. Black and wh ite phorogrnph. 91.6
91.6 x 75.5 cm framed 75.5 cm framed
mea ns of presenting rheir work, bur rhey seem quick ly ro have recognized the inappro-
priateness of that rubri c, 13 and in genera l the idea of "provi ng" the existence in late
nineteenth- and rwentierh-cenrury industrial structu res of an independent, non-design-
based esthet ic stops far short of providing an adequate explanation for their tireless,
decades-long acriviry.
Rather, as co mmentators have nor failed ro recognize, rheir essential motivation, at
least from early on, was typological. T here are two distinct aspects ro what this has
turned our to mean. In the first place, they painstakingly recorded the appearance, in
the sysrematic, "objective" manner discussed earlier, of a large number of particular
instances of a much more restricted array of different types of structures - warer towers,
cooling rowers, gasometers, winding rowers, preparation plants, gravel plants, lime
kilns, gra in elevators, coal bunkers, and blast furnaces, to list the types included in their
recent retrospective exhibi tion and illustrated in the volume Typologies. (They also
photographed entire industrial landscapes, as Hilla Becher remarks in a srarement cired
The group is decided by t he fami ly to w hich each im age belongs. By looki ng at the
photogra phs sim ultaneously, yo u sto re t he know ledge of an idea l type, which can
be used the next t ime. You see the aspects wh ich rema in t he same so you un derstand
a litt le more abou t the functio n of the structure. Our selections are obvious but it
has taken us many years to realise t hey are obvious. W hen you first sec a group
of coo ling rowers th ere are perhaps five differe nt ways to form them into relat ion-
ships: shape, size, materials, date and area. But as t he collect ion expa nded t hese
categories became very crude. Within each gro up the re ar e t he same di stinct ions and
more. It is nor our select ion that is important but what t he st ructure s reach us about
themselves. 11
In fact individual groupings do rend strong ly - especially on first viewing - to underscore
the relative sim ilarity of the pa rticu lar instances, as for exa mp le in all th e compoun d
studies of Gasometers and Cooling Towers in t heir recent retrospect ive exhibi t ion - "t he
more sim ilar the constructio ns, the more co nvincing the typologies," as Zieg ler says and
Bernd Becher agrees ( roo) - though every now and th en an exception is delibera tely
made, with almo st co m ic results, as in the gat hering of st ru ct urall y diverse, partly for
that reaso n "ant hropomo rphic "-s eeming water rowers from Belgium, France, German y,
Great Britain, Italy, a nd the United States that illustrates the cover of Typo logies (Fig.
202). 16Yet what in the end ma tter s mos t , as the Bechers acknowledge mor e than once,
is the inseparab ility of similarity and difference in their art . "You can very well perceive
things that differ little from each ot her as individual eleme nt s, if yo u assemble t hem in
groups," H illa Becher rema rk s to Zieg ler. "T he workers' houses or the w inding rowe rs
(for hoist ing) look very similar, an d you co uld thi nk that they came from a produc tion
series, like ca rs. Only whe n you put them beside each oth er do you see t heir ind ividu -
"good"' versus "'bad'" ob1ecthood: james welling. bernd and hilla becher, Jeff wall 309
t98 (Ibis and facing /}age)
Bern d and H illa Becher,
Wiater Towers, Belgium ,
Fra nce, Germany, Gre a t
Brirain , Luxembourg,
U.S.A., 1967-83 . Black
and white photograp hs.
Each panel 46.5 x 56.5 cm
fram ed
-
, 99 Bernd an d Hilla Becher, Cooli11g Towers, Germany, 1963-2001. Blac k a nd white photographs. Each panel
46.5 x 56.5 cm framed
200 Bernd and Hilla Becher, Gasometers, Gear Britain and Germany, 1966-97. Black and white photographs.
Each panel 46.5 x 56.5 cm framed
20 1 (this and facing 1,age)
Bernd and Hilla Becher,
Towers, U.S.A.,
\'l/i11di11g
1974-8. Black and wh ite
photographs. Each panel
46 .5 x 56.5 cm framed
202 (this and facing page)
Bernd and H illa Becher,
Water Towers, Belgium,
France, Germany, Grear
Brirain, Iraly, U.S.A.,
1970-98. Black and whire
phorograp hs. Each panel
46 .5 x 56.5 cm framed
203 August Sander, Working
, 926 . Gelatin silver print. From
S111de11ts,
People of the Twentieth Century
ali ry. When you approach the theme of indus t ry and every th ing that goes with it in this
manne r, you make discoveries" (97-8) . 17
Two part ial analogies wit h the Bechers' typo logical prac t ice are often me nt ioned. The
first is w ith the science of comparat ive mo rp ho logy of ani ma ls and plan ts, as pract iced
by Linnaeus an d others in t he eighteent h and nineteent h centuries.'8 In part icular the
Beche rs' em phasis on form as reve latory of function - the ir preference for "struct ures
that had an inn er form rhar was reflected in t he outer appearance," as they put it 19 -
has its analogue in m or phological thinking, ar the same time as it ex plains their lack of
inte rest in photographing certain types of co nremporary st ructures, such as nuclear
energy pl ants, whose exteriors are wholly inexpressive of the act ual processes that rake
place wirhin .20 (I note in passing that this is a disti nctly an t imin im alist atti tu de, the char-
acte r ist ic mini ma list ob ject - Tony Smit h's Die [ 1962] is the arch -example - having pos-
it ively courted an effect of m ystery w it h respect to its ho llow int erio r.") The second
ana logy is close r to ho me - the Cologne photographe r Aug ust Sander's am bitious
documenta ry project, start ing in , 9 10, to por tr ay a representative cross-sec tion of
t he Ge rm an pop ulation by se lecti ng ind ivid ua ls from diverse wa lks of life who, when
photographed, stood for, in stant iated, a wide range of t ypes (farmers, workers, artists,
students, po liticians, various professions, and so on). Agains t the racist physiog nomies
al rea dy preva lent in Germany, Sander emp hasized soc iological factors virt ually co the
excl usion of all others . In Alfred Dob lin's wo rd s from a sho rt essay of 1929 on Sander's
work :
People are shaped by what they eat, by t he air and light in w hich they move, by the
wo rk they do or do no r do, and also by t he peculiar ideology of their class. One can
learn more abo ut t hese ideo logies ... mere ly by glancing at t he pictures in gro up 3,
t hose of the wea lthy m iddle class and their ch ildren . The tensions of our t ime become
clear when we compare the phot ogra ph of the wo rking st udents wit h that of t he pro-
fessor and his so peaceful family, nestling con tentedl y and st ill unsuspecting [Figs. 203
and 204 ). 22
The Bechers often acknowledge d an affinity wit h Sander, bur it goes wirhour saying char
there is a basic difference between his subject ma tter and rheirs, besides which Sander's
project was partl y concerned wit h mak ing co ntem porary tendencies visible - as Doblin's
remarks mak e clea r - in a way tha t theirs was no t .2 J Moreove r, t he individua l example ,
understood as repr esentativ e of its typ e, was bas ic to his pract ice, whereas the Bechers
juxtapose multipl e exampl es in a sing le "tableau" in ord er to evoke the t ype. In an y
case, they seem to ha ve become aw are of Sande r's work only afte r their ow n pro ject
was under way. 24
Another, equ a lly instru ct ive analogy is that of the so-called co mp osite photograph , as
developed and theo rized by Fran cis Galron betw een 1878 and :c888.25 Basica lly, Galton
advocated superimpo sing a cert ain number of photo grap hic portraits of a circumscrib ed
cohort of persons (also of thoro ughbr ed hor ses) in such a way char a somew hat blurr ed
and imprecise bur nor entirely general composi te pictur e was produced as a result . (Allan
Sekula: "Ea ch successive image was given a fractional expos ur e based on rhe inverse of
"good" versus "bad" obiecthood: James welling. bernd and hilla becher, 1eff wall 319
205 Co mpo site photograp h of twelve so ldiers,
from 1-1.P. Bowd itch, "Arc Compos ite
"'-- ... ...,, .. .,......,......, ~"" 1111.1 ~-~ "- n, ~-.., ,,.. ~.- ... ._
Photogra phs Typ ical?"
th e tota l numb er of images in the samp le. That is, if a com posite were to be made from
a doze n ori gina ls, eac h wou ld receive one- t welfth of the requi red tota l expo sure. " 26)
Such a pict ure, in Ga lto n's wor ds, "re pr esent s no man in parti cular, but port rays an
imaginary figure possess ing the average feat ures of any gro up of men. Th ese ideal faces
have a surpr ising air of reali t y. Nobody who ha s glanced at one of them for the first
t ime, would do ub t its being the likeness of a living person, yet , as J have sa id, it is no
such thin g; it is t he portrait of a type and not of an ind ividual. " 27 Galton's proced ure,
in ot her wo rd s, was typological, and eventuall y came to take the form of a gr id of photo-
graphic po rt rai ts of indi vidual s wit h the composite portrait in the center, wh ich may
app ear at first glance to bear an uncan ny if pa rt ial resem blan ce to the Bechers' ensem-
bles (Fig. 205) . Ho wever, the differen ces betwee n Galton's gene r ic portra its and the
Beche rs' typo log ies far outwe igh the similar it ies. In t he first place, Galto n's approac h
require d tha t the pho tographer make a pre-selection of individ ua l cases t hat seemed to
him to "clus ter towa rds a co mm on cent re," a choice t hat under the circu mstances-
dea ling with faces rat her t han wit h w at er towe rs, oft en in an attemp t to identify t he
type of men co nvicted of larceny (wit h and wit hout vio lence), or of Jews, or of pht hisi-
ca l an d non-pht hisical hospital populat ions - was bound to be not just sub ject ive but
320
tendenrio us. 28 (Th e very no ti on of a "co mmo n cen tre " is forei gn to the Beche rs' way of
proceeding.) In the seco nd , the fact rha r Ga lron's co mpo site ph otograph s pr od uced rhe
image of a type meant rha r rhe individual specimen s were o f no furt her interest - ind eed
Calton held rhar the type was inevitably "be tt er look ing" than its compone nt s, "beca use
the average d po rt rait of man y perso ns is free from the irreg ula rit ies rhar va riously
blemish rhe looks of each of them . " 29 In contrast, the Bechers' principled insistence on
seeking not ro depict bur rath er ro evoke rhe t ype has rhe conseque nce of gra nt ing special
visibility ro rhe relation s of resembla nce and difference among its various instances and
by implication - bur on ly by implication - between those instances and rhe type. The
Bechers' t ypo logies in t heir ent iret y are thu s far mor e compell ing t ha n the Galronian
composite photogra ph , quire apart from t heir vastl y greate r philosophical significance,
which I am about co cons ider.
One way of broaching rhe to pic is ro recognize rhar rhe Bechers the mselves almost always
speak of the subj ects of th eir photo graphs as objec ts - or, less often, things . " Ir is revea l-
ing to note here," Armin Zweitc writes in his introdu ctory essay in Typolog ies, "rha r
Bernd and Hilla Becher initially quite deliberate ly eschewed the term motif. For in th eir
eyes the technica l insta llation s we re 'obj ects, not mo t ifs. The phoro is merely a subst i-
tute for the object, iri s useless as a picture in rhe usual sense of the word.' " 30 As Bernd
Becher exp lains to Z iegler, speaking of the beginning of the ir project , "We had to ma ke
a certain effort wi th respec t ro rhe equipm ent. Because we told ourselves th at we wanted
ro rake rhe objects with us, so ro speak. " 3 ' Th ere is some t hing almos t p rimi tive in th ese
notions, and ind eed t he Beche rs have also desc ribed themselves as having "sim ply
selected objects rhar cou ld be captured and were thu s t here for rhe raking . " 32 For her
part, Susanne Lange' s introdu ctor y essay to the catalogue for th e 199 2 ex hibit ion en-
titled Bemd 1md Hilla Becher: Hi:iuser1111d Hal/en bears the sub ti tle - a quotat ion from
the art ists- "Red ucing Objec ts ro Retai nabl e Proportion s," and includ es the remar k char
for the Bechers the photographs are "s ur roga te obj ects" (aga in, a qu otar ion ).33 In rhe
present chapte r up to this point I ha ve deliberately avo ided borh terms (" obje ct " and
"t hing" ), referring instead ro " indu stria l st ru ctures," pr ecisely so that I might ca ll pa r-
ticular atte ntion when rhe rime would be right , as it now is, to the fundamen t al impo r-
tance of those terms to t he Bechcrs' own understanding of their proj ect . Una vo idabl y,
however, I have here an d there quoted th e Bechers as using rhem: unavoidably, because
a concern wit h objects - with ind ustr ial stru ctures viewed as someth ing like a "wo rld "
of such ob jects - was fro m ea rly on rhe de epest stra tum o f the ir arr .
What this means begins to eme rge in an interest ing exc ha nge from a t989 discussion
with the Bechers and Jean-Fran(o is C hevrier, James Lingwood , and Thom as Struth:
J-FC: Is it tru e that the te xt of Carl Andre publi shed in Artforum in th e 1970 s
changed a lor of thin gs, rhar ir enabled peopl e ro understand your work better? lThe
article, one page long with two pages of illu st ration s, appeare d in Decembe r r9 7 2; in
effect ir introduced rhe wor k of rhe Bechers ro the English -speaking wo rld.]
good" ve rsus "bad" ob1ecthood: james welling, bernd and hiIla becher, Jeff wa ll 321
HB: Yes, in rhe sense rhar rhey sim ply accepted the fact rhar you can jusr photo-
graph an ob ject in a srraighr way, wit hout any com posit ion ...
BB: .. rhe fact rhar you can find objec ts withou t choosing any compos ition . T he
ware r rowers, for instance, are like kitchen too ls ... Another important thing, which
became more clea r, was rhar ou r method of photographing ob jects from a high view-
point, made them look more rooted in the grou nd . . .
TS: Why is rhis so important in relat ion ro the content?
HB: These objects are fixed to rhe grou nd, the y are part of the landscape, you cou ld
almost say they have roots. Oth er objecrs, like a cup or a sewing machi ne, do not
have roots, but a wa rer rower is srrictly co nnected to rhe grou nd, it is not a move-
able ob ject, altho ugh ir is an object which is put up only for a cert ain period of time.
Thi s object is linked ro a cert ain mechan ism and to t he landscape, ro people working
there and ro a soc ial network. You have ro isolate the objec t ot herwise you surren-
der ro chaos and confusion bur at rhe same rime , you have to show a part of irs back-
gro und ro show that rhis is no t a moveab le object like a cup of coffee.
J -FC: ls rhis idea of t he object being rooted in t he grou nd linked in any way ro t he
minimali st idea of sculptur e which is rooted in rhe groun d, which is very important
for Carl Andre?
BB: No, I do nor thi nk so. Ca rl was int erested in rhe idea rhat rhe object was not
created by co mposition bur was defined by the sit uati on. It is abo ut t he concept of
"fou nd objects," of prefabrica ted parts, like bricks or iron, wh ich are t here, which
you just have ro look ar; a nd when you isolate them and put rhem rogerher an d trans-
po rt t hem ro another context, the y cha nge. You do nor ha ve to put them into a line
[a refere nce to Andre 's Lever (1966)?), you just have ro make some order ....
TS: Ir seems ro me tha t rhe renewed interest by people of my generatio n or even
younge r people in your work is linked to its historical value, wh ich also makes it
different from the work of minimal art ists who were mu ch more interested in arr
theory ...
88 : I would like ro put it diffe rently. I would say we want to com plet e rhe world
of rhings.34
One just has to select the right objects and fir them into the picture precisely, then
they tell their own sto ry all by th emse lves. In other words we did nor want to change
anything about rhe ob ject we were photographing, a principle that we still follow
today. Only one artistic device was and is allowed, namely to ser individual objects
off on their own, helping them fill the picture - something which is nor always quite
in accordance with the facts as they stand where th ey are in t he midst of an arch i-
tectonic chaos or jungle. Bur this artistic measure is simply necessary so that they can
be seen and recognized in their comple te form [Kohler interview, r 88 J.
The idea seems to be to eliminate any and all surplus of information about the exact
circumstances, physical and other, in which a given object is embedded bur at rhe same
rime to leave no doubr that the object in question, as the Bechers put it, is nor move-
able like a cup or a sewi ng machine bur rarher is "strictly connected ro the ground ."
(The elimination of "context" also means th at the objects in the Bcchers' photographs
are nor what norma lly is meant by "si re-specific.") Ar this point Chevrier asks whether
the idea of such an object is link ed "with the minimalist idea of sculpture which is rooted
in the ground, which is very import ant for Ca rl Andre." Whereupon Bernd Becher-
righrly, in my view - denies this on the grounds that Andre's work was nor about root-
edness; on th e contrary, although having in commo n with the Bechers a desire to avoid
"composition," Andre "was interested in the idea that the object ... was defined by the
situation," which is also ro say by the embodi ed viewing subjec t 's open-e nd ed exper i-
ence of that situation. (" Art and Objecrhood": "W hereas in previous a rr 'whar is ro be
had from the work is located st rictly within it,' th e experience of literalisr arr is of an
object in a situation - one that, virtuall y by definition, includes the beholder." 31) Put
slightly differently, the objects out of which Andre mad e his pieces cou ld be and were
transported from one viewing context ro another, where in effect they became, when
activated by a n experiencing subject, another work of arr . Noth ing cou ld be further
from the ontological status of the objects in rhe Bechers' photographs.
3) Bernd Beche r also remarks that the "found objects" - bricks, meral squares, and
so on - that are the basis of Andre's art are things "which you just have ro look at." He
thereby implies that the objects in his and Hilla Becher's photographs a re so methi ng
other than that: as if mere lookin g, or indeed mere expe rienc ing (to use a potentially
more bodily term), is nor at all th e mode of apprehension that rhe ir typologies seek to
elicit. Rather, as already suggested, whar is called for is a more comparative, in that
"good" versus "bad" ob1ecthood james welling. bernd and hilla becher. 1eff wall 323
sense more discerni ng, perce ptua lly an d intel lect u a lly acute kin d of see ing, o n e that
begins b y ac knowle dging rhe com mon fu nct ion o f the ob jects in question an d then p ro-
ceeds to discriminate a hos t of large and sma ll differences among them der ivin g from
mul tiple and often overlapp ing facrors (ma terials used in the ir construction, nat ional or
local o r period "styles," the pa rticu lar req uirements of a specific sire, a nd othe rs).
Ar this p oint I want ro adva nce a thes is rhar some readers will doub tless fin d surpr is-
ing: name ly, that the onto logical originality of the Bechers' p rojec t can be illu minated
by an appea l ro Hegel's dis t inct ion bet ween the not ions of t he "ge nu ine" or "true"
infin ite and the "sp uri ous" or "bad" infinite, as p ro poun ded first in his Science of Logic
(1812 -1 6) and mo re briefly in The Encyclopedia Logic (1817, 1821, and 1830). 36
For pr esent p u rposes, what is at stake in t hat dist inctio n is rhe prob lem, inh erited
from Kam, of how ro spec ify the finitude o r determinateness o r (more simply) t he indi-
viduali t y of objects in a way that does no r sim ply contrast all rhe c haracte r istics that a
particular ob ject a lleged ly possesses wit h all ot her possib le characterist ics that ir does
n or- an endless task t hat is precisely what Hege l means by rhe "sp urious infinite. " Now,
th e sheer d ifficu lty of Hege l's tho ugh t, nor ro ment ion the specialism of his language,
makes select ive q uota t ion awkward. Here for example is wha t he sou n ds like on the
top ic:
In orde r that rhe limi t whic h is in someth ing as such sho ul d be a limita t ion, some -
t hing must at the same time in its own self transcend the limit, it m ust in its own
self be related to the limi t as to something which is not. The determinate being of
some t hing lies ine rtly indifferent, as it we re, alongside its limit . Bur somet hing only
transcends its limit in so far as it is the acco mplished sublat ion of rhe lim it, is t he
in-itself as nega t ively related ro it. An d since the lim it is in t he deter111inationitself as
a limitatio n, some t hing transce n ds its own self. (Science of Logic, , 32, em phasis in
or iginal)
Also:
[The tru e infini te], as the consumma ted return into self, the relat ion of itself ro itself,
is being- but no t indeterminate, abst ract being, for it is pos ited as n ega t ing the nega-
t ion; it is, therefore, a lso determinate being for it co n tains negatio n in gen eral and
h ence de term inate ness. It is an d is there, presen t before us. It is on ly the spu rious infi-
nite wh ich is t he beyond, bec au se it is only in the negation of rhe fin ire posited as real
- as such ir is rhe abst ract, first negat ion; determ ined only as nega t ive, t he affirmation
of determinate be ing is lacking in ir; rhe spurio us infinite, h eld fast as o nly negative,
is even supposed to be 1101 there, is supposed to be unatt ainab le. However, ro be rhus
unattainab le is not its gran deur bur its defect, whic h is at botto m the result of holding
fast ro the finite as such as a merely affir111ativebeing . ... The image of t he progress
ro infinity is t he straight line, at t he two lim its of which alone the infinite is, and
always o nl y is w here the lin e - which is determinate being- is nor, and which goes
out beyond to th is negatio n of its de term inate being, t hat is, to t he indeterm inate; t he
Hegel mean s just the op posite of clai m ing . .. th at being ot her than som e othe r is itself
a property of t he thing (in fact ... that notion is pr ecisely where t he not ion of a "spu-
rious infinit e" em erges, since, by so co nsidering a t hing's relat ion to an ot her, we
render it indeterm inatel y, or "i ndifferentl y" other than an in finit y of ot hers). Hege l
means instead to insist t hat the properties immediate ly attrib uted to a t hing m ust
themselves be capable of some con t ras tive work, some deter m inate way of excludi ng
other prope rt ies conc retely, and so of distingu ishi ng the thi ng from ot her things that
have such pro pert ies, an d th at the thou ght of imme diate Dasein [by which Hegel
means ro ughly the o rdin ary way of co nceiving of objects and th eir properties ] cannot
accom pl ish t his rask .38
Or again :
With no m ore reflective unde rstand ing of "negat ive" dete rmi nacy, or the groun d of
the co ntra sti ve effects of property possession, a t hing can on ly be said to be "indif-
ferently" ot her t han everyt hi ng, infini tely othe r than everythi ng t hat it is not, and that
is just what Hegel means by a bad or inco herent infinite. In this case, it is inco here nt
because the introduction of such an infini te defea ts th e orig ina l pu rpose; a thing
being infini te ly "ot her t han all it is not" offers up no determ in ing mark therewith at
all. 1197!
What is mu ch harder co make out is exactly how Hegel unders tands the alternative
ro such a view; this is a vexed questio n (Pippin devo tes t wo intense chapters to the to pic
in Hegel's Idealism) but th e alternat ive does seem to imp ly t he thought of a ki nd of ult i-
mate "deep" relat ionality or, perh aps truer to bo t h Logics, a " deep " co nrra stiveness or
good" versus "bad'" ob1ecthood: 1ames well,ng. bernd and h,lla becher. jell wall 325
opposit iona lity tha t is something other t han the result of conscious reflect ion on the part
of hu man subjects . (For Pip pin, t he field of t hose relations, contras t s, and opp osit ions
is for Hegel "ma intaine d " by such subjects "no n-empirically, co llectively, and histo ri-
ca lly."39 As he also puts it, "we are in some way [a collect ive, grea tly med iated, deeply
histo rical (tempo ra lly exte nd ed) way ] responsible for such resu lts." 40 ) T his suggests that
the finit ude or determ inate ness of a given ob ject is thu s in an act ive relatio n - it is "co n-
nected" - to an infinite number of opposed possibili t ies suc h that just those possibil ities
and no othe rs are defining of that finit ude and dete rmi nate ness and vice versa (th is is
do ub tless an ove rsim plification bur let it sta nd ). In Hegel's language, "Each moment
!roughly, of mut ually reciprocal opposit ion] act ua lly shows that it co ntains its oppos ite
wit hin itself and chat in this opposite it is united wit h itself; thu s the affirm at ive t ruth
is t his immediately act ive unity, the caking toget her of both thoughts, t heir infinity - the
relation to self w hich is no t imme diate but infinite" (Science of Logic, 15 2). As he also
says about the finite and t he infinite, unde rstood in this sense, "this inseparability is their
Notion" (ibid., 153, em pha sis in or iginal) .
The question, of co ur se, is what relat ion all chis bears co t he Bechers' practise, which
l grant at once has not hing to do with a pur suit of philoso phical ultimacy. But if one
rakes seriously their insistence that t heir "Typologies" are of gro up s of objects, not
simp ly industrial str uct ur es, it becomes possible to t hink of their project as hav ing for
its aim no t the discovery of the groun d or field agains t which the photograp hed objects
in ques t ion stand ou t as what t hey are (that wo uld be a kind of ult im acy}, but - more
modes tly- rhe "showing" (as in Hegel's "each mo ment act ually shows") or making
intui tab le of t he conditions of their intelligib ility both as the types of objects t hey instan-
tiate - wa ter towe rs, coo ling towers, gasometers, wind ing cowers, and so on - and as
the particula r instance of those types t hat the viewer is invited to recog nize each as being.
Put slightl y differen tl y, the re is the sha rpest imaginab le difference betwee n the hundreds
or indeed t housands of objects t hat are prese nted to us in the Bechers' "Typologies" and
the "same" objects as t hey might be encountered in actual life prec isely as regards the
ques t ion of their finitu de or determinateness - in ordi nary language t heir specificit y, thei r
ind ividualit y. Such an object consi dered "in itself" (loose ly speaking) would in most
cases be recognizable as a water cower - but in the first place t he catego ry of water towe r
woul d implicitly be cont rasted with every other category of object, man-made and
natura l, large and small, opaque, translucent, and transparent, solid, liquid, and gaseo us,
and so on, to be encountered in the un iverse; and in the second all the specific features
of tha t partic ular water tower, wh ich is to say litera lly every t hing that might be truly
predicated of it, would in principle be equally impo rt ant and moreove r wo uld implic-
itly stand in cont rast wit h everyth ing that might be truly pr edicated of every ocher ob ject
in t he universe - H egel's "spurio us" infinite again . (The water cower, one might say,
woul d be a bare particular and no t hing more, and so would be every disce rn ible feature
of its co nst ruct ion.)
Against this, the objects dep icted in the Bechers' "Typo logies" have been made inter
nally "con t rast ive" wit h one an other by all the measures that have been noted: the iso-
lat ion and "silho uett ing" of the individual ob jects, the consistency of the light ing, the
durat ion of the exposure of the black-and-whi te film, the cho ice of an elevated view-
.. good .. versus .. bad .. ob1ecthood James welling. bernd and h1lla becher. jeff wall 327
which is also to say of its capacity for individ uatio n, as a world. Or, as a world, one
bearing the stam p of a particular stage in history, to go part of the way toward Bernd
Becher's exp ressed concerns. " In Hegel's lang uage the world must allow such determi-
11atenegat ions (mat erial incompati bilitie s) if concre te identifiabil ity (intelligibility, even
expe rience) is to be possib le at all" (Pippin in a personal commu nicat ion). To circle back
to t he brief account of James Welling's Lock with which this chapter began, l might also
say that the objects in t he Bechers' typologies exem plify what I there called "goo d"
object hood as agains t the "bad" objecthood that I wo uld now assoc iate with minimal-
ism/li teralis m rat her than , as in "Art and Objecthood," "objec thood " as such. This is
a distinction that was not there ro be made by me in 1967, in advance of any know l-
edge of rhe photographic practises th at were already br inging ir into being .45
One ot her philosophical text, a sho rt ent ry fro m Wittge nstein's pre-Tractatus Note-
books for Oc tober 7, 19r 6, is pertinent here :
The work of art is rhe object seen sub specie aeternitatis; and rhe good life is the world
seen sub specie aetem itatis. This is rhe connexio n between art an d eth ics.
The common way of look ing at things for: mode of beho lding] sees objects as it
were from our of their midst, th e view lor: beho lding] sub specie aetemit atis fro m
ou tside .
Such that they have rhe whole world as background.
ls ir perh aps t his-that it !the latt er mod e of beh olding, or : beholding ] sees the
ob ject with space an d tim e instead of i11space an d time?
Each t hing mo difies the whole logical wo rld, rhe whole of logical space, so to speak.
(The thou ght forces itself upon one): The thing seen sub specie aetemitatis is the
thin g seen to get her with rhe whole logical space.46
Part of the deep interest of these reAecrions for me is that they look forward to the 1930
extract from Wittgens tein's Culture and Value th at I examined close ly in relation to Jeff
Wall's Morning Cleaning in Chap ter Three of rhis book . There Wittgenstein mak es a
fundamenta l distinction, which he does nor exp lain, betwe en the ordinary "object" (der
Gege11sta11d)as ir is in itself and rhe "i ndividua l thing" (das Einzelne) as presented by
a n artist , and clai ms thar on ly rhe second is truly wort hy of ou r attent ion (though who
are we to regard anythi11g as beneath our attentio n ?). My thought at this ju ncture is
th at rhe latter, das Einzelne, am ounts to a version of what l have been ca lling "goo d "
or "genu ine" objecrhood. Wittge nstein furth er indi cates t hat das Einzelne is in effect
seen sub specie aeternitatis, which whatever else it means clearly impli es that we beho ld
it as if ir had noth ing to do with us, indeed as if it were in its deepest being oblivious
or indiffe rent ro our existence: thi s is rhe point of his proposi ng that we imagine a curtain
go ing up on a man in his room "who th inks him self uno bserve d as he engages in some
quite simp le everyday act ivity," as well as his remarks about his friend Engelmann seeing
his life "as God 's work of art" rath er than, so ro spea k, as his personal affai r. In the
t 9 1 6 notebook entr y an eq uivalent distinctio n is draw n between seeing objects "from
ou tside," "i n such a way that they have the who le worl d as backgro und ," instead of
"as ir were from our of their midst. " In terms of the larger argu ment of this chapter,
the first of t hese, seeing objects " from outside," shi nes fort h as a n inspired anticipatio n
of the Beche rs' t ypologies, or rath er of the viewe r's "o ursideness" fro m the "w orld " of
H B: Th e boo k was n't at the beginni ng of the process. First we cons idered show ing
single images and the n we learned abou t certain va riatio ns. The re was a par ticula r
moment when we placed severa l cool ing rowers alongside eac h ot her an d somerhin g
happened .
BB: A kind of mu sic. You only see rhe differences betwee n the objects when they
are close together, because they are some t imes very sub tle. All the objects in one family
resemble each ot her, they are similar. But they also have a specia l indi viduality. And
this individuality ca n only be show n if they are com para ble.
J L: The comparison wit h music is a n interesting o ne.
HB: Each bui lding has a pa rt icular sound . Putt ing a sequence of pho rog raphs
together makes a sound. You have to be very at tent ive ro ques t ions of rone and scale
and rhyt hm ...
JI.: Could you compare your arrangeme nts to a pa rt icular kind of music, a music
based on variat ions'
IIB: Probably Bach rat her tha n Brahms - alt hough sometimes it's interes tin g to see
if Brahms might be an appropria te parallel too. (193 )
..good'" versus ..bad .. ob1ecthood: 1ames welling. bernd and hilla becher, jeff wall 329
Photo gra ph y, ontology, and music, the mo st ab st ract and self-contain ed of an s, are here
brou ght rogether in a single though t , o ne that has t he pow er ro return us ro t he Bechers'
"Ty pol og ies" wit h an even more intense ap preciation of th e co uple 's singular achieve-
ment. 48
I wa nt ro bring thi s chapte r to a close by briefly cons idering one ad diti onal wor k, Jeff
Wall's Concrete Ball (2003; Fig. 207). Thi s is a large - rou ghly 6 1/ 2 feet by 8 1/ 2 feet-
co lor tran spar ency of a simpl e urb a n monum ent: a con crete ball placed arop an upri ght
concrete plin th decorat ed with two horizo ntal grooves - one near the rop, th e oth er an
equal di stance from t he bottom - at a poin t of junctu re between a
modest expan se o f lawn an d a recedin g str etch of pa vement in Wall's
nat ive Vancouver. (No do ubt th e rese mb lance is co incidental , bur it
is hard ro ignore th e st ru ctura l af finity - not comp lete but never-
t heless strik ing - betw een Wa ll's ball on its plinth an d the Altar of
Go od Fortune, a gar den monu ment designed by Goe th e in 1777 for
the park at Weimar [Fig. 206 J.49) Th e im pre ssion the pictur e conveys
is of a st raig ht ph otogra ph ; in pa rticular the middl e a nd far di sta nce
go progress ively out of focus in a way that one associa tes with such
a photo grap h, as oppo sed ro Wall's frequent use of com puter tech -
no logy to achie ve an evenne ss of focu s th ro ughout t he ent ire picto-
rial field (as in Fieldw ork, for exam ple). In fact Concrete Ball is one
of th e relat ively few large works in Wall's oeuvre that he qualifies
as " doc ument ar y," mean ing unprepar ed for t he camera in any way.
As for th e locale, th ere is to t he left a fenced-in ar ea that m ight be
some so rt of play ing field, and farth er awa y, pa rt of t he sa me
com plex, th ere is unque stionabl y a playing field (for socce r ?- one
206 Johann Wolfgang von Goethe, ca n mak e o ut what seems ro be a socce r goal). Severa l t rees, one
Altar of Good Fortune, 1777 . nea r, others fart her away, rise from th e gra ss, and a benc h in th e left
fore ground suggests th at this is a spot to be enjo yed, not simpl y
w alked past. Th e sky is gra y, the pavement shi ny with recent rai n; down ed leaves are
everywh ere - evide ntly it is an autum n da y. In th e dista nce one sees modern bu ildin gs,
includin g, ro the left, a comm unic at ions tow er. That is pr ett y mu ch what th ere is ro say
about th e contents of the image, apart from the matter of scale, whic h appears life-size
in th at standin g at a reasonable distanc e from the picture (fifteen or twent y feet), one
feels that t he scale of the image matches that of t he origi nal sce ne (the appar ent size of
the ben ch is probably one's best guide ro the sca le of the actu al ob jects).
T he question is what to make of Wall's decision ro gra nt so ordi nary a sce ne, and in
pa rticula r th e mot if of the concrete ball on its plint h, th e impo rt ance conferr ed on bot h
by his picture . My t hought is this: Concrete Ball may be seen in implicit cont rast to the
"gene ric objects " of minimalism / litera lism, in particular to a paradigmat ic work already
mentioned in passing, Tony Smit h's bla ck, six-foo t steel cube Die (1962; Fig. 208) . What
sets the sragc for the contrast is rhe fact that both works involve elementary form s - a
cube in Die, a sphe re in Co11crete Ball. H oweve1~ as opp osed to Die, whose air of mystery
and whose apparent hollowness I associated in "A rt and Objecthood" with an unac-
knowledged anthropo morphi sm, Wall's co ncrete ball - the object , no r t he pictur e -
seems utterly sol id (whic h may not be the case, but that is how it app ears), and the
viewer has the stro ngest possib le illlpr ess ion of the act ual lllateria l in w hich it ha s been
cast (no sense of mystery, only of an int ractable factici t y). (The water rowe rs in the cove r
illustrat ion for Typologies cited earlier are op en ly "a nthro polllor phic," ano th er lllat te r
entirely.) Whereas Die is at once indifferent to and -depe nde nt upon co nte xt - despite its
size, it is precisely the sort o f moveable object t he Bechers associated w ith Carl An dr e's
arr - Wall's conc rete ba ll rests on a plint h, at a part icular spot in the city of Vanco uver.
good"" versus ""bad'" obJecthood 1an1es welling , bernd and h1lla becher, 1eff wall 331
208 Tony Smith, Die, 1962/8. Steel with oiled finish. 183 x 183 x 183 cm. Nationa l Gallery of
Art, Washington, o.c. Gift of the Collectors Committee
Moreove r, underscor ing w hat might be called the ball' s absolute siruatedness, we gl impse
- in my case I belatedly came to see - near t he right -ha nd edge of Wall's photograph,
in deed crop ped by that edge, a m atch ing plinth, wh ich we feel might conce ivably bear
a simi lar co ncrete ball , though when we look attentive ly it becom es clear t hat such a
ball wou ld extend close r ro the edge of the plint h than the pictu re suggests is the case.
(In fact the right -hand plint h suppo rt s an up right light fixtur e with a ball-like glob e on
rop.) In any case, t he plint h-and- ball at the cent er of Wall's ima ge, far from enjo ying in
actuality the pro m inence it does t here, belongs ro a larger environmental ense mbl e th e
character of which we can only guess at on t he basis of the photograp h. (Wa ll's resort
to cropping in Co11creteBall is fully as artf ul as the Bechers ' career-long use of it in the ir
typologies. Yet whereas they character ist ically sough t to isolate t heir objects from t he
large r structur es or contexts of which the objects are ofte n a part, Wall in t his wo rk
invites the viewer ro expand his or her ima gination of con text beyo nd the borders of
"'good"' versus "'bad"' obiecthood james welling, bernd and hilla becher, Jeff wal l 333
209 Jeff Wall, After "Spring Snow" by Yuki o Mish ima, chapter 34, 2000-05 . Pigmented ink jet pr int. 59 .3 x 68 .3 cm
conclusion:
why photography matters as art as never before
What do es it mean to claim that photography today - more precisely, starting in the lat e
r97os - matters as art as never before? Here is what it do es not mean: it does not mean
that individual photographs by Bustamante, Wall, Struth, Ruff , Gursky, Sugimoto, Dela-
haye, Streuli, diCorcia, Dijk stra, Faigenbaum, Fischer, Demand, Hofer , Welling, and the
Bechers are better as art than photographs by Stieglitz, Strand, Rodch enko, Sander,
Weston, Modotti, Kert esz, Evan s, Lan ge, Levitt, Abbott, Brassai', Sudek, Cartier-Bresson,
Adams, Brandt, Wo ls, Callahan, Klein, Frank, Shomatsu, Winogrand, Avedon, and
Arbus (to cite a range of twentieth-century master s). As Jeff Wall said in conversation
several years ago, "I'm not sure any of us has made photographs as good as Evans' ."
In what sense, th en, does photography - some photography - since the late r97os matter
as art as nev er before?
Part of th e answer is supp lied by Walter Benn Michaels in his essay of 2007
"P hotographs and Fossils," in which he alludes to "the debate about the ontology of
art decisively inaugurated in ... 'Art and Objecthood'" and goes on to claim that " it is
in photography rather than painting ... that the most fundamental qu estions about the
limit s of representation and the limits of the critique of repr esentation have been
raised." 1 As M ichaels also wr ites: "If ... the conflict in painting of the late I 960s wa s
'whether the painting s or objects in qu estion are experienced as paintings or objects' [a
quotation from "Art and Objecthood"], the point of the photograph in the years since
r967 is that it has becom e the site on which this conflict takes place" (442 ). This is said
in an essay - the concluding piece in a multi-participant volume, Photography Theory,
edited by Jam es Elkins, in which the supposed indexicality of photography is a hotly
disputed topic - that begins by citing Sugimoto's playful yet serious comparison between
fossils and photographs,2 and sets out from there to argue that " indexicality - if only in
th e form of a problem - is central ... to the medium specificity of the photograph"
(4 32), by which Michaels means to distinguish photograph s from, say, paintin gs pre-
cisely with respect to th e indexical or causal relation that exists between a photog raph's
subject (or th e light rays reflected from that sub ject) and the photograph itself (or the
film insid e the camera on wh ich the light rays entering the dark chamber through the
lens fall). On the one hand, this basic feature of photographs can be taken as ra ising
fundamental doubts about their status as works of art: is not a mechanically produced
artifact of the sor t just described closer in essence (closer onto log ica lly) to an object than
to any kind of representation? On th e other hand - th is is Michaels' s central po int- the
co nclusio n 335
very fact that this is so is what gives photography the potentia lly decisive significance
for contemporary art that he and I (along with countless oth ers ) believe it has for some
years possessed. Her e I need to quote him at some length:
[It is the] replac ement of the oppo sition between good art and bad art [broa dly spea k-
ing, the Kantian distinction] with the opposition betw een art and not-art [tha t is, art
and objecthood] that places photography at the center of art histor y in the last ha lf-
century [a time frame that works if on e coun ts the Bechers; otherw ise the last thir ty
years is mor e like it]. For the imbri cation of photo graph y's specificity as a medium
for art and of th e ontological doubts about whether photography can be an a rt pro-
duces a situation in which the effort to answer the mod ernist questions - what is
distincti ve about photography as an art? What makes it different from, say, painting?
- produces as one possible answer the critique of mod ern ism itself [that is, the mini -
malist/lit era list advocacy of objecthood ]. There is an importan t sense, in other wor ds,
in which the question about the painting - is it a painting or an object? - has become
the question about th e photograph, not so much becaus e the photo graph ca n
somehow be taken as the object it is a photograph of . .. but becau se it cannot simply
be taken as a pictur e of the object it is a photo graph of. That is the p oint .. . of the
fossi l. We do not exper ience the fossil as a trilobi te, but we do not exper ience it as
th e picture of a trilobite either . And if we und erstand photograph s on the mode l of
fossils, we cannot take for granted their status as w orks of art .
To put it that way, how ever (to say that we cannot take for granted the ir status as
works of art ), is to refuse both the indexophobi c and the indexophilic, to refuse the
idea that because ind exicality is a false issue photographs can of course be wo rks of
art and to refuse also th e idea that because photographs are essenti ally index ical they
canno t be works of art (or "Art"). Indeed , the fact that Fried is no w wr iting a book
on recent photo graph y gets mention ed severa l tim es in this volum e precisely because
th e mid-tw entieth-centur y ob ligation of the paint er to secur e or assert the sta tu s of
the painting as art and not (only) object has, for all th e reasons suggested above,
devolved up on th e ph otograph er. H ence, as Fr ied hims elf says [about] Dem and, the
import ance of photogr ap hers like Gursk y, Struth, H ofer, and Wall (not to mention
Sugimoto, Welling, and Demand him self) ca n onl y be und erstoo d in terms of their
more or less impli cit (in Wall, it is prett y explicit ) co mmitm ent to establishing (since
it cannot be taken for granted ) th e photogr ap h as a representation. [442-3] 3
In thi s connection Mi chaels briefly reh earses m y reading of Demand's project of ma king
photographs that are "' manif estly the bear ers of no int enti ons othe r than the artis t's
own'," a ddin g, correctly, that such a project "makes sense on ly as part of the history
of art photography and of art" (4 44). More broad ly, Mi chaels wr ites, "t he centrali ty of
th e photo gra ph thu s emerges out of a certain crisis of th e pictur e" - th e cris is exp lo red
in "Ar t and Objecthood" and relat ed essays an d develop ed in a contrary dir ection by
postmodern critic s like Rosalind Kra uss, Dou glas Crimp, Craig Owen, and Abiga il
Solomon-Go deau - "because it is und erstoo d already to embody that crisis" (445) . In
sum: "It is precisely because there are ways in which photographs are not just repre-
conclusion 337
stood as implying either of those things. Rather , I think what he would wish to say - at
any rate, it is what I wish to say - is that what distinguishes all the contemporary photo-
graphers discussed more than very briefly in this book is the seriousness and in some
cases (Wall's for one) the explic itn ess of their engagement w ith a particular constella-
tion of artistic and theoretical issues all of which relate, in one way or another, to the
core oppos ition between theatricality and antitheatricality as that oppo sition was for-
mulated in "Art and Objecthood" and as it subsequently was shown by me to have been
at stake in the evolution of French painting from Chardin and Greuze around the middle
of the eighte enth centur y to the coming of Manet and his generation in the r 8 6os. Here
let me add that the work of other contemporary photographers not mentioned in the se
pages could have been shown to be compatib le with my arguments in one way or
another. I am thinking, for examp le, of John Schabel, Beate Gutschow, Barbara Probst,
Stephen Waddell , Ben Gest, Malerie Marder in her video At Rest (2003 ), and Anr i Sala
in his video Long Sorrow (2005 ) and ot her wor ks. (The adjacency of video to photog-
raphy is a feature of the present situ ation that escapes discussion in thi s book. ) Ther e
are also significant bodies of work not considered in this book that might well have
been included, by photographer s to wh om I devote sustained attentio n, such as Struth's
hour-long video portraits and the photographs associated with his "Obdach los
fotografieren Passanten" ("Homeless People Photograph Passers-by" ) project, assorted
portraits and oth er studie s by Faigenbaum, Fischer 's Los Angeles portrait s, diCorcia 's
instantaneous photographs of pole dancers, Sugimoto 's early pictures of natural history
dioramas, "Sea of Buddha" series, and Accelerated Buddha video, Bustamante's "Some -
thing is Missing" composite works, Gordon's Feature Film (a two-image projected video
with music ), Play Dead (a two-screen projected video ) and Deja vu (based on the noir
classic, D.0.A. ), Hofer's Zwolf (photographs of the twelve casts of Rodin's Burghers of
Calais in th eir respective settings ), and numerous picture s by Wall.
Not that certain issues related to questions of theatricality have not been in play in
earlier photography, above all those having to do with the awareness or lack of aware -
ness on the part of the photographic subject to the fact that he or she is being photo-
grap hed. In Sontag's words, a lready cited more than once, "There is somet hin g on
people's faces when they don't know they are being observed that never appears when
they do," 8 a claim she supports by appealing to Evans's "Subway Portrait s," tak en with
a hidden camera and thereby yielding photographs of persons whose "expression s are
private ones, not those they would offer to the camera. " Evans himself thought of the
subway series as a response to the probl em of the formal portrait, with its air of the -
atrica l self-presentation - though he also chose to hold off a quarter-century before pre-
senting those photographs to the public, no doubt to protect th e feelings of his
unconsenting sub jects. (When six of the "Subway Portraits" were published in Harper 's
Bazaar in March 1962, Evans wrote that "the rude and impudent invasion invo lved has
been carefully softened and partially mitigated by a planned passage of time. " 9 ) For his
part , Barthes in Camera Lucida describes how he invariably falsifies - that is, th eatri -
ca lizes - him self when consciously po sing for a photograph, behavior fully in line with
Sontag's maxim. More broadly, Agee in Let Us Now Praise Famous Men angu ishes at
is not the least question of interplay between real a nd depicted persons. Yet the magis-
terial canvas's illusionistic force, its wo rld -likeness, so to speak, rema ins surp risin gly
intact. Similarly, in Museo def Prado I, Madrid (2005; Fig. 2u ), a crow d of young
schoolkids and th eir teacher(?) sit mostly on th e floor - a few are on benc hes - in front
of Velazq uez's rope d-off Surrender at Breda. As one studi es the photograph, one
becomes awa re of all sorts of ch arm ing, surely unscripted , consonances between indi -
vidua l perso nages in the paintin g and the children gat hered before it; but true to the
logic of the classic p hotograp h s, the presence of th ose consonanc es on ly under scores the
difference in world between the painted figures in a panoramic, war -ravaged landscape
and their underage aud ience. (In the "Hermitage" series, the photograp hs, taken at close
ran ge, focus on the expressions and behavior of touris ts mos tly absorbed in look ing at
- and in hear ing about, through their aud io-guid es, a nd in photograp hin g with digital
cameras - a single painting, Leonardo's Benoit Madonna, whic h we are not sho wn . It
thu s amount s to a mor e intim ate variation on the "Aud ience" pictu res; to me it is the
least ph ilosop hically arrest ing of the five series.)
For their part, Gursky's large, spectacu lar, often minute ly detail ed, and increasing ly
digitized photograp hs (see Chapter Six) dep loy a wide range of motif s, perspect ives, and
other devices in order to sever the photograph from the behold er, a strat egy th at has no
precedent in Did ero t or indeed in "Art and Obect hood," but wh ich neverthe less makes
full art istic sense on ly in relat ion to the issue of th eatri ca lity, to which severing provides
an unexpected response .17 So too does Delahaye's antithetic al strategy with respect t o
the beholder of somet hin g like merger or immersion, which I cannot help thinking of
in relation to Courbet, with the cruc ia l differ ence that whereas Courbet's rea lism is
The diverse currents that flow into Gursky's work emerge as the cohe rent pictur e of
a world. There is no plac e for us in that world. Banished from its comman ding sym-
metries , we are consigned to contemplate its wholeness from w ithout. We may study
its detail s at our leisure. We may be beguiled or repelled by the gorgeo us specta cle.
We may mar vel at its serene indifference. We may even elect ourselves to sit in judg-
ment upon it, but we will never become participants. 18
Fine, but again I ask: why is thi s important? Is Galassi merel y noting a featu re of
Gursky's work he finds attractive or fascinating, or do his observations have some deeper
artistic significance? Put more positivel y, is not Galassi 's evocation of the "world" of
Gursky's photographs implicitly antitheatrical in its emphases? If so, might it not be the
case that a certain measur e of th e critical acclaim that Gursky has received ha s been
gro und ed in a kind of automatic, unexamined antitheatricalism on the part of his admir-
ers? Th e same might be asked, more or less, apropos Wall, Struth, Dijk stra, and th e
others. Th ere would be no small irony in such a state of affairs, in that few if any of
the commentators in question would recognize themselves in such a description. (That
is what the epithet " unexa min ed " means. ) One way of characterizing my effort in this
book might be to say that I have been seeking to bring the entire questio n of antithe -
atricality in contemporary art photography into the open as regar ds both th e works
th emselves and, wherever relevant, the discours e around them.
At thi s point, it becomes clear that a furth er context for the issue of antitheatricality
in Wall, Struth, Dijkstra, Gursky, Delahaye, and the oth ers include s "Art an d Object -
hood" and other essays by me of roughly that moment, and more broadly th e crisis
within and aro und high mod ernism precipitated by the advent of minimalism/literalism
in the mid- 196os . This is spelled out in recent essays by Wall such as "Fram es of
Referenc e" (2003) 19 and " Depiction, Object, Event" (2006 , as yet unpub lished ), but
Hofer's photographs of rooms of all sorts in var ious countri es, by virt ue of being in sus-
tained impli cit dialogue with the modernist gallery spac e as described by O'Doherty in
Th e White Cube, provide visual confirmation of an unexp ected kind. More broad ly,
the overarching project of exclusion in Bustamante's Tableaux (see Cha pt er One),
Hofer 's rooms and zoo logical garden photographs, Sugimoto 's "Seasca pes," and Struth's
"Pa radise " series (see Chapter Nine ) invites being thought of in conn ection with the
mobil e and self-consciou sly " ex periencing " subject of minima lism/litera lism even as the
import of that project has been to insist with renewed force on the viewer's abso lute
outsideness from the works in question (no substitution of the subject 's "experience"
for the work itself ). Or consider Demand's extraordinarily labor-inte nsive practice of
making photo graph s that aim to depict or "bear" only his intent ions, a practi ce I have
I want to en d by briefly discussing one last wor k by Jeff Wall, his first non- tra nsparen t
color ph oto grap h (more pr ecisely, a pigment ed inkj et print), Aft er "Spring Snow" by
Yukio Mishima, chapter 34 (2000 - 05; Fig. 209 ). Th e six-year span in th e date mea ns
Spring Snow is the first novel of The Sea of Fertility, a tetra logy by Yukio Mishima
(1925-1970 ). It was first published in Japan ese in 1970 [actuall y 1968]; an English
translation followed in 1972 .
Spring Snow is set in the upper reaches of Tokyo society at the end of Meiji era
(1868 - 1912). The modernisation of Japan , after the end of its seclusion from the
outside world in the Edo period, has begun .... Mo st of the action takes place in 1912
an d 1913.
Kiyoaki Matsugae, a schoolbo y, belongs to a wea lthy bourgeois family. He is being
brought up in the household of th e nobleman, Count Ayakura, for the sake of his
family 's social advancement . Kiyoaki is a beautiful, passionate and elegant young man
caught up in the tension betwe en old and new and th e class divisions in a rapidly
changing Japan. Kiyoak.i carries on an adolescent flirtati on with Ayakura's dau ghter
Satoko, but when Satoko becomes engaged to be married to a royal prince, th e two
realise that they are in love and begin a secret affair. With the help of Kiyoaki 's child-
hood friend, Shigekuni Honda, a sober upp er middl e class boy and the cent ral figure
in th e tetra logy, the two lovers arrange clandestine meetings. Eventually Satoko sto ps
seeing Kiyoaki after she discovers she is pregnant. She has an abortion and decides
to live a secluded life in a temp le. Th e distraught Kiyoaki tries to see Satoko but is
refused access to her by the abbess. Kiyoaki returns to Tokyo and dies of a flu con -
tr acted while waiting in the snow at th e abbey. H e is twenty years old.
Chapter 34 of the novel reco unt s a secret meeting between th e lovers . Kiyoaki asks
Honda to arra nge for Satoko to meet him in Kamakura, a town on the coast not far
from Tokyo. Honda agrees to accompany Satoko from Tokyo during the night and
to bring her back safely by dawn. From a wea lthy schoo lmate, Honda borrow s a new
1912 Ford Mod el T with a chauffeur. The car is describ ed in detail.
"Itsui's car was a 1912 Ford, the new est model," Mishima writes. "It was one of
th e first equipped wi th a self-starter, the recent invention tha t had eliminated the nui-
sance of the chauffeur having to get out each time it happened to sta ll. It was th e
ordinary Model T, with a two-speed transmi ssion , painted black with a crimson line
around the doors. The driver's seat was open and the rear enclosed, an arra ngement
that seemed to preserve som ethin g of the air of a carriage. A speak ing tube in th e
back seat led to a trumpet-shaped device next to the driver' s ear.... The car seemed
altogether capa ble of making a long journ ey." Her maid Tadeshina escort s Satoko,
wearing a white wes tern style summer dre ss, in a rickshaw to the waiting car. Honda
escorts her to the beach where the intimate rendezvous with Kiyoaki take s place.
Du ring the return journ ey Honda and Satoko engage in an intimate and int ense con-
versation about the affair and its likely consequences . The chapter ends with the
moment depicted in Wall's photograph:
What is at on ce clear is that although After "Spring Snow" is not at all a work in Wall's
"near documentary" mode, it shar es with pictures like Adrian Walk er and Morning
Cleaning the doubl e valence of absorption and to-b e-seenness. The subj ect itself is take n
from a novel; the car interior, perfectly accurate in its detail s, was con struct ed from
scratch for the occasion; auditions were held to find the young woman who "playe d"
Satoko but in the end Wall chose someone he met through a friend; her dre ss with its
sheer sleeves, delicate embroid ery, and necklin e set with tin y pearls, was sewn in London
by a person deeply informed about th e period; and the picture was shot over rough ly
thirt y days, about fourteen with th e young woman. Afterward, exten sive computer work
was needed to collage multiple photographs into a seam less image, pre cisely control
effects of lighting, and so on.
All this, one might say, is on the side of to-be-seenness. Yet the overall tenor of the
image is inten sely absorptive. For one thing, the young woman appears alone in the
back of the car. The shadowy interior and the glimpses of "outside" that on e is given
beneat h th e lar gely drawn window shades strong ly suggest that the scene tak es place at
night, which adds to the sense of her isolation - as does, curiously , the gleam ing metal-
lic speak ing tube han ging in its clamp along the inside car wa ll; the tube can be used to
communicate with the dri ver, who, it is implied, inhabit s another world from th e one
shown (perhaps his back or sleeve is glimpsed through the window to the left). In
Mishima' s text , Kiyoaki's loyal friend Honda is seated alongside Satoko, but there is not
the slightest hint in the picture that anyone else is imagin ed to be th ere. No r do es it
make visua l sense to think of Honda as occupying "our" implied po sition relative to
the young woman. In the novel, Mishima has Honda turn away from Satoko in embar-
rassment, so that th e scene as describ ed in the book is explicitl y not witnessed by its
lone conceivable observer. I do not think thi s is an indiffe rent fact about the scene as
far as Wall is concerned. Nor perhaps is the idea of a silence broken onl y by the th in
hiss of the sand falling from Satoko's elegant, period-specific white shoe. As for the
young woman herself, bending forward to mak e sure th e last grain of telltal e san d is
deposited on the floor, although we viewers know she can be performing only for the
camera, she strikes us - does she not? - as wholly absorbed in what she is doin g. (Th at
she appears thu s absorb ed exemp lifies the robu stn ess of absorp tion as a picto rial trope,
its a bility to wor k its magic - to per suade the most sop histicat ed beholder of its imag i-
n ative truth - even when the beholder kno ws very we ll that the yo ung woman in th e
car is a mode l perfo rmin g absorptio n for the purposes of Wall's picture . The robustness
of absor pti on and ind eed its intim ate conne ction to pictorial realism going ba ck at least
to Carav aggio is a profound topic. ) Farth ermore, th e young wom an turn s - Wall has
had her turn - away from the camera , w ith the result th at she is show n largely from the
rear. In particul ar her profil e is almost who lly lost to view; our gaze dwells instead on
her beautifully coiffured dark bro wn hair with its meta llic clasp and on her deli cate ear.
(Also on the sh oe, her stockin ged foo t, the fine detai l of her dress, the meta l mesh
hand bag on th e seat be hin d her. Yet our att enti on keeps return ing to her cheek, her hair,
her ear.) Th is too is a trad itio nal reso urce of a bsorpt ive paintin g, as in Car avagg io's stu-
pendou s Crowning wi th Tho rns in Vienn a (c. 1602 - 4; Fig. 212), 26 Cha rdin 's Young
Student Drawi ng (see Fig. 20), or to choose a thi rd examp le mu ch closer to Wall's image
for all th e differences between them , Courb et 's co loristically remarkab le W heat Sifters
(18 53- 4; Fig. 21 3), in w hich a muscular young woman in co untr y dress knee ls on a
canvas gro undcl oth w ith her back toward the beho lder and her profi le almo st w holly
obscured as she sifts gra in throu gh a raise d sieve. In Courbet's R ealism I int erpret ed the
Wheat Sifters as a "rea l allegory" of Co urbet 's pictorial enterpri se, meanin g by the latt er
term not simply t he two -hand ed (bru sh- and pa lett e-hand ) act of pa intin g but also his
larger, hyperb olic p roject of pa intin g him self as if corporea lly into hi s pictur es. 27 (In that
sen se too th e kneeling sifter, already "emb race d " by the gro undcl ot h, is a surr ogate for
th e art ist .) In view of Wall's know ledge of art history, it is by no mea ns inconceivab le
th at he had the Wheat Sifters in mind when he co mpo sed After "Spring Snow", th ough
conclusion 351
her shoe sound ed to Honda "like the most enchanting hourglass in the world" is related
to this theme.
Reader s familiar with "Art and Objecthood" will probably have divined why the se
an d similar pas sages caught my attention when I first came across them and continue
to comm an d it to this day. "Art and Objecthood, " published in 1967 (Spring Snow
appeared in 1968), argues for a distinction betw een high moderni st presentness, which
denie s duration, and minimalist/literalist p resence, which positivel y exploit s it. Even
more striking, "A rt and Obje cthood" opens with an epigraph from Perry Miller 's study
of the grea t American Puritan divine, Jonathan Edwards. The epigraph reads:
"Edwa rds 's journ als frequently explored and tested a meditation he seldom allowed to
reach print: if all the world were annihilated, he wrote ... and a new world were freshly
created, thou gh it were to exist in every particular in the same mann er as this world, it
would not be th e same . Therefore, beca use th ere is continuity, which is tim e, 'it is certain
with me that th e world exists anew every moment; that the existence of things every
mom ent ceases and is every moment ren ewed.' The abiding assurance is that 'we every
moment see the same proof of a God as we should have seen if we had seen Him crea te
th e wo rld at first.' " 30
The epigraph, Jenn ifer Ashton has obser ved, asserts the prima cy of God's int ention
in sustaining the world, an idea she link s with "Art and Objecthood" 's critique of min -
imali sm/literali sm's reliance on the viewing subje ct 's "ex peri ence " as a substitute for the
intentions , the meaning s, of the artist. 3 1 Th e coincid ence betwee n alaya conscio usne ss
and Edwards' s God, with respect to the notion of the annihilation and fresh creation of
the world at every moment, is almost perfect, and my closin g que stion, for which I ha ve
no answe r, is whether or not Wall noti ced that coinc idence when he decided to base a n
ambitious photo grap h on Mi shima 's no vel. I assume he did not, but if that is so it only
makes his finding in Spring Snow, an d by implication in Mishima's tetralog y as a whole,
the textua l basis for one of his most hauntingly an tith eatrical pictur es all the more
intriguin g.32
\
her shoe sounded to Honda " hke the most enchanting hourglass in the world" is related
ro this rheme.
Rea J ers familiar with "Art and Objecthooc.l" will probably have divined wh y these
and simila r passages caught my arrenrion when l first came across them an d continue
to command it to this day. "Art an d Objecthood,'' published in 196 7 (Spring Snow notes
appeared in 1968), a rgues for a disti nction between high moderni st presentn ess, which
denies duration, and minimalist/lir eralist presence, which positively exp loits it. Even
more st rikin g, "Art and Objeccbood" opens with a n ep igrap h fro m Perry Miller's study
hl111(London and New York, 1992), p. 51: "A g)ance lin
of the great American Puritan divine, Jonathan Edwards. Th e ep igrap h reads: int roduction
a nar ra tive film] implies an inrcraction wirh an object. In
"Edwa rds's jo urnal s frequently exp lo red and tested a meditation he seldom a llowed to The epithel is Mark Linder's. See Linder, Nothing Less than fact, glances ,1re so important ru narrari ng a srorr world
Liter{I/:Ard11tect11re after Mi11imalism(Cambrid ge.. Ma~s., thar rhe only glance rha t 1s genera lly avoided is tl glanc:einto
reac h print: if all the world were annihi lated, he wrote ... and a new world were freshly and London, 2004), p. 102. See also rhe discussivn of ~Arr the lens of the camera. A look into rhe camera breaks rhe
created , th o ugh it were to exist in every particular: in the same manner as chis world, it and Ohjcct hoc,d" in Ja mes ,\lleyer, Minimalism: Art and diegesis because il makes the conventional reverse shm o r
wou ld nor be the sa me. Therefore, because ther e is co ntinuit y, which is time, 'i t is certain Polemics i11the Sixties (New Haven and Ll,ndon, 200, ), eycline march impossible. (Such a march would reveal the
pp. 2.29-42.. camera itself; ics absence would be just as revealing.) " For
with me that the world exist s anew every mom ent; that the ex iste nce of things every Here 1 will mentio n rhar in a n endnore to the introdU(;- a fuller trc.irmenr o f the rransgression consriruted by "a
moment ceases and is every moment renewed.' Th e abiding ass uranc e is that 'we every tory essay in Art and Ohiecthood l wrote: " Ir'~ noreworchy look and a voice addresst:d to rhe camera, '' also character -
moment see th e same proof of a God as we shou ld have seen if we had see n Him create . . . rhe extent to which photog raph y-based (or simply pho- ized as "a n infracrion of canonical proportio ns, an affro nt
the world at first." >Jo rographic ) work of rhe 1970s and after- for exa mple, tha t ro the 'pro pr r' functioning nf representation and filmic
uf Cindy Shern1an, Jeff Wflll, and Gerhard [{jc hrer - has na rrarive," see Francesco C,isem, /11 side the Gni.e: The
The epigrap h, Jennifer Ashton has observe d, assert s the primacy of God's intention found irsclf compelled ro ndclress issu~ of beholding, ofren Fict1011Film n11d lts S/1ectatnr, rrans. Nell Andre,v with
in sustaini ng th e world, an idea she link s with " Art and Objecthood" 's critique of min - by an appea l to absorptive means and C'ffec:rs.This is a la rge Cha rles O'Brien (Bloomington and lndianapu lis. 199R).
ropic" (uAn Introd uction ro my Art Criticism," Art and esp. ch. 2, ''Th e Figure of the Spectator.~ pp. 16, 17. My
imalism/ literalism 's reliance on th e viewing subjec t's "experience" as a subs titut e for the Obiecthoorl: Essays and Reviews [Chicago and London, rhanks to Dudley Andrew for horl1 reference~.
intentions, the meanings , of the artist. 11 The coinc idence between alaya consciousness 19981, p. 74). So I had begun to think along rhesc lines as 6 Sec Regis Durand, " lnrroduction," in G11dySherman, cxh.
and Edw ards's God, with respect to the no tion of the annihilation and fresh crea tion of early as 1995-6. cat. (Paris, 13regcnz.Humbl ebaek, Berlin, 2006-7), p. 2.46.
2 rried , "An Introduction to my Arr Criti<.:i
sm," p. , 1. Other essays in the cara loguc a re hr Jean-Pierre Criq11i,
the wor ld at every moment , is almost perf ect, and my closing question, for which I hav e 3 My rhank s co Mo lly W;irnock for urging me to make thi~ who interestingly emphasizes ~herman's ''di sappe,Hancc" in
no answer, is whether or not Wall noticed that coinc idence when he decided to base an point . favor of her many fi,rional self-images, and Laura Mulvey.
amb itious photograph on Mishima 's novel. l assume he did nor, bur if that is so it onl y More broadly, Ja mes Conant has argued in a series of sem-
inars enticled "The Onto logy of a Movie World," given at
makes hjs finding in Spring Snow, and by implication in Mishima's tetra logy as a whole,
rhe Humani ties Center, Johns Hopkin~ University in April
rhe textua l basis for one of his mo st ha untingl y amithear rica l pictures all th e more 1 three beginnings 2007, that r11 e req11iremcnts for the internal coherence of
.
111tng u10g. ~'
. .
- Hiroshi Sugimoto in Kerry Brougher and David Ilion , such a -wor ld" align closely with Diderot 's acc:ount of rhe
Hiroshi Sugimoto, exh. car. {Washingcon, o.c. and T1)kyo, proper fum:rioniug of drama find p:iinting in his writings of
2005-6). n.p. rhe 1750s and '6os.
2. Cindy Sherman , The Complete Untitled N im Stills (New 7 The key essay in that regard is uncloubredly Douglas
York. 2003). Furrher page references ro th.is book will be Crimp's ''The Photograp hic Acrivicy of Posrmodernism,"
in parentheses in the rexr. firsr published in October, llll. 1 5 (Winrer 1980): y 1-1 o r .
See e.g. the essays by Craig Owens, Douglas Crimp, (C,re::clhere from Burton, Cindy Slu:l'Jn{ln,pp . .:.5-37.) Ar
Rosalind Krauss, et al. in Johanna Burron, ed., Ci11dy one point Crimp describes a photograp hy "that is self-
Shenna, ,, OCTOBER Files 6 (Camhridgc, Mass., and consciously composed, manipulat ed, fictionalized, the
Lond on, 2.006); and J. M. Bernstein, Against Vo/11pt11 u11s so-ca llcu d irt:cto1ial mod e, in which we find s uch a uh urs
Bodies: L att! Modernism and the Meaning of P11i11ti11 g of phorography ::is Duane Michal s and Les Krims." He
(Sranford, Cal., 2.006), pp. 253-323. continues:
4 See Michael Fried,~ Art and Ob jecthood," Art and Obiect- The scraregy of this mode is rouse the apparent veraciry
hood: Essays and Reuiervs (Chicago and London, 1998 ),
pp. , 48- 71; Ahsorption a,1d Theatricalit)I: l't1i11tingand of phorography against itself, creating one's fictions
Beholder in the Age ()( Diderot ( 1980; Chicago and through 1he a ppearance nf a seamless reality into which
London, 1986); Courbet's Realism (Chicago and Londtm, has been woven a narrativl' dimension. Cindy Sherm:rn's
1990); and Manet's Modernism, or, The Faceof Painting i11
phorogr aphs function withi n this mode, but only in order
to expose an unwant ed aspec:r of tlrnr ficrion, for the
the 186os (Chicago and London, r996). See also Fried, "An
Jnuoducrion m my Arr Criticism," Art and Obiect/Juod, ficrion Sherman disclnses is the fiction of the self. Her
phomgraph s show that the supposed autonomous and
pp. 40-54 .
See e.g. Edward Branigan, Narratwe Comprehension and unitar y self out nf whi.:h those other "direcrors" would
352 why photog, aphy matters es a, l as never bPfor,;, notes to pages 1-10 353
l'rcure rheu finions is irsdf norhing orher rhan a discon- way derr,1c:rs from the primacy o( rhe pose. Instead. Gallery in Onawa 111 1y80. Soon after, Wall Je.:-ided m See also Erie de Chassey, Plat1t11des:u11e/Jistoire de l,1
11nuuus sc::rie~t>f represenrnti<Jn,, copies, and fakes. insofar as the pose tllc.'marizesplrnmgraphy, rr:insft,rm withdraw the work frtm hi~ ct)rpus" (p. 2..,5). p/Jut11graplneplat<'(Pans, ioo6). pp. 172-84.
Sherman's photographs arc a ll sdf-purtrairs in wlrn;h ing the photograph im,1 an element in rhe hisrory of the ror an informarive Ji~cu~sion of Wall's beginning~ :is an t 'i Lichermann, "Annotated Catalogue l{aisonne: p. 18,.
~he appt:;irs in disguise ena..:ting :i drama wlwse partfcu- po,e (subsurning th<.'phmngraph in rhc narrative \1f its artist, including his close relations wich his fellow artist "Brrwcen 191!4 :ind t 9il6," she writes, "Thumas Ruff kept
hm arc wirhhc ld. This amhiguiry nf narrative parallels own existence), the photograph is even more rigor<>llsly from Vanctiuvt:r Ian Wallace, ~cc l'erer Gah1ssi. "Unortho- experimenting w1rh the ~i7.eof his Portraits ft,oking for
rhe ambiguity of rhc self rh:11rs both actor rn the narra- subordinated ro rht: pose rhan ir would otherwise be, for dox," m Peter Ga lassi and Nea l l',eneua,Je(/ Wtill, exh. car. another to rmat 111addition to the reducc::dreality' ut -1.4 x
tive and cre:iwr of Jt. For rhougli Sherman is lirerally seJf. the pt1Schecnmcs, in effei.:c,a criLiquc uf rhe photograph. (New York. Chicago, San hancisco, 2007-R ), pp. 14-29. t8 cm. Wht:n he managed to make five prints in 1986 on
,ued in these work~. she is created in the image of
c.:rc What the photograph shows is an oh1ecr rhat has been '1 Jeff Wall in Vischcr a nd Naef, .fe(l Wla/1(B.1sel, 2005), the largest photo paper :iv:.iil:ihlc, he discovered rhat a com
alre;.1dr known feminine srereorypes; her self is rherd11re cnlled int11 the wor ld by the exi,reni.:c of cameras; rhe p. i!! t. Furrhcr page references ro 1his hook will b, in plett'I~ nt'w ric!llre had emerged. Through rhc enlargement,
undcrsrood ,ts conringenc on the: possibilities provided by pose, as pose, ca lls arrention 10 rhi, foct and criticitcs the parentheses in rhe text. tht: look :.ind expression oi the sitters was incensLfied,rnd
tllo.:culrure in which Sherman particip.ires, nor by some wor ld rhe ca mera has 111nde;the lan1crn. then, records 10 1-'ried. "Arr and Objecrhood,'' p. t64. !:Ice also !'>ranlty the visual presence of the photograph became dominant.
inner impulse. As ~uch, her phurographs reverse rhe tl'rms this critique. The parndic ele111c11r in Sherman consists in C.ivell, The World Viewed: Reflections 011 tile Ontology of The.:pmject came ma hair 1111991 because 1he paper he
of art and autobiogrnphy. They use arr 11otto reveal the her insistence that the ohjecr the came ra records is an film, enlarged edition (Cambridge, Mass., and Lnndcm, had heen using was no longer in procl11ction.The new phnm
a rtist's true self hur ro show the self as an imaginary cnn - object the c.:amcrahas made. but the srarus of the photo - 1979), p. 90: "One impulse of phurography, a!> immediate paper had such a g.rear r3nge of co lor and contrast rhar ir
strucr. There is no rea l Cindy Sherman in rhesc pho- graph as record is asserted rather than ehallengcd by rhe as its impulse ro ex rend rhe visible~is to theatric;:ilize in, sub- was no longer suitab le for his portrairs."
tographs; there are onlr the guises she assu111 es. And she pnrody. !The Sht1{Jl'1J( the ~ignificr: 19f.7 tv tl,e J:11d jects. The photographers command, "Wateh the birdie!" is rt> Je,111-PierreCriqui, "Bustamanrc as Photographer (Nores
does nor create thtse guises; she sinipl)' chooses them in 4 History (l'rincewn and Oxfo rd, 2.004). pp. y 7-8, essentially a stage direction. One may object rhar the for nn Unfinished Portrait)," rrans. Simon Pleasance and
the way char any of us do. The pnsr of amhorship rs dis- t:mphasis in original! command is gi1en nor to achieve the unn ;ltura lncss of F'ronz:i Woods, in jean-Marc 811sramm1te:oe1//Jrespho-
pensed with nor onl)' chrollgh the mcchaniGtl means of thenrtr hut precisely tl) give the impression of the natural, togra1dnq11cs19-1/-1999. cxh. car. (l'ari~, 199y), p. l 62.
making rht image bur also rhrollgh rhc effacemrnr of any Mi<.:h,1el~',point in rehearsing the p,1stm0Jern accoum of char j,; ro say, rhc::candid; an d that the point of the dir ec- Furthtr p,1ge references to rhis essay will be in parentheses
continuous, e.5St: nrial person.i or even recognizable visage ')l,erm.1n's Untitled Film ~tills is to set the ,rage for a vcr)' tio n is nothing more than co disrract rhc subject's eyes from in rhe text. Sec also rhe val1rnblc remark~ on Bustamamc\
in d1e scenes. 134-il differcnr, i.e. 111r,demis1,reading of the wnrk uf rhe pho- fronting on the camern lens. But rhis misses the point, for Ttrbleaux as exemplar~ of "A.1tness" in de Chassey, I'lt1t1
rugrapher ,l.1.mcsWdling. in whid1, as i\ lichaels r,uts it, rhe question is exaetly why the impression of naturalness is 111des,pp. 1 6 3-7 1
The "di\pen~1ng" or "effacernrnr" 11fthe "post of ,lllthor "Welling. deploy~ the ~hape of tl1t: phorogr::iph againsr rhc conveyed by an essentially rhearrical technique. And why, 1.., Taro Amaro, "lnrersecring Relationships," in Jean-Marc
ship" is a crucial posrmodernist rn0rif. as is the critique of shape of the objects photographed in orde r to ddear rhe or when, rhe cand id is missed if rbe subject t1,1rnshis eye /J11s/(IJ11a11te:Private C1'11ssi11g,exh. car. (Yokohama, 2001.),
the very norion of a srnble idenrit}' thar Crimp's account camera's .ibilit}' t(1 lee us see ohjt!,tS in the \,ork l and m
puts forward. mto the eye uf the camera." And pp. 1 1!j-19: 'Setting pic- p. t 59. Also, "ungratefu lnt:ss'' is Bustamante's word - in
l:'.mploy rhosc obje..:rs instead in rhe making of photographs tures to morion mechanically overcame what I earlier ca llccl French /'ingratitude - in an interview hy Annick Colonna
More recently, Walter Benn Michaels has had this 10 say (ro use them like paint)'' ( 1 oo). This scnrcely does jusricr the inherent rheatrkality of rhe (srill) photograph. The Cesari in L'Express,June 9, 2.002. There Bustamante speaks
ahour Sherman's place in postmodern cririci~m: co hi~ pagcs ()11 Welling, but my point is th,1r, in the cour5r dcvclopmcnr of fast film itllowed the subjecrs of plw - of h:iving (in his Tt1bleauxof chelate 1970s :ind earl}' iios)
ll ln an imporr-am essay c,1lled ''Photography after Arr of conrrasring Welling wit h Sherman, Michae ls perh,1ps mo tographs to be rnughr unawares. beyond our or rheir "immersed himself in the landscapes in order to realize
Phmography," Ahigail Solnmon-Godeau cou ld argue much accepts the postmodern reading of her signature conrm l. But rhey arc ncverrhelcss rt111ght;the camern holJs prints ltbat would be! calm and hard ,tr the sa111ctime ..
rhat rhmography had come ro 'figure as a crucial term works - at any rare, my suggtsrion rhat the film srills bc::ar the last lanyard of control we wo uld forgo.' (rrnnsl:.irion mine).
in postrnodernism" preci~cly insofa r as ir had repudinred a significant rclarion ro an .rnrithearric-al problemnric con- 1 1 See .Jea n-Fran i;ois Chevrier, "The t\dvenmrl'S 1Jfthe Picture 1I! See Michel Gaurhier, "Constructing an Aura, .. in Alfred
the ambition to make photographs imo works of arr and cerns the photog raphs rhcmselve,, nor simply or esscnriallv Form in the Hisrory of Photography,'' rrans. Michael J>acquemcntand Jean-Pierre Criqui, eels.,Jean-Marc 811sta-
had taken instead "an insrrumenra l appro;ic h ro the the poses and disguises rhey record. Gilson, orig inally publlshed 1989, cited here from Doug la~ ma11tc(J> nris. 2005). p. q . As Bustamante has remarked:
medium." Whar rhis involved was ''using photography" 8 In rhe 200, cira loguc raisonne of Wall"s work, one re:ids: r<Jglc, ed., the L11stPicture Shuw: Artists Us111gJ>lmtugra "Musi l certa inly left his mark 011 111e, a Im of ,hings can be
tn make art rather rhan making phurographs that wcrt ''The lirerarure variously describes the artist's backlit colour /1hy, ex h. car. (Minneapolis .1nd Los Angeles, 2.00:;-4). traced hack ro Tht M,m Without Q11t1lit1es. I am rrying ro
thcmselvc~ arr . a clisrinction sht: derives from l'etcr transparencies as rransp:irency in lightbox', 'cibac hromt: pp. 1,3-2.7. In the origina l French rexr Chevrier refer~ tn pwduce work without qualities"' ("fragment~ cl'un enrre-
1311nnell'sremark rhat he finds Cindy Sherman "inrercst in lighrbox ', 'cib:1c.:hrome transparency in :iluminium', " la forme tableau:" for reasons rhat will become clear. l rien: Jean-Marc Busrnmanre, Jan Dehbaur er Yves Gevaert,"
ing as .111 artist bur uninteresting as a photographer" nnd cibachrt>me rransparem:y in fluorescenc lighrbox', etc. The shall retain the wurd rahleau (in preference to ''pictu re'') in }11a11-Marc exh. cat. IF.indhoven, ryy3 I, p. q,
811sta111a11tc,
that Arthur Danto's substquenr :inalysis of Sherman - arrisr htis specifitd rhar the rerm 't ran sparency in lighrhox' my citations from and discussions of hi~ essay. quoced by Gaurhicr, p. 7,, n. 4 ).
"phorograrhy is not her rnedium. Ir is rather a means ro be u~ed throug hout to designate thest: works. And: The 1i Ralph Ubl gave his lecture., which has not been published, 19 Sophie Bcrrebf, "Jean-Marc Busrnmancc: 'Ir's Crap. hur in
her arrisric ends. l leJ' medium is herself" - makes per- trnnspart:ncies arc made o n llfochrume Classic transpare nt in connection with Wall"s rcrrospt:ctive exhibirinn ar the Right Way, - imcrvirw. hrrp://eycsturm.c11m/feature/
spicuous. In all these ana lyses, it is whar rhe photograph 1naccrial. llfochrome was formerly known as Cibac.:hrome.'' Sc:haulager in Basrl in rhc late ~pring of 2005. My rhanks ED::.n_articlc.asp?arriclc_icl=140. In the same interview,
is of rhar makes it arr. Even .-1 more or less explicitly Theodora Vischer a nd I lcid i Naef, "lntr C1ducmry Notes," ro Uhl for sharing his rhoughts wirh me. Berrebi allndcs tn Busramantes having said "rhar Robert
<lecunsrrnc.:tive manifc,to like Craig Owens's t:~say "The }c(l W11/I:Cat,Jlo!;:ttC({,1iso1111e ,97,'l- 2 004 (Basel. 2005), 13 51:cin panii.:ular Tlait:tT)'de::Duve's Jiscussinn of l'i cturc (nr ~lusil's nnvcl The Mm, WlitbfJ11f Q ua/ilit1s ha~ had a long
Allegorical lmpul sl': Toward a Theory llf Postmod- p. 271. Women in Louk, , oo Years 11(Ct111te111/J11mry Art, rrans. lasrini:; in011e11ce over Ihim I.''
ernism ~ prnises "untitled phorns for film srills" in terms And a few pages on: "A year before completing TIie Simon Pleasance and Fronza Woods ( Brussels, ioo, ), 20 Ulrich Loock, "Our of Focus," in je,111-Marc/311stt111i.111te
nf liherm:in's deverness as a model: rhe "pe rfection of Destruyed J<nom,Wall produced a triptych 11ftransparen- pp. 24_~- 9 (rev. a nd en larged cdn. ()f rhe rrench a nd Durch (Paris, 2.00,), p. 136. rranslarion mine. "Long after their
her impersona riom,," Owens says, turns "ciisguise"into cies entitled Faking Deat'1.T he left panel depicted a ser fea- VoJCi,1 oo ans d'art conte111pnr<1i11 (Brussels, 2000-01 ). l making," Jacinto Lageir:1 writes in ibid., p. 61!, "what
"parody" and rims into criticism of rhe "alienating iden turing a bed in which the nrrisr and several :issistanrs ,ire sh1Jult! ~ay, though, that f am nor pcrsw1ded by de 011vcs always srrikes one in rhe Tahhaux is the plenitude uf these
tifieations" of rhe mass media. Photography is, of cc,urse. absorbed in what appear to be preparations for making a ana lysis nf Manet's Bar, which precedes his account of images in which everything is given lfivre] nnd at rhc same
necess:rry ror this project - wicl1our ir there would he no photograp h. The central and righr panels depicted the artisr Picture (nr \Vt/men (ihid., pp. n9-44). time wirhdrawn. The superabunda nce of derails is in con
rcrnrd of Sherman's virturn,ity and, in facr, there would lying in rhe hcd, acting as if he were dead. faking Death 14 See Valeria Liebermann, "Annotated Caralog ue Raisonne Oict with what one is rcmptec..ltu ca ll a v.1cancy"'("La raillc
have heen 110 ncc.ision for the virtu osiry: the pose rhar was t:xhihirccl first ar the Nova Gallery in Vancouver along of Works ~ince 1979," in Matthias \Vinzen, eel., Thl)111as de la m.1riere,'' translarint, mine).
i~ recorded hy the photogmph is a lso produced for the with The Destmyed Rnn111,and then at his solo exhibition Ruf(: , 9..,9 In the Present (New York. 2003 ). p. t 8 ;. i, )tephc::n Shure, U11co111111011 Narcs: The Complete Wr1rks
plwrograp h. But this dt1uble function uf rhe camera in :it the Art Ga llery of Greaier Viccorin. Jt was exhibited once Published in wnjunct ion with l'he exhibition "Thomas (New York, 1004). This book also incluclt'~ an excellent
relation ro the pose - it both causes and records ir - in no ~gain in the group ex hibitin n 'Cihachro111e ,IC The Phoro Ruff forograficren 1979-heute" (Baden-Baden. ioo1-2). e say h> Stephan Schmidr-Wulffen. "Stephen Shore's
of rhese observa tions :rnJ .:rireria, an e nrir ely different Formalism,'' in The Tm111er Lectures 011 Hu111a11 Vul11
es, no. of what I h,1,e 1ead: the roral ma~s is e normous) the struc- p. _p). 111an cssay on Bt:ar treuli, Vincent Kat1 write, th at
reading of Minima l Arr rhan the one Fried himsdf sug 24 (Sa lt Lake Ciry, :1.004), pp. 1-40. tural invi~ibili ry of the /11111ctu111 ro rhe phuwgrapher has Stre u Ii "eng:igl 'S in empatht:tic reSplm,e to his subjects ...
gesrcd in 'Arr and Objecthood' could he developed: who 5 On rhe disrim:tion ucrween see111g .ind being shown, see gune unrecognized, and iu the few instance-'> where that is p11rn<loxicall)', as a voyt>ur, using a te lephorn lens, snme-
says rhar these works on ly illustrate a theoretical/ideo- "lrcphen B.rnn, Tile True Vine: 011 Vis11t1/Rcprese11tatio11 not th e rn~e the ,111t1rhca 1rii:al imp lications of ,hat invis ibil- 1i111 es en sconced inRiJe a cafo, whi le phntngraphing people
lng1ca l posirion, thar rhey wou ld not imply an aclwo1ul- a11dtbe WC! stern Traditin11(Cam brid ge and New York, ity have nm been pursued. pas~ing outs ide. By not entering inco a personal relat1011
edgment of their rheauical cha rm:tcr and that rhey wou ld 1989), pp. 43-5 a nd 89, w here he makes clear rhe relucion --, l:..g: ~conrrasr wTOngly understood 1s one <Jfrhr mosr dis- ship with his subjc::cr,, he ..:apmres them in their natural,
excl ud e an intensifie d contact between work and of that distinction to rhe reading of Diderot put forward in astro us sourct.!s of mannerism. The on ly true cnmrast is char unguarded ~tale .... Because Stte11li sec:-s wirhom being
observer. Only when we succeed in liberating Fried' s con- Absorption anrl Theatricality. Ln fact Barrhes, as we have whic h Mises from rhc depths pf the acrio n, or from rhc Sl't'n, it is almost as i( we .ire given access to th e i11tcrior
cept\ frc)m hi~ uwn narrow app lic~won of these cor1cept, see11, in.err~ the qualifiers ''nut stric tly" and "probably" in diversity of organ~ or of interc.sts" (Le contraste 111al mental workings nf his wa lkers. They inhabit chc momenr
can rhey ope n up a fruitfu l perspective on co ntemporar y his initial formulation of thi s Jaw hut the passage as a whole cnte11d11 est 1111e
des plus (111 ,estes caussdu mm,ier<i.II 11'y in which awareness and absorpt ion are seam less!)' blended"
a rt phenomena. !"Between .Exaltarinn and Musing Co n- ei.p resses nn uncerta111ty. a de ,,eritah/e co11traste tJllt' ce/111 qui ,wit d11(011rlde tc1c- ("T he New York Phomgraphs of Bear Srre uli ," Bent treuli:
re mplarion: Jeff Wall's Res rituriou ol rbe l'ru gra m nf r, A few commentators have outed this ,imple hur c.lt:c1sive tiu11,nu de In rliversite, sou des nrgancs, soil rle /'i11teret). New YMk City zooo-01. !New York :111JO~rfi lJern-lluit,
/1ci11turerle la vie morleme," in Jeff W,i/1: Plwtvgraplis , po int; see e.g. Gregor Stem m rich, "'Between Exaltation an d Oiderm, l:.ssniss11rla fleimure, in Oeuvres e.sthitiques, td. Germany, 2.003 1, p. 2.05).
ex h. cal. (Vie nna , 2001), pp. 155-6, emphasis in origi- Musing Co ntemplati on: Jeff Wal l's Resriru rion of th e P. Vernicrc (Pa ri~, '':159), p. 672. 12 Among rhe sources of B,1rthes's resi~rance rn a bsorptio n is
nal I Program of pci11turede la uie modeme," in Jeff Wlall:l'lmtn - As will be seen, rhe notion of rhe pu11c/11n, can also be undoubtedly his previous :1nd decisive engageme nt wir h
graphs, exh. ca r. (Vienna , 1003), p. 154: uThe /1u11ct11111 i~ undersroo<l as bel,)nging ro lireralis111by virtue of its appeal Brecht. In a n important sense, the ''rea listic" rheflter chat
( )hviously I do nor agree wirh any such accou nt of minim a l was the herita ge of rhe Didcrotian tahleau, wi1h its in uui lc
wha1 a phorograph can show wit hour being i nren d ed hy the ro rhe viewe r's expt: ricnc e (a nd norhing e lse, so to speak). I
rt itself, but equall} ' obvious ly I have founJ it necessary to injunction to tr eat the audie nce as if ir did nor exis r (th ereby
photographer, or even being capable of being intended ... shall cunside r thi s view in rhe co nclu sio n to chis book.
' liberate" or rath er adjust and revise my previous armory transfixing ir before the sragc action), was exrictly whar
Stemmrich's further cl11im is rhot "t he re! is no /1u11 c/11111in 8 On th e pasr fifty yeurs of ch,H rrndirion see e.g . .Kerry
of w ncept~ .md distinctions in order m con1e m grips with Breehl felt it imperative m ove rthrow. In Barrhes's words:
the Barrhcsian sense in Wall's images Ibecause of the degree Brougher and Rus se ll Ferg uson, Of'" " City: Street Plm-
rht.' new arc p hotograp h y of Wal l rind hi s peers.
4~ .Jdf Wall, persona l communication.
of artistic contro l Wall exercises over rhcir conrenrsJ, hut lographs Sinu 1,so, ex h . car. {Oxford, S:ilfo rd Quays, Now comes a man ... who tells us, despire all tradi ciun,
indeed some thin g char we mighr ca ll rhe arris1ic use of 1he Bilhao, Was h ingw11, o.c;., :wor). l shal l have::mo re [ 0 say rhnr rhe public must be nnly half-c.:ommirt ed m the specta-
44 lfml. ~bo ur street phorography in C h . 8. c le so as to 'know' whac is show n , instead of suhmittin g tn
idea of the p1111ct11111" (ibid.). ee a lso Naomi Schor ,
45 lricd, Absorption a11rlTheatricality, pp. 69-70, 145-60. ir: rhar thl" at1or musr create this consc iousness by e'\pOS
''Des ublim ation : Roland Barrhes's Aesrheti1cs," in Diana 11 The photographs are collected in \'i/alker Evan~, Many Are
~6 On the importance ro Evans of Srrand's 8/inrl, set' Belinda ing nor by incarnating his role; rhnt rhe spectator must
Knight, ed ., Critical Essays u11 Rola11rlBnrthes (New York, Caller/ ( 1966; New H aven and London, 2004). See Mi,1
Richardson, Walker F11ans : /\ 8iograf1by (Boston and New never ident1f}' comp letely with the hero bm must remain
2000), p. :1.28: "Like Pro usr's nwde/ei11e- and Camera Fi11e111nn,"Nores from Undergrm111d: The Subway Por-
York, 1')!,15), and J a mes H.. Me llow, Walker F.111111s (New free m judge the causes :ind then rhe remedies of his suf -
Lucida is Barthes's Rccherchc - che p11nclu111 d oes nm come trnirs," in \'Q,r/ker11n11s, exh . car., with essays by M.iria
York, C!,199),pp. 75-6 . ln a r971 inter view wirh Paul C um - fer ing; that rhe actio n musr not be imitated bur n:1rrarcd ;
under th e sway of rhc will. It esca pes the imention:iliry of Morris H a mb ourg, Jeff L. Rosenheim . Do uglas Eklund,
mings, Evans reca lled coming across Strand's photo in an chat th t" theater mu st cease to he magical in t>nler to becnme
both rhe photo g rap he r anJ the spectator ... " For more on and Mi,1 Fineman (New York, Sa n Francisco, Hou sto n,
issue of Alfred Stieg litz's Camera Work in th e lare 1920s critica l, whid1 wi ll srill be its best way of being passionate"
Prnust and rhe p1111ct11111, see be low. 1\lliri am Bratu Hansen, 2000-01), pp. 106- 19 .
a nd rhi11ki11g, "'Thar's the stuff, that's the thin g to do''' ('' Th e Brec htian Revolu tion ,., in Critical cssll)'S, trans.
in a recent essay, remarks chat for \'i/altcr lk ojamin in his 1o See rhe discussion (1f St re uli' s video works an d photographs
(Richa rd so n, Walker uans, p. 39). [ take Evans's blind Richa rd H owa rd !Eva nston, Ill. , 19721, pp. 37-8) . ln a later
.. Lierle Hi stor y of Phoco grap h y" ( 193 t) the "mecha nicall y in Ch . 8 below.
a..:cordionist as a figure for the photo g raph e r, who shor article, "D ideror, 13recht, Eisenstein," Barrhe s compa res
1ne<liareJ moment lof split-se co nd phorogrnphi( expos ure! 11 usan Sonrag, 011 Plm tograf1hy (New York, 1977), p. 37,
"blind"' in rhe subwa y with his hidd en camera.
may preserve 'a tiny spark of contingency,' a n element of oore. Son ta g's text rc,1ds: " Bra ssai Ith e great Hun ga rian and conrrnsrs rhe thou gh t of a ll three theoris ts with respect
.1lccrity rhnr speaks to a nothe r - and 'other' - in the future photographe r! denounced photographers who rr y to trap ro the tab/em,, but owing to his unhistorica l ,1llegiunce to
be ho lder" ('' Ro om-fo r-Play: Benjamin 's Gamble wiLh their subje cts off-guard, in the erroneous belief rhat so m e- Bredn's rheoric5 he completely misses che antit heatrica l
4 barthes's punctum Ci nem ,,, October, no. ro9 rsprin g 2004] : 37) . She adJs in thing specia l will be revealed about thi:111" (pp . 36- ,) . To import uf Dideror's v iew s. See Ba rrh es , "Diderot, Brechr,
ht:r n. 96: "The rechno logica lly-based disj un ctio n between which she appends he r note, which l,egins: "Nor an error, Eiset1stein," in The Responsibility of Forms: Critical Essays
Roland Ba rrh es, Roland Bartbes, cran~. Ric hard Howard 011 Music, Art, and keprese11tatio11, rra11s. Ric har<l 1loward
srn rage and re ll.!ase allows for a n unconscious e lement ro really. There i~ somethi ng on pcopJcs faces ... " Before
(New York, 1977), p. 177. Th e who le se ntence reads: "At (New York, r985), pp. 8))-97. A further, almost shocking
l'ntcr ar two levels , rhe moment of it1scripti o11 and th e rime Evans, Paul Strand used h idden ca meras to record ano ny-
rhe crossroads of 1he enrir c ne,wre, perhaps the T h eater: misreading of DiJernt i, found in th e lace A l.ouer's Dis-
of reading. In rh e case of rhe photograph, rhis distinction mou, figures in the scree r; spet.:itically, he used "a 'deco)"
there is not a sing le one of his texrs, in foct, whic.:h fails ro rourse: Fragments, rran~. Rit.:hard How.1rd (New York,
111ay involve an unc an n y sense of futurity (as in Benjamin's falst: lens screwe d onto his camera at a right angle, hopin g,
deal with a certain rhcater, a nd spccracle is the univ e rs,11 1978), where Barthe( Jssocia tes Diderot's 11<)t1onof rhe
examp le of the wedding picrnre of rhe p hoto::>gr::ipherDau- by catch ing his su bjecrs off-guard, re, capture o n film .1
category in whose aspec t rhe world is seen." co l(/) de thefitrl! with "t he 'favornb le moment' of a paint -
thendey and his wife who was ro commir s11icide afrer the ce rrain e lusive 'q ualit y of being"' (Fi neman, ~Not es from
2. In rt:verse order : Roland Barrhes, Camera Lucida: Reflec- ing' (p. 200), a n assncia rinn rhrit runs exactly counte r tr,
hirrh of their sixth child) - somerhing char was nor vis ible Un d erg ro und ," p. 1 1 1 ) . (Fva ns too used such a ca mera.)
tions 011 Photography, trans. Richard Howard (New York , Dider o t 's id1::a,.
or knowab le at the rime speaks to rhe larer beholder of his "St rand had ro b1 in visib le' so as nor to di sturb his sub -
, 98 1 ); idem, J,a Cha111br e clnire: Note sur la phntogrnpl,ie 13 !iomething of the sort does occur in the writin~s of the
form of death .... It is no coinci dence thar chis particular jec t, in their unselfconscious t'Xpression~, for he wished tO
(Pari s, 1980). Page rt:feren ces ro English and French edi- ea rlier twt:nriech-cenrury arr critic RlJger Fry. 'iee my
$lag ing of rhe optical unc onscio u s has invited comparison capture wharever mood o r mind wa5 most S)'mpcomati c of
tions will be in pare n theses in the::text; all t:mphases 111 quo - " Roger Fry's formalism."'
wit h Rola nd Barrh es's nonnn of the 'punctu 111 ,' rhe acci- their nature off-g uard. To fix this essence invo lved his prn
rntions are in rhe original. 14 Yer the re is :1 sense in which rhe Formal stru cture Bartht:s
Jenral mark o r dc::rail of the photograp h which 'pricks,' jection o( empa rhic inter est to estab lish - for a suspendrd
J Vicror Burgin, R c- rea J ing C.imfra L1.1c1da," in Victor
1
attributes to rhe co-presence of stud/,1111 anJ JJ"11ct.u111-
srings, wounds the beho lder. " ( More on rhe p1mctu111 and momenr - a connection with a strang e r who lly 11naware a
Burgin, The 11dof /\rt Theory: Criticism and Pust111 oder- ''fie lJ " or "cx ren t"' punctured (a lso punctuated) b)' a derail
death, too, below . See Walter Benjamin. "Littlt: Hi story of thar I,,. had become a parmcr in .1 rig hr rope acr performed
11ity{Ifasingscoke , Hampshire, 19)!6), p. 78 . char ~shoors out"' from th e fom11::r " like :in arrow .. to
Phot ogra ph y" ( 193 J ), trans. Edmund J ephc ,orr and Kings - on a busy srreet by a ,pellbound ph ocogr:'lph er juggling a
4 See also Mich;1e l Fried, "Ca illcbotte' s l mp ressio nis111,''Rep- "pierce" the viewer- is analogous w the srrucrnre of the
ley Shorter, vo l. 2. of Selected \'<lriti11 gs, 4 vob., tra n s. c umb erso me machine.::.The process was, Srrand said repe:i t-
rttse11tntin11s,no. 66 {Spring 1999 ): 1-51, reprinted in Diderotian tableau, wirh irs axes of abso rption a nd address
Rodn ey Livingston e et al., ed. Michael W. Jen nin gs, ed ly. nerve -racking,' fo r th e rapt quality of his intensity
Norma Bro ud c, ed., Gustauc Cai//ebotte ,md the ~ashir>11- o rthog o nal to each other (as in Chat din 's /-louse nf Cards.
H owa rd Eiland, and Gary Smith !Camb rid ge , Mass., :.111d naturally :ittra ctt:d the ,me nti on ot his ~uhjc crs, yet if they
i11gof lde11tityin Impressionist Paris (New Brun swick, N.J., e.g.). Ind eed t he dera ils in C hard in's genre picrnrcs chat
London, 1999J. pp. 507-30.) Yet in the bulk of the sec- gave it, the photograph w:is ruined" (Ma ria 1\fo rris
and LonJoi1, i.002), pp. 66- 1 16 ; .ind idem, "Roger Pry's
ondary literature on Camera I ,ucida (or ,tr least in the bulk H ambourg, Paul Str.md: Circa 1916 I ew York, 1!:191<1, undersco re rh e subject's abso rp tion, hence uuhli r/,, sn,,
366 norn~ to oages 84- 100 11ci1&s ro pages 100- 102 :367
often have the character nf ~wnunJs" or 'rears'' in his or me, I want him ro h.ive J photogrnph ol mt." IPP 6,- Muther-as-G\11,d she h,1d aJd ed tha1 grnce of hcing an indi- grt1f1by (New York, , ,,--) dist:11ss es Bcnjn111i11,
whom shc
her garments, as was noteJ in Ch. 2. 61 vidu:il soul. I might !>:'I)', likt' the Prousrian ~;irraror :it his ca lls "photography's mo,c importam and orig inal critic''
On ,1 rhemaric rather d1,in a s1ructural level, I have sug- granJmnther's Je:ith: 1 did nor insist only upon ~uffenng, (p. 76) , .111dthat Bim hes lim !>ontag's book in the bihliog-
Ohvious ly the circum&tance&(>f the taking nf rhc \Xlinrcr rapht ro Lll C/1a111bre claire.
gested in Ch. _l rhat blindness-as i11Kcrr6s2:s The Vi11li11- hut upon respecting rhe originality of my suffering'; for this
Garden Phnrograph have norhing in .:ommnn with rhosc Cf. Sontag, 011 I'hotogrnphy, p. 15: "All photographs are
ist's Time. Al1v11y,I fungary ( 1921) - is akin to absorpeion, origma liry wa~ the reOection of whm was ahsulucely irre - 22
discovered by Prnusts narrator. Bur might 1here neverthe- me111e11to mon. To rake a photograph is to p:irticipatt: in
111that it implies the depi..-ccdfigure's unawareness of hl'ing <lucible in her, and thereby lost forever' (75/1 rrrS). (The
less be in chis interrextual connection rhe merest hint of ;J .morher person's (or thing's ) mo rtaliry, vulnerability, muta
beheld (sec Ill) ' Absc117Jtio11and Theatricality, pp. 6y-70, notion of grace will be rouclwd on helow.) On the c,1racit}'
fantasy: time B,1rrhcs'smorhcr w,111tcdhim to hane rhar pRr- bility. Precisely by slicing i1ut this moment and freezing it,
14,-60, I 7 )-8), of rhomgraph}' to rt'veal whar Barrhcs calls "a cercain per-
ri.:ular phomgroph of her? a ll photographs testify tu rime~ relenr less melt" and p. 69:
ly unintenJcJ nature of the punctwn
finally, the net:t:!>Sari ~iseen..:eof rhe species'': "Proust (agai n) saiJ of Charles
Proust's gr:llldmorher is also dw focus o,f .:i sct'ne that "Phorographs stare rhe innl)cence, rhe vulnerability of live~
a mounr~ tt a radica lization of the gi1p hcrween intention Haus (the model for Swann ). according t1) George Paintt'r,
exposes rhe pnrenri"I cruelry of the absorptive dispnsitif. In heading row:ird thcir own destruction, and rhis link
and acrion rhat Walter Benn Michae ls discusses in relation that he lrnd a short, srraigh t nose, but that o lJ age had
Brassa'i''s retelling: bcrwccn plwrogrnphy and Jeath haunts ..tll photog1:ip hs of
to rhe auromatic nature ,if phomgraphy in The Cold Stan- LL1rnedhis skin ro parchment, revealing the Jewish nose
dard 011rlthe Logic u( Natur,1'ism: A111eric,111 Uta,1111re.u The G11cm1t111tes Way doubtless affords the mos, nrng- bt:nearh" ( 105/ 162). people."
the furn uf the Century (Berkeley, Los f\ngeles, London, nificeni exa mple of this a-huma n vision, in which 1fl See Mucel Proust, Cu11treSa111te-Be11ue 13 The passagc conrinu cs: "Ar the limit, th ere is no need co
(l'aris, 1954), pp.
1ql.l7), ch. 7, "Aceion :111 d At:cidem: Phorogrnphy and the IProustian I narrator's eye functions like a camern. s8-<): represenc a body in order for me ro e:<pcricncC'this vertigo
Writing," pp. 215-44. ,\fore on rhis i11Ch. 'J a nd the .:on- ffat:k from Don.:ieres, rhe narraror, eager to sec his of rime Jefeaced. In r850, August Salzmann phmographed,
No n seuleme nt l'1nrelligencc ne peur rien pt1ur nnus pour near Jerusa lem, rhe rna<l ro f\eith-Lchcm (as it was spelled
clusio11bdow. granclmorher, ~urr epiitiously entt' rS I he sa 1011 wherc she
cc~ resurrections, mais cncnre ce~ heures du p,1~scnc vonr
15 Fascinatingly, Barthe~ neglects ru 1nenrion that phorogr;iphy is reading, unaware of her grandson's arr ival. " I was at rhe rime): nothing but stony gro und , olive trees; bur rhrcc
se blocrir q 11~ da11s des obiets till l'inrd ligence n'a pas tenses dizzy my const:iousness: my present, the time nf
is implicated in Prouq's epip hany. In Brassa'i's marve lous there, or rather 1 was not rhcre since she didn't know it.
cherc he a les i11carner.Les ohjer~ en qui vous avei cl1erche
shurt hook, Pmust in tl,e Pu111er u( Photogrnpl,y, rrans. . .. Bue of me - by rhac fugitive privilege when we have, Jesus, and that of rhe photographer, all this under the
it etablir co11sl'i(mmcnrJes rapports avcc les hcurcs 4ue instance of 'reality' - and no longer through the elabora-
Richard Howard (Chicago and London, 2001 ). the samt: during the brief momenr of a rerurn, rhe faculty of ~ud-
vous vivie7., dans ceux-ln elle ne po11rrnpas rrouver asile.
episode is rehe:used in greater derail: denly attending our uwn absence - rhere was (,nly rhe tion~ of cl,e text, wherher fictional or poeric, which itself is
Et bien plus, si unc a urre t:hose pt:ut les ressuscicer, eux,
witness, the observer still wearing a har a n,J owrcoat. the never cred ible down In the rnot las a phoic,graph i!. or can
The narrat or SC:J)' S wirh his grandmnche r ar the Grand quand ils rcnairront avec elle, seronr dcpoui llts de poesie.
srr:inger who ,s not of the house, rhe photographer who he, presllJnablyj" (96-7/ryr). The face rema ins rhar
1101d de Ba lbec. One duy. he surpri ses her dressed up in .Je me so uviens qu \111jour de voyage, Je l:.t fenet re du Burches's sclecrion of exempla ry photographs is almost
comes to 'shoor ' places that will not be seen agai n. Wh:it.
her fincsr clothes. She explains wirh some sarisfaction wagon. je m'efforc;ais d'exrraire des irnpressio11s du exclusive ly devoted to images uf persons (no views of Paris
quire mechanically, nccurred in my qe:. when J caught
thnr ~ainr-l.oup wancs ro phomgraph her. The narramr paysage qui passait devanc moi. j'ecriv.iis tout cn voyam
sight nf my grandmother at rha1 momi.;nt was indeed a by Atget, e.g.).
feels "slightly irritated by rhis chi ldishness" and by passer le pt'tit cimetierc de campag ne, je not.tis des barres 2"4 Cf. Brassa,: "To Proust's quesrion: 'Bu r whar is a memory
phorogr:iph.'' ...
<liscovcring in the old lady :i coque try he had never lumincuse~ de svlei l sur lcs arbres, les Aeurs du chcmin we no longer recal l?' which evnke~ that realm of the cxis-
And the narrarc,r concludes, his heart aching: " I for
suspecred. p::ireilles ii ccllcs du Lys drms la Vallee. Depuis, souvenr
whom mr gran dm other wns st ill myself, I who had never rcnce or nonexistence of memory-phanmms, rhis orher
Upnn Franc;oisc's insistence, howeve r, hi:'cleciJes ro let j'essayais, en rcpensanc a .:es arbrcs rayes de l11miere, a
seen her except within my own soul, always in the same question correspo ntls: 'Bur what is a photogr:iph that has
Saine-Loup go aheatl with his pro ject, whi le expn.~sing ce pet ir cimcci&rede campagne, d'cvoquer cerre journee. never been deve loped?' No memory, a11d no lacrnr image,
place in the pasr, through the transparency of conr inuous
so me reserva tion s, ''a few ironic and cutring rem11rks j'entends cenc journec clle-meme, et non son froid can he Jelivered from chis purgarory wirhour rhe interven-
and superimposed memories, suddenly, in our salon ...
intended m neueralize chr pleasure my gr:mdmor her fanto me. Jamai s je n'y parven;iis tr je <lescsperais d'y tion of char dt\us ex mat:hma which is the 'developer,' as the
for the first time and 011lyfor a 1110num1,for she disap -
seemed to rake in being phncographcJ'' ( \'<!it/Jina reussi r, quand l'u utrc jour, en dejeunant, ie laissai comber word itself incli.:ates. For Prou st, this will habituall y be a
peared very quickly, I glimpsed 011 rhe co1L1t: h, under rhe
811ddillg Cr()11c).He ~uccecds so well that the grand- ma cuillcr sur mon assicrre. Et ii se produi sir a lors le
l,1mp, red, heavy, anJ co,trse, ill :111dhalf as leep, her eyes present resemblance whit h will resus<:itare a memory, as a
mother p(1ses for her picture quire uncomfortab ly. Snme m~me son que cclui Ju marrcau des aig11illeu rs qui frap - chemical substance brings m life a latent image. The role of
wandering wild ly over her book, a feeble old woman l
years pass, and rhe narr:acor is once again at Balbec. As paient cc jnur-la Jes roues dc rra,n, clans les arrets. A l:i the developer i:; identica l in bmh <:ases:ro bring an imp res-
did not k11ow.'' lpp. 12.1-21
he bends over to remuve his hemes, suddenly rhe memory mcme minute, l'heure br{ilanre er aveug let: ouce bruir sion from a virtual ro a real srare" (Proust i11t/Je Power of
of his grandmother occurs to him, a nd for the first time Thr thvught nf thi:. episode co uld 1)nly h.ave ctmlirmeJ tint ait revecut pour moi, er romc t:ctce journec duns sa
Phc,togrt1phy,p. r 3q ).
since her <leach .1 year before, he rediscovers her in her Bnrrhes in his clisraste for rhe itle::i of iaking 1he photo - poesie, J'o(1 s'exccprniem seulement, acquis pour l'oh- 2. 5 Section 3 8 begins: '' All rhose young photographe rs who a re
.. living reality," even as he realizes ar lnsr that he has lnsr graph ic subject hy surpri se. scrvation voulue ct pcrcluc pour la resurre.:ti,111poerique,
at work in the world, determined upon the ca pt11re nf actu-
her forever. And he is immedi:irely overcome with r6 As Barrhes nlso writes (a few pages hdore the di~covery of le cimetiere de village, les arbre s rayes de lumicre er les ality, du nor know rhot they are agents of Death. This is rhc
remorse for all the p,iin he had c:lllsecl her, "like thar day the Winter G,uden Phorogr::,ph): "As a living soul, I ,1m the fleurs halza<:iennts du chemin. w:iy in which our time as~11mesDeath: with the J cnying
when Saint-Loup had takell grandmother's phorograph very rnnrr.iry of Hisrory, I <un what belies it, destroys it for alibi of the distracred ly a live; of which rhe Photographer
Co11/reSa111t e-Be1111e is not cited in rhc bibliography ro La
and when, having made no secnr of rhe almosr ridicu- rhe sake of 111)' own history (impossible for me to believe in is in a sense rhe professional. For Phorography must ha ve
Chambrc claire (rhe English translation carries no biblio-
lous coquerry she revealed in posing for him ... I had 'witnesses'; impossib le, ar leiist, ro be one; Miche let wns some hisrori.::il relarion with what Edgar M()rin .:alls the
grap hy).
alloweJ myself ro he heard murmuring several 1mparicnr .ahlc m write virtu ally norhing about his own time). Thar is 'crisi, of de:i1h' beginning in the second ha lf of the nine-
1y This has led to speculation rhat no suc h photograph ever
and hurt ful remarks, which she had indeed heard a nd wha r the rime when my mother w:is alive .befvre me is - teenth cenr11r)'... For Death must be somewhere in a
existed. Sec e.g. Margaret Olin, "Tuuching Photographs:
been wounded by.... >Jever again could I eras!! thar Hisrory (moreover, it is the r,eriod which interests me mosr, society; if it is no longer (ur less intensely) in religio11, it
Roland Barrhes's Misrnkcn Identification," Revrese11ta-
painful uneasincs, 1 h:iJ been n:sponsihle for in her hisroricall)). No an;imncsis could ever make me glimpse must he elsewhere; perhaps in rhis image which prod11ces
t1cms,no. So (Fall 2002): ')~-118.
expression" (Sndom a11dGo117(1rmh). this time starting from myself (this 1sthe clclinitinn of anam- Dearh while rrying to preserve life. Conre mporary with ehe
20 See \Xlalrcr Benjamin, "T he Work of Art in the Age of Its
1-'rani.oisesu rpri ses him in his grievi11
g contemp lation nesis) - whereas, contemplating a photograplh in which she wirhclrawal of rites, Phocography may correspond ro chc
Tet:hnolo g1t:al Reproducihiliry: Third Version," vol. 4 111
of his gra ndmoth er's photograph, but what sht' then tells is hugging me, a chi ld, against her, I can waken in myself intrusion, in our modern society, of a n asymbolic Deat11,
Scl!'cted Writings, 4 vols., trans. Edmun d Jephcorr et al., ed.
him redoubles his remorse: The Jay Saint-Loup wok char the rumpled softness of ht:r crepe <lt:Chine anJ the perfume ourside of religion, oursidc of rirunl, a ki11dof abrupt dive
HowarJ Eil:rnd and Michae l \YI. Jenning~ (Cambridge,
photograph, the o ld lady was very ill, bur she had for- uf her rice pnwder" (65/102).
Mass., and London, 2003), pp. 25--8. into literal Dead,. Life/Death: the paradigm is reduced co a
bidclt'n her gr11ndsonco be told. She had merely made rhis 17 Two more references tn Proust in Camert1 l,ucida sho uld simple click, rhe (1ne separaeing rhc initial pose from the
21 See Rnl:ind Barthes, SIZ, trans. Richard Miller (New York.
reco111111endatio11 to Frarn;o1se: "If something happens co perhaps be cired. Barrhe) writes ;:,bout hi~ mother: "To the
1974). ln this connect ion note rhar Sontag in 011 Photo - final print " (92./q3-4). Tht' reference ism Edgar Morin's
370 notes 10 pages 106- 1ori note.,, to pag~s 109 I Ill J71
v1ewt:!rS1n I'm1theo11( 1990; not a classic museum phoro - photography is more complex, less "pure," than it is u~u,111} 110. 1 \ 1q97): 22, c1ung for this Boris v. Barnschitsd1, the seven large-sca le portra it photographs of women -
grnph but belonging ro the sr1n1t'peri\ld and included in made our to be_ Tlio111asR,,(f (Frankfurt, 1':)92.), p. 24. blown up to nine: feet high and six feet across, hung loc,se
SLruth's rc::ce111 hook) wen: arranged by the phowgrap her. le should be noted that Struth hirnsl'lf, in conversation 9 Liebermann, Annotated Catalog ue Raisc>nm\" p. 180.
d
un rhc walls- char chc viewer encot1nttred in the lasL mom
See Philp, Museum fKpedirion," in f'crgu111011 Museum with Silke Schmick!, remarkld rhar he had tried asking ro Peter Galassi writes: "Gursky has predicted that chc furure in Avec:.lon's ex hibition at the Metropolitan Museum of Art,
1h/~l-1lsl6 . exh. cat. (Berlin, 2004), 11.p. viewers in his classic museum phutogrnp hs to hold a posi- will regard Ruff's series as a wuchsrone of an essential erlms New York, in 1978. "The anonymiry of the portrait s offers
'.).0 ln I1 hilp\ words, "'>truth c..levotC'dtoncrerc preparatory tion hm that ir had not wor.ked. " In cenain cases, ~he of rhe 191:jos, .ind he ma} ,~ell he right" ("Gurs kr's \\7orld," a clue m cheir fuller mearnng." Janet Malcolm wrote ar the
deliber.itiuns 10 the:: positmning of individua ls. For rhis s him as saying, " I asked people ro stay fixed in their
c:.iuote in Peter Galassi, Andreas Gursky, exh. cal. !New York. time. "These pictures of women we don't know tnvitc us ro
choreography, he usec..lmodeling diagrams m prescrihe position, bur the effect was already lost. Those plmwgraphs 2001 I, p. r7). Further page reterenccs w rhis essay will he read them, to make up stories about them. An aura of the
placemenrs to his c,rra5 within which tbry could codercr- don'r work, beca use phorography is S( sensitive a medium in parc::nthescs1n the text. allegorit.:al wafts out of them, as if each woman represented
mine rheir positions." rhar one can 'r lie i11using it" (Schmick!, I ,l!SMuse1m1 Pho- I 1 "That Remains m be Seen," conversation between Stephan an age and stage and manner of life" (janer Ma lcolm, "A
21 See Wolf-Dieter Heilmeyer, ' Beholding rhe Beholder." in Jogratihs tie Thomas Stmth, p. 58, Lr:l1nslarionmine) - Dillc::murhand T homas Ruff, in Tlmmas Ruff, exh. car_ eries of Proposals," Diana & Niko,,: l::.ssays011 Ph<>tu -
ibul.. n.p. precisely th e genera l prin.:iple I have q11cs1
:ioned in the cast.- (M::ilmo, wt:Jen, 1996), p. 104. Further page reference~ to graphy jNew York, 1997 1, p. 97). "T he size t1f these por-
:.1 Peter SchjelJahl, "Reality Click~," The Naw )'orker, May of ~onrag, Schjeldahl, and Kimmelman. T his :.uggests, hy rhi, c::onver~ationwill be in parentheses in the text. traits is not incidental bULintrinsic- a n essential stylistic
27, .!.001., p. I 19, the wa)', that Struth knew exat.:tly what he was doing when u "Reality Sn Real !r's Unrecognizab le,'' conversation property," Malcolm also observes, a statement that might
i3 Michael Kimmdman, "Where Truth D.ire:. to t--.1leer Your ht: pused his museumgoers in rhe Pergamon Museum between Thomas Wulffen and Thomas Ruff, in ibid., p. 97_ also be applied to Ruff's work, bur she at once proceeds to
Gaze," The New York T1111cs, February 7, 2003, p. 37, photos. 11 Regis Durand, "The Secular Imagery n( Thoma, Ruff," in co ntra st Avedon's portraits with contemporaneous phmo -
1.4 It turns ~lllt, though, rhar rha1 incident actua lly mok place 2.:-l The '' Audience'' photographs were shown ,u the M:.irian Thomas Ru((, exh. cat. (Paris, J99 7), p. -r5. Furtl1t'r page rea list painting, which she sees as having provided ''borh
cxac,ly a:. Struth phomgTaphcd ir (as Struth remarked in a Goodman Ga llery, New Yurk CiLy,April 7 to Ma y 7, 2005. referem:es to this essay will be in parentheses in the text. the ~ancrion and a satiric occasion" for his images (98) .
pub lic discussion with Mitch Epstein and myself at the Bal- 14 Durand contrasrs Ruff' s arr in this regard with 011 e implic- Whereas photorealisr painting 1.iboriously imitates rhe look
rimnrc Museum of Art, April 12, ioo7 ). Yet, giwn the itly based on the model of "absorption in rhe represented of photography, Avedon ''jusr by squeezing the bulb of a
overall siruation, there must have been an cleme111of scene (to ust' Michael rried's term). TI11smeans assuming big camera anJ spending a few hundred bucks ar Moder-
~posing" in Srruth' s pborographing of it even so. 6 ruff. gursky, delahaye
that the .scene has some kind of Jeprh, which can be spatial nage . . . can du in a day what it wou lc:.Itake a painter
::.5 Lee Friedlander, Al Work (Nt'W Ymk, ::.002.). Jean-Franc;oi:, Chevrier. ''The Aclvenrures of rhe Picture (rhe illusion of fore-, middle-, and background), narratwc months co achieve" (98). She conc ludes: "Avedon ld1erebyl
i.6 Here e.g. is Perer Galassi on Friedlander's "Factory Valleys" Form in the Hisrory of Phorography (1989) ,~ rrans. (recoun1ing various 'incidenrs' which take place in the scene suips away photography's pretension to being an art and a
photo,: "All hut a few pictures isolate individuals, each Michael Gilson, in T/Je Last Picture S/Jtm: Artists Using or traverse ir), or finally l,istnric (involving a play of rela- craft, saying that it is nothing bur an idea, a serit:s of pro -
Framed in the intima.:y of his or her task. We arc close /11,utogroplry,1960- 1982, exh. cat., curated hy Douglas tions wirh pn :exisring models, references, quotations, etc.)" posals about picture-raking. The show at the Met illustrates
enough ru talk to them bur they are oblivi11usof u ur pres- fogle (Min neapolis, Los Angeles, 2003-4). p. r 16. Further (p. r 5, emphasis in original)- As he rightly says: ''Now, this idea of phorograp hy as a mental medium, more like
ence" ("You Have to Change tO Sray the Same,'' in Peter page references ro this essay will be in p;uenthese s in rhc Thomas Ruff's phorographs seem to undercut all these math and chess than painting and drawing, and tri-
Galassi, Frierlla11Jcr, ex h. cat. !New York, 1.005], p. 56) . rcxr. An abridgment of rhe essay originally pub lished in models of rhe internal and external relations of the image" umphant ly 'proves' it" (98-9). Such a reading implicitly
Oblivious of our presen.:e, maybe, but whac a hout Fried- French and Ger man in J>h (lto-Kunst: Arbeitl!11ans T50 (ibid.). links Avedon's large-scale portraits tu rhe (earlier) "con-
lander's? Galassi writes a lso of those phocos: "A frer a long ]aliren, e ..h. t.:ar. (Srurrgart, r9>!9). Th,~ phon,graphers 1s Ar one pnmt this led ro the charge thaL Ruff's porttaits had cep1ual.. moment in photography later anal>zed by Wall in
Hretch of pounding rhe public pavement la reference::to singled o ur by Chevrier are John Coplans, Bill Henson, somethi n~ in common with the art of Socialist Realism or "Marks of Indifference," rather than ro rhc emerging
Friedlander's streer photographs!, Friedlander had discov- Craigie Horsfield, Suzanne Lafont, and Jeff Wall. indeed Nazism. As Ruff remarks to M,mhias Winzen: " I tableau form. Moreover, in my opinio n - Ma lcolm mighr
c::rt!da way to make pictures of people he didn't know. Like 1. I retai n the English "picture" for the Gcrrna n "Bilc..l." was prt:try annoyed. Bur then I thougl1Lto myself: Okay, if disagree - the notion of an engagement with photorealis1
Edgar Degas. who admired the young bal lerinas of his .3 Jeff Wall, "Frames of Referent.:e" (.z.oo~d, in Jeff Wall, they thi nk I'm a nt'.o-Nazi, rhen I'll do portrai ts w ith so- painting has 110 direct relevance to rhC'developments dis-
paintings as much for their discipline and g rit as for the Selccterl 1-ssaysnnd l11terv1 ews (New York, '.).007), p. 176 . ca lled 'Aryan' eyes, true -blue. After I did that, rhe critics cussed in this book.
beauty of their dancing, rhe phorographer became absorbed The passage continues: " I did love l(1ok1ingat painrings, sropped talking about Na1.ism, instead l w:.is pigeonholed 17 From the vast literarurc on faces and facial expression, l
in rbe concentration and steady effon of people at work" though. particularly ones done in :1 scale large enough tu in terms uf generic enginct:ring.... " ( 1oo). (The blue eyes mention on ly Georg Simmers short, brilliant ''Thr Aesrhetic
(ibid.). Of a seril's of photos made at MIT of workers using be seen easi ly in :1 room. T lrnt sense of sc-ale is something I were added digitally to portrairs he had aJready done and Significance of the Face," in Kure H. Wt,lff, ed., Georg
co mputers, Galassi remarks: "I I lie looked .it the people believe is one of the most precious gifts giv,en us by Westc::m the color itself was enhance d. ) Ruff's poim seems co have Si111mel.r858-19i8: A Collection of Essays. with Tm11sla-
who were using those inert boxes and found them no less painting'' (ibid.). been to cal l his critics bluff, as if ro say: if you want co see tio11sand a Bibliography (Columbus, O h., 1959), pp. 276-
focused in attentic)n than Ohio workers wielding machines 4 Repub lished in Wall, Selected F.ssa)'sand /11tcrv 1ews, pp. rea l Aryans, here they are - and at rhe same time ro insi~r 81. My attention was drawn to this esS3) ' by James T. Siegel,
rhaL could rake yo ur arm off' ' (ibid.). Interestingly, in view 143-68. that no faces like those ever existed, rhat the manipulated "Georg Simmel Reappears: The Aestheric Significance of
of my remarks in Ch. 4 about the rlmnati cs of "grace" in 5 "Al111osr comp letely'' i~ an indirect reference 10 Wall; see portraits were no longc::r actual porrrairs, rhnt the phC> - the Face-," Diacritics, vol. 29 (SummC'r 1999): 100- 1J
Barrhes's Camera Lucido. Galassi also says apropos the e.g. hi~ "F rames of Reference." tograp hs themselves were non-photographs, as he put it ro 1 !! Gertrude Stein, "Picrnres," Lect11res111 America ( ry .35;
~Fat:tory Valleys" photos that "Friedlandt"r's mastery of ,1 6 I discus~ historical dimensions of the concept of the tableau Win:i.en in "Mo nument to the Unknown Photographer," Boston, r957), p. 79.
fur mort: agile techno logy [than Lewis Hine-sl cnahlcd him in rclatic.m ti\ eightee::nrh-and nineteenrh- cennrrr French conversation berween Matthias Winzen and Thomas Ruff, 19 As Ruff says in conversatio n with Winzen: " 111phl)togra-
co get closer ro the unfolding aCLionand co grasp mt1re inti- pajncing and criticism in my books Ahsurf1tiu11 t111d in Thomas R11//(Ma lmo ), p. 100 . phy, you a lways have hoth the medium and the depicre::d
mate!)' irs moments of grace" (ilnd.). TheatrictJlity, Courbet's Realism, and Manet's Modcmis111. 16 Ruff: "The fact that the portraits have taken on thl! char- subject at the same timl'" (p. 100).
1. 7 I am nor suggesting rhaL norhing of rhe sort 1s to be fou nd 7 Valeria Liebermann. "Annotated C.ataloJ!:ue Raisonne of acter of passport phr>rographs bas to do wir_hrhe model of 1.0 Jn effect Ruff used a picrure generating machine, rhe
in earlier photos of people osrensihly ah,orht:d in work or Works since r979 ," in Matthias Winzen, ed ., Thomas Ruff: rhe passport photograph. The person is identified hy society Mino lta Mont~1geUnit. to combine two of his portrait ph,,-
reading - on the conrrMy. See e.g. various photographs of , 979 to the Pnsent (Baden-Baden. Colo1gnc, New York, via the passport photograph" ("Reality so Real Ir's Unrcc- tographs into a new one and rhcn made silkscreens of the
industnal workers b>' Margaret Bourke-White, such as 2.003), p. 180. See a lsn rhc sccrion on Ruff's portrairs in ognizahlc," p. 97). See also "Mo nument to rhe Unknown result ( Liebermann, "An nora red Catalogue Raisonne,"
Making Cmddrn11s(c. 1930) and Finis/JingAirplane Cylin- Erfc de Chassey, Pl.1tit11des: 1111e histoire de la plmtogmphi e Photographer," where Ruff remarks that he "made the big, p. 2.31 ) . Sec Ruff's discussion of the Altered Portraits
der /leads ( 194 i/42 ), both illustrated in Jane Corkin, ed., lute (Paris, 2.006), pp. 1 72.-X4. beautiful passport phoros to get beyond the usefulness for with Cat herine Hurzeler, "Interview with Thomas Ruff," in
Margaret B011rk11 - \'l/hite Photographs (Tornnm, r 9R8). The l.! Quorcd by B~my Schw:1bsky, The End of Ohjecriviry." 011 idt:ntilication" (p. 99). Thomas Ruf( (Ma lmo), p. 109.
embarrassing truth is that the entire issue of absorption in Paper: The Jo11m11lof' l'rints, Drawings and Phvtograpli)', An interesting contrast is with the roughly contempora- 1r In fact, an information sheet accompanying a show of nt'w
neous porrrait work of Richard Avedon, in particu lar with wo rk b)' Ruff at the David Zwirner G:illery 111New York
374
notes to pages 146 154 375
Ciry in November 2.00- explic:irly compare~ the plwtn - nored by various wricer5, incluJin~ .Jean-Pierre Criqui in s,1mc rime, it is a photograph - a window on che world - rior offers littlo:concrete information. There 1s no fa.,:adeon
graphers enla rgeJ-pix.: 1 photographs w Impressionism. "l)11 rhe !Vklancholy of V:intogr Points (As I Leaf throu gh which planes us where the phmographer once smod .rnd either parl1a111enrbuilding or I long Kong hank; peopk
" Much likt: Irnpres~1onist paimings, thcse photographs .111 'A lhum by Andreas (Jursky)," P<1rke11, no. 44 ( 1995): tilts uur head with his as we rake in the scene through his work busily at their dl'sks, mur sr,acl'S, rnlk to one another.
require th<::"icwer m sta nd at a distance in urc..lcrto make (,5. Criqui ol~u rec0gnizes Gu rsky's predilection for depict- eres" (36 - 7). He comp.ires rhis work with Friedrich', Yer being able co see exactly what is going 011 inside dnes
., visual assessment of rhe image content," ir re,u.ls. "The ing pcrson s unaware of being phocograplwd. Clmr,-hyt1rd,.m image "that locates the viewer in preci5cl)' nor necessarily educate the viewer. or txpl:iin how polirical
c..listmcrmndcs of viewing-close, mid-ronge, :mu far - inre- :di Q\ICned in Carol ,qLtiers. ~co ncrcrc Realit y." R11hrwvrks: one spar and no other" (37) . Is rhis true though? lei, as if nr econumic systems actua lly work. You cou ld look at a
gro l to fullr processing the wo rk~, cha llenge viewers to The Arts,){ a German Region (September 1998): .>.> Gal.1ssi has forgotten his own ear lier remarks about the way phuro of the I long Kong srock exchange for hours and
examine th<!way rhey lo(>kat im11gesin the ,Ht c.:onre'l:tand 2.9 E.g. Michel Gauthie r: 'Ii y a cntrc la photograp hie c..le in whic h Gursky's images "obliterate the cunringencie~ of never spot any actual money. This doesn't represent a
the everyd:1y." C.ursky er scs objers u11C : forme de distance., une monicrc de perspccri ve." failure on the p:irr of rhe phocngraph; it repre sents the
Alrernarcly, or in adc..liti<ln,might nor rhe Nighr s, green - distanciacinn. Le point de vue adopte n'apparri em pas a la 37 An exception is Giordano Bmm, ( 1989), a pictur e of rwn natu re of money in nur time" ("Andreas Gursky and thf.'
ish pictures taken after da rk with ,l light (nrensifier of tlw rcfalice phmographiee. Pour rcprcndrc la tenninokigie de men on a bench in an oc..ldsetting- sanJ in the foreground, Conte mporary Sublime," Art .fo11ma/, voJ. 6i fWincer
sort Coali tion troops usec..1 during the first Gu lf War, also he C.cnette, 011 pourrait dire quc, 11111/alis 1111ua11d1s,
c'esr un low trees anJ bushes behind them -ap par ently deep in con :!.OOll: 2.5).
taken ro recall the highly artific.:ial-seeming rona l unity of poim de vue heterc1-diegetiq111!:' le photographc n'e~l pas versarion. -I ' On the structural invisibility of rhc modern sysrem of
neo-impressionisr pictures, such as Seurat's La Parade. a en inreraction avcc cc qu'il photographic, ii n'est pas l'un ,8 Cf. Criqui: "T he rampant beaut y nf Gursky's phorograpbs see David l larvey, Tl,e l.imits to Capit,,I (Oxfo rd,
611.1111.:e,
nocturnal subject, or his landscape srudies anJ har - des personnages du monc..lequ'i l vise'' (''Vues imprenahlt:s culminates in his interiors of focwrics or smc.:kcx..:hanges. 198i ); and Fredric J :1111eson, "Cult ure and Finance
htrscape) (night scenes mediated by technology raking the sur readymades: La phot ogra r,hie scl,111Andreas Gu rsky," That these p laces of labor, of alienation and 11( rhe most Ca pital, in Tl,!! C11/t11ra/Tum: Selected Writings 011 the
p lace of the sc.:ienriscic ana lysis of day light)? Les cahiers du 11111s ec 11atir111al d'art 111odenu :, no. 67 cynic.illy disc111bodiedbusiness cou lc..lprovide an opportu- Post111odcm.1 <J83-1yy8 (London and New York. I',1':18),
L:?. Ruff in che co nversation with Wulffen: "T he newspaper [Spring 99':II: ~2.). nity for unparalldecf visual deligl1c,even ahead of '11amre; pp. t 36-6 t; Jameson sees rhe present as marked by an
photograp h is the stepchi ld of photograph y. It's cue ac 10 Less cogend) ' Ga la&si\ lasr par;igraph reads: "Gurskfs is a parac..lnxrhat will perhaps leave an as hen afrertasre. [~ur "intensification of co mmun ications technology rn the point
random cu fit into an arric lr. captione d and turned into an world, of course, is an invention. Pare of irs authority rrscs there again it's a matter of perspcc.:cive and there's 110 doubt at which cap ital transfers today abolishes lsic] space and
illustrncion of the rext. What kind of information can chis upon the 1magin;:irio11and skill with which the anise has that the hypnotic seducuveness of Mercedes. R<1s/11/t time and can be virrua lly insrancaneo usly effectuated from
image give us if the image is then isolarcd, and rexr and drp loyed his creative license. The mher pa rt rl'~ts upon cht' ( 1<)9_\), Gnmrlig, N1~m/1erg( 199,) or Siemens, Knrlsm/11, nnc national zo ne ro another. Th e resu lt\ of these lightning-
cnprion are raken away?" (p. ';)8). On rhe mid-eighreenrh - rccognirion tha t the work eli..:icsfrom the very ohsc::rversir (1991) goes virtua lly unnoticed hy their inh:ibiranrs, who likt movements uf immen se quamities of n10ncy around the
c.:enrury(and after) pursuit of inte lligibility see my Ahsnrp- so reso lutely exc lt1des. It is Gursk),'s fiction, bm it is mar in turn would go nearly u1111nricedby us viewers, so much globe are incalculable. yet a lready h:ivc prod u.:ec..lnew kind s
tum ,llld Theatricality, pp. ~9-90 . rhu s che e:irly art critic wor ld" (41 ). do chey meld imo their environment, so much do rhey Slcm of political blockage and als(l new and unrepresentable
I.a ronr de Saint-Yenne proposed in 1 754 adding titles o n '\J Rupt:rt Pfob, ..Per..:rptio11and Communicatio n: Thoughts c,1sr from 1he same compact :ind multicolored materit1l as symptoms in lare-capirnlisc evcryc..laylife" (p. t 4 3). Firringly,
carrouches ro the frames of history paintings so as ro make ,)n New Motifs by An<lrertsGursky,' in Andruas Gursky: the machines they operate a nd rhc goods tht')' product:'' Gursky's I long Knng and Sh1111gh.ii Ba11k, Hong Kong
d1eir subjects intelligible co the viewer (Se11ti111ens s11r Phof<lgrap/Js (mm 1 984 to t/Je Present. ex h. c.:ar.,ed. Marie ("O n rhr Melancholy of Vanragc Points," p. 65").And Alex ( 1994) is illusna red on the cover of Jameson's book.
que/q11 es w111rages Je peinture, sc11 /t1t11rect grt1t111reecrits a Luise Syring ( Diisscldorf, 1998 ), p. to. Alberro on PTT, Rotterdam ( I '/':I 5): "Interspe rsed through - -P Siegel, 'Consuming Vision ," t 09 .
1111partiw lier en provin ce f1754; repr. Geneva , 19701, pp. 3 .2. 1-rom a large literature, see Rosa lind k.r;au s's intluenrial our rhe tremendou s wealth of pict0rial incidenr are deinc..li- 43 My accounr of the interplay between reading and seeing in
108- 1.!). The key modern texr stressing the importance of essays ''Notes on the Index: Parr t" and "Noel's n n the vidualized workers wlm become wnrinuous wirh rheir Untitled XII ha s something in common wirh my inrerpre-
the c:ipti(in is Walter Benjamin, ''Lierle History of Phoco- lnd~x: Part 2.., in Krauss, T/Je Origi,w/il'y of the A1J1111/- environmem, so much so that tht:y appear as in:inimatc tncinn of rhc texrnal scraregics of the American writer
graphy" ( i 93 t ), trans. Edmund jl'phcon and Kingsley Garde and Oilier Modernist Myths (Cambridge, Mass., and :ind cold as the machines tht:y npcrarc'' (" Blind Ambition," Stephen Crane in "Stephen Crane's Upturned Faces,"
Shorter, vol. .! of Sele,ted Writings, 4 vols., trans. R11uncy London, 1985). pp. 196-il9; :rnd Walter Benn J\ilichaf.'ls, Artf11ru111, vol. 39 I.January 2.001I: t 10). Reading, Writmg. Disfig11raflc111: 011 Thomas l:akms and
Livingstone et ,ii., ed. Michael WI.Jrnnmgs. Howarc..lEiland , Phorographs and f-nssils," in Ja mes Elkins, ed., f'/Joto- ,LI A~ J ulian Srall:ibrass c..lo
cs: "People arc never agents, but Stephen Cm11e (Chicago and London, 1987), pp. 9 1-1 6J.
anc..1Ga ry Smirl1 (Cambridge , Mass., and London, 19';)9), gr<1p l1y Tl,eury (New York anJ London. 2.007), pp. 43J- rather insrrumrncs wh,ch react w a certain ~pace, Ji spos- 44 Two c0nsc..:ucivesenrences in the 11pperporrio11of rhe page
P 52.7. ;o. T here will be more rn say about the issue of indexicality ing themselves this way anJ tha t, invc,lunrnrily produ cing read in translation: " It is"' s inking or rising of all mankind
:?.3 The ba sic refrrencf.' w,,rk for Gursky is Galassi, Andreas in Ch. 9 and in the Conc lusion below. an emergent order which, ~ince it c:innm be :iccurarcly rep - on anot her plan, on 'in rhe elevation drop." a nd a ll things
Gursky; hereafter AC. .n Gursky cited hy Ca lvin Tum kins, ''T he Big Picture," Tl,e resented by a..:tion and JevelopmenL, is simu lated by eom- transform themselves in ac.:ordrtnce with ir; one co uld say,
24 The question of thi: size of Gursky's phows is a c..l elicate 1rne. Nell' Yorker, January 2.:?.,2.001, p. 69. posiriCJn. It is hard IQ imagine Gursky's human subject s they rem;1i11che same hut find rhemsclves now in another
ln AG, ihr caralogue of his 2001 retro spective exhibition 3 4 See e.g. Kar} !liege!, "Consuming Vision,'" Art(omm, vol. having an inner life; they are entire ly the produce of Max spac.:eor it is all colored wirh another sense." Also: "In s uch
at rhe Museum of Modern Art, New York, the dimensions ;9 (January :too 1): 105-q, esp . the acc.:ount of how Webt:r's irnn cage of lmndage" (..The Iron C1ge of a momenr, one recognizes, rhar outside the world for all,
given .ire of rhe works as framed (and with a white margin). Gursky made U111i1/edV ( 1997). a pi..:rnre of si'I: long Boredom," Art M()nth/y, 110. 1~9 !September J995 I: 19). rhar so lid one, which can he researched and hanc..lled with
Jr is also sr:ired char Gursk y Joc s nor recor d the pre<.:ise shelve~ fillt'd with at hletic.s shoes ( ro9 ). 40 See :ilso Neville Wakefield: 'finan..:e has become the admin understanding, a second, mobile, singu lar, visionary,
dimensions of his image~, and 1har starting in r99S he has , , For a critical asst:ssrnenc of thesr developm ents sec Norman istra cion of monetary territory . This is Vireality, che gosptI irrarion:il world is prl'sent , tha t onl)' apparen dy coincides
reprinred ear ly ph<1wgraphs in a larger size; sometimes, mo, Bry~on, "T he Family Firm: Andreas Gun:ky and (,crman accord ing co Paul Virilio, where the mainrl.'n,rnce of lines of with rhe first, rh:it we, however, do nor, as r eople believe,
he has used vertica l frames for horizontal imngcs {e.g. Photography," art/text, nn. <q (November t 999/Janna ry ..:ommunicario n mark nor jusr rhc new elecrronic topogra- merely carry in our heart or in the head, but ralher per:.iscs
Sunday Strollers, Diisseldurf Airport). See "Lisr of Plates," .1.000): 76-S t: 'Eroc..le the indexic.:al :indl you have ... a phy bur rhe dis,1ppertrnnce of civilian space" precise!)' on ,rs own as external ro us as that which appears
AC. p. 184. highly contradictory aesthetic, going in one direction (" Brasilia:' V:inishing Points," Parke/I, no. 44 I 19951: 78). w be the valid worl d ." My thanks to Joyce Tsai for pro-
:?.5 fhis is why picto rial precedents for depictio11sof a "disranr toward f-rankfun School an,tlirsis of mass cu lture, a nd in Also: 'This is rhc nl!w geopo litics hascd on the commuta- viding these (Jeliherarely loose) rrans lacions. They suffice ro
prospect from an elevated position'' (Ga lassi, :?.,) arc nor another plunging headlong i1110the picruresque ... The tion of places and rhfn~s. Reshaped through commercr, its suggest a certain themaric interp lay between Musil's rexr
rea lly to the poim. problem is thnr thr aesthetic dom;iin seems to swa llo" ' lip geography has been rererrirorialized away from rhc physi- and Gursky's projc..:r.
26 " I generally let things develop slowly,'' exrracrs from a cor- rhc rest of the soda I field" (8 r ). le is rnt least argu;1blc c.ii into rhc meraphys1cal vectors of rime::anc..lspace, che gov- 45 The writer is Michel C.uuthier in ..Vucs i11>pr enables sur
respondence between A11dreas Gursky and Veit Gor nt:r, wherher Gursk)"s interests were ever fundame ntally ernment of war- (80). Gurskys pictures are thus seen :1~ readyrnadcs" (67). He also co mpar es the monumental
1998, in Andreas Gursky: Futogra/ien 1984-1 yy,~, exh. cat. "social" in Brrso11's use of rhe term. offering us "rhe [magc of exi le as we fall into th.: vast, dena- I l<>ng Kn11g Stock t-.xch1111gediptych wirh Noland's
(Wolfsburg, 1998), p. v 111.Furrher roman page reft:rences .\6 Galassi sees the work differe ntly: he says tlf Autoba/111, tured space of the postmoc..lem , ublime" (l.'io). Aoorher chev rvns (69-70 ).
to this rnrrespondence will be in parenrheses in the text. Mc1tma,111 rhat it "is an object that shor<::sour space as it critic, Alix Oh lin, writes: "IGursky'sl buildings are sce- 46 Criqui, "On rhc Mclnnchol y of Vanishini:; Poinrs: p. 65.
1..7 Gursky\ prefrrencl' for elevated vantage p0ints has been stands b,fon us. like rhe abstract paintings it riva ls. At rhe rhrough, displayLng both intcnor :inc..lexterior, bur the inte- 47 In fact Criqui writes: "Not one of rhc111is look ing at the
no t es to pages 213-222 38 1
380 notes to page5 204 2 l 1
mares 11she walks off the field. They do rheir h1!stto support 7 Willi.1111
Klein ,ired 111 Ferguson, "Open Clry." p. , ~- ,5 Vinct'nt Kari,; ",treuli grants his ~uhjects rheir 11>1tivegra..:e
nm1arks, which he regards as senrimenrnl (conversarion
him, 10 console him, nne of them invitrs the crowd to R "On Winog.rnnd's New York: A Convrrsation with I-ran rart1a lly hy the way he frnmes chem ("The Nt'w York
with the artist, May ~007). In anv case, his srntcmem is fol-
appl,rnd the 1::xitinghrro, but all rhe while::Zidanc seem~ Leibowitt," in The Mt111 i11the Crowd: The Uneasy Srreets Ph11rogrnrhs of Beal Strt'11li," Bct1tS1rc11li:I\Je11
1 York City
lowed by o ,horr rext by Jean Bumlrillard, "Poenc Trans-
indifferent to their efforts, indeed m rhe1r pre&cnce. of Gt1rry 'iXfi1111gra11d(~an Francisco, 1y99 ), p. 14, <:mrha- 1 00 0 - 0 2 [New York and Osrfildern -R11i1, Germany. 200 :;I,
fcnmce of Siruarion: which begins: "No-one is l<>ukingar
58 The full English ride, Zid1me:A Twe11ty-firs1Ccntur)' Por- sis in original. p. 1.05). From the Murray (,uy Caller) ' h.111<lout:"The
anynne else. The lens a lone 'sees,' bur ir is hu.ldt:n. What
trait, seems tn imply a certain representaciven ,ess; of course 9 Jeffrey Fraenkcl, "The Winogrand Emgma," in Man 111 thl' seermngly randrn11,rhrnugh the sclecrive proi:ess of persona l
LUL' Del,,haye captures then, isn't exactly the Otht'r
rhe French title, a translation from rhe English - Zidane: Un Croll'd. p. ro. observation, instills rhc prosaic with drama and grace."
(J'Autre) but what remains of the Oth~r when he, the pho -
tographer. isn't there: the ill-assorted gazes of people who Portmit du 2 r siccle- goes well bt:yond that, lbur I rake the 1o Ferguson cnntinut:s: "Just two yt::irs before his death, he 16 As Gregory William~ remarks: "Thr sheer qu :rnrity of inf11r
Engli&h title to be dcfinirive hert:. On rhe relation of Zida11t! purchased an eight -by-ten view camera, and m id friends he 111ation on disp la)' is generous, a!. soci,11 convtnw,n
see nmhing; who arc, mosr imporranrly, not looking ,tt one
to rwenty-first-cenrur) ' mass communications sec Tim was finished with the Leica he had used for so many years. docs nor normal!)' grant such unfenercd visua l access rn
another, obsesseJ as they arc with prott:cting rheir own
(,riffin, "The Joh Changes You," Art(orttm, vol. -15 ( ep In fact he never switched to the large-format comer:i, hut complete srrnngers. Srreuli gives license ro stare" ("Bent
symbolic ,pace. Hem:e this closeness and this particular dis-
te.'mber 2006): 336-8. the purchase irself announ,eu one ot the directions rh,11 Srreuli." Art(i.m1111,vol .. p IJ:inu.iry 1.003I: , 39). In this
tance between faces- a proxemic tcnsinn genera red h)'
appre hension at seeing and being seen. Everyone is staring ,9 According ly, 17 individual (i.e. unique) worlks have ht:en would later re\ ise the form" ( 1 4 ).
1 1 See Lee Friedla nder. Sl'lf J>ortr,1il (New York, 19;-o, rt.'V.
co nnection, Srreuli sboweJ a fifth work at :Vlurray Guy 111
Jan uary 2.003, "NYC o i/NYC 02". Set at Astor Pl,,11.:e, the
imo an empty spat:e beyond the person the)' art: facing. And made availab le for acqui~ition: each consisrs of two side-
so is the photogrnpher entire ly \lnconcerned with his object. bv-side "versions" of che ma rch, the one ar rhe left the film edn. 1991<). By the 1970s, Jeff Wall writes in his essay latter was not a videu w11rk but rat her a series ot projecied
0
Everyone is anonymous :ind t:ach face vanishes in real time~ l havt! just described, thl' one al the right the enrire 90- "'Marks of Lndifference': Aspects of Phorogrnphy in, or as, color phuwgraphs (i.e. slides) of subway riders em<.!rging
minure feed fn)m one nf the 17 cameras. Con.:eprual Art" ( 1995), "Rep1>r1,1ge is intrnvertc-d and par- from underground into brig ht sun light; each imugt: held the
(n.p.).
,o However, J,,1ner Malcolm describe s Evans's sub je::crs as odied, man neri;tica lly, in .ispects of phoroconccprualism.
The notion that an artistic;:dly significam phomgraph can
wa II for a di fferenr length of time (as shorr ill> five or ten
secunds bur sometimes 111ud1longe r); occasionAlly individ-
"sirring on the subway in the srnre of abstraction and iso-
any longer bc made in a direct imiracion of pho tojournal- ual images br iefly overl.1ppetl; local culor was incense as
lation that gives a living face the lonk of sleep and death" street photography revisited:
8 ism is rejccrcd as having been hismricall)' completed by the wa~ the contrnsr becween light and shadow. l he effect
("Slouching Towa rds Bethlehem PA," Diana & Nikon,
wa ll, streulj, dicorcia earlier avanr-gorde and b)' the lyrical subjectivism 0f r95os was of a series of ponraits of persons unaware of being
p. 127). Lndet:dJohn Szarkowski observed to me in con-
versation tha t Evans must have singled our passengers See also mc,st of rhr workt!rs depicted in the.' , 94A "L,bor arr -phorography .... The social field trnds to be abanuoned phmographed and whose "inner" stare~, althoug h perft.l"tly
taking long rides in order ro porrray the abstracted and at Anonymous" series of photos made hy Evans in Decroir :md to professional photojourna lism propt:r, as if the Jesthetil" unreadahle, were ncverthelcs~ made almost physical ly pal-
problems associated with depicting it we re nn longrr of any pable m rhe viewer. Williams again; "Prese.'nted in a series
rimes somnolenr facial expressions found in his photos. pub lished in rort1111e; six of these are illusrr.11ted in Walker
51 Quored b)' Sullivan, Thl Real Thing.'' vans, ex h. mt., with essays by Maria Morri ,s Hamhourg, consequence. and photojournalism had cnrcred nm so of srills dissolving inw thl' ot her, eac h person seemed iso-
much a pustmoderni,, p hase as a 'po~rnesrhecic' one in lated within his or her own thoughts , rerhaps prompting
52 Regis Dura nd, "La Force de ['evidence," La Rccherche Jeff L. Rosen heim, Doug las Eklund, and Mia Fineman
p/Julogrnphique, no. 7 ( 1989): ro, trans lation mine. further ( ew York, San Francisco, Houston, 2000-01 ), car. nos. which it was exduJed frnm aeschcric evoluticm for a rime" a srrongcr degree of pt:rsonal identification from rhe
page references to this essay will be in parcnrht::ses in the 121-6. These phmns and an accompanying group of pic- (Ln WalJ, Selected fi.ssaysand /11teruiews, p. 150). Wall's audiencr" (ibid.).
text. In fai:t Fischer (b. 1958) began by photographing his tures shot on the streets of Chicago nre discll!;scd by James essay is an indi~pensable guide to rhe developments he 17 As Kar1, remark s: "By nor entering into a persona l rela-
subjects ar half-length, "their habits forming a very impor R. Me llow, Walker Eva11s(New York, 1999), pp. -1~0-9s. charts. tionship with his suhjecrs. he c,1prures rhem in their natura l,
tam p,Ht of rhe images" (Rosa O livares, "Mystica l Sur- See the brief discussion of Mimic in "At Home anJ , ! All fou r were shnwu ar the Murra)' Guy Ga llery in New unguarded St3re, Fr0m this omnisde nc' position, he makes
.!.
faces," in Roland Fischer: Camino, e)(h. car. [~anriago de Elsewhere: A Dialogue in Brussels between Jeff Wnll York, November 2001.-.fanuary 1.00;, which is where and significant chc,iccs. He chnosrs not to highlight people's
when I cncmrnrered Streuli's work for rhc first rime. ln all awkward failures of compos ure but rather their gracefu l
Compostel la, Logrono, Burgos, Freising, 1.003- 4 ], p. 1.9). and Jean-Fram;ois Chevrier," in Jeff Wall, Sc>lectedessays
rhcse videos the proportion of im.ige widrh ro height is -1: no rm;iliry" ('New York Photographs:' p. 20,) .
The frontal, close-up portraits followed and have imposed and Interviews (New York, 2007), pp. 280-81.
themselves as his key works of this period. See also Rola11d Russell Ferguson, ''Open Cicy: Possibi lities of rlw Stre~r,"in -;. Most of the rime, Streu li phu:ed his small camcrn 011 a 18 In an interview, David Brirrain asks Streu Ii: ~ Most of y1111r
3 picturt:s are uf young people. b that bcc,wse tht')' are rhe
Fischer, exh. cat., with ess:iys by Joachim Kaak and Cather - Kerry Brougher and Russell rerguson, Open City: 3treel suppMt where it cn uld stay for the durarion of the fixed-
ine Francb lin (Munich, 1.003). My thanks to Thierry de Photographs Silcce r y 50, exh. cat. (Oxford, Salford Qu:iys, ang le videos; in the George Strecr Bus Stop videos, where main ta rget group for most advertisers?"' Srreuli rep lies: "I
the.'camera tracks particular ~ubjecrs, ht' placed h,~ camera do wke pictures main ly of young people. It's comp lex. 1\/ly
Duve for calling Fischer's work to ITI)' ,me nrion. Bilbao, Washington, u.c., 2.001), p. 15. further page refer-
on some Blu Tack, the rubb<.!ry,putty-like pressure-sensi tive ,v~>rkdoesn 't speak about individ 11.1ls (it's nor portraitun:
53 Paul de Saint-Victor, "Socifae des aqua-forristes: eaux-fnrres ences to this essay wi ll be in parentheses in rhe tt:Xt.
modernes, pub lication d'oeuvres origina les et ineditcs," La See Henri Cartier-Bresson, The Decisive Moment (New adhesive, attached to a rai ling near that ~top, which per- in the m1ditiona l sense-), it tries m ~peak ahout life in
4 general in cities in the West - which is where I live and what
Presse, Apri l 27, r!i63; quoted and discussed in Michael York, 19p). mitted a certain amo 11nt of flexibility of angle of shuoring.
Fried, Manet's Modernism, or, The Face of Pamting in the Els Barents, "Typo logy, Luminescence, f-reeJc,m: Selections My thanks to Beat Srreuli for clarifying thest: and orher I understa nd. So for this r)pe of work I need images and
11.16os(Chii;ago and London, 1996), pp. 2 5 t-2.. For an from a Conwrsation with Wall" ( 198 5) in 'Wall, Selected technica l m3tters for me. places wh ich a re open and mu IC>ospecific. This works
illustr:nion of Moysc's etching, see ibid., p. 1.51.,fig. 135. r.ssays and lnterviews, p. 197. Wall goes on: 'UnreOected 1, According ro Srreuli, che videos were ~hot through better when I use young people as subjects. Publicity abo
See also the monk with a cello in Legros's etching, Proces- social act ion involves a regression of the individual. an the window of a coffee shop, with his camt:ra on a tripod; uses models who are pretty neutra l, and not o nly because
sion dans une cglise es[Jagnole(c. 1860), iJlusrrated in il,itl., accumu lating conformism. W hat is conformed to in rhis in fact rhat is where the sound tr:ick comes from - it cargets yo1111g peop le. Thar's how 'pub lic images' work:
regression isn't the surface of society as much ,is its deprhs, ..music and talking inside that [coffee sh,)pl" (persona l open images which stand for a lor ()f other images anti
p. 1.54, Fig. t36.
54 Sec Fried, Manels Mndct11ism, pp. 2.51-61. its inner cont radictions. This regression 1s the way individ- com mun icatilln). prop le, which can rcOecr a lor of Jifferent pro jection s as
55 Doug las Gordon and Philippe Parreno, "So me Nores about uals live ch truth about society without having rhat truth 1-I Ar rhc University t1f Massachusetts , Amherst exhibition well. On the orher hand, I also choose my subjecrs by simple
the Project, Zidane: A XXlst Century Portrait, promo- pass through any process of reflection . Since the regression Strculi showed a wurk with the same title but it somewhat human inrcresr. It was surprising though when I saw the
coma ins a truth. or involuntarily exp resses one, iris a sort lacer dare ( 1 1-01-02.) that was significantly different from first picrnre, rakcn in Oxford Strt:t:t ILondon, for :1 projecr
tiona l broc hure, n.p.
56 A similar effecr comes about eadt rime the crowd noise of inverted form of profundity'' (i/Jid.). See ;:dso Jeff Wall, the Murray Guy version. For ont thing, it was projected commissioned by the Tate Gallt:ryJ and they were al must
rerurns at a high volume. My tha nks co Molly Warnock for "Gesrus" ( 1984), in Thierry de Duve, P1rJellc Pelenc, on 1, nor 1 walls; fvr anot her, it had been edited so as ro representative of the Jemograp hi~ nf this shopping mile.
her thoughts on this matter. Boris Groys, and Jean-Franc;ois Chevrier, Jeff \Y/a/1.2.nd emphasize effects of disconri nuit)', absrraction (e.g., hy Hur r wouldn ' t mind if the pictures didn'r reflect reality in
5- The friend is Robert Pippin. We receive an especia lly vivid edn. (London and New York, 1.002.), p. 7i>. dwdling on the co lored sides of passing trucks), and collage the politically cocrt'ct way' -1 am nut only miking about
nnpression of rhis aparrness after Zidane is expelled from Where its rirle and dare are given as l.itlle Italy. Ne1t1York - even, :it times, unintelligibility. I found it cha llenging and reality, ir'$ my persona l fiction of evrryday lift! as well"
6
tht" g:imt: (~ee helow) ,md is ar once ~urroun<led hy ream- impressive. (''The C..rowd.'' Creative Camera, no. H7 I 1997 1: 35 ).
( 1 9,4).
- - -- - -- - - ---- - - --- -- --
,rns,1 prcc1euse quu111 : gorger <le hon v1n, l't 1':ii pl"rJu struck h) :,..1i~h1ma\cvoc,mon of che memor1.1lphomgraph
mg m l:lanhes, hy which I cake h,m _w mea~ the phowgra presque tout ,merer pour la <limcn,ion spat1:ile des ..:ho~e~" ,ind wondering for a momem \\ ht'thcr ir m1ghr he po~\1ble
capJhle of 13lkin~abour rhc world 111pa111u~gw,rh rhe Jnc-
pher\ ab,o rption in the :ic1 of raking a. p1i:rurt'-of pho- m make a worl.. uf h1~own ba,ed up,in Jt. Thr dcscripnon
umentar)' wealrh that Raudelairc lent the painrer of moJ1:rn (Fng. trJnslat11n mme).
r,>graphing the st11di11111
-wch thar he fail~ t11perce1\e tht' LuJw1g Wittgenstein, Plii/11s1J/1/Jical Re11111rks,ed. Ru~h reads:
life, h111r.1ther .1 genealog} of p:unter~ ,, hu ,acnficcJ tht: feature of che scene tha t ,viii rurn nut tu he the J111 qf
1zct11111
world in order w s:ivt: painting. Thi\ was ,1b~n:1crwn.~ decJil (for some parncular viewer). This i, what it muse
Rhees, trans. Raymond 1-largrea\ c, anJ Roger Whire TIHSphotograph, pnnri.:<lin ,cpia ink, was lJUltCunlike
hundred years later, 1t wol.. a young .irtbt "ho had CJ,.pcrt- (Chicago and 0-<fnrd, 1975), pp. llo-R 1. This pa,,ag,... the usu,,1cluttered mementos nf the war. Ir had heen com-
mean for Michaels ro write: " ror Fried, Banh es ... emerges comes immed1.1tdv .,fter the ones cited in cunnecrion with
cnccd first-hand the risk of ,reriliry in rhi, genealogy, nnw posed wi1h an artist's eye for stn 1cture: it reall)' made it
.1~.i champion of ab,orption" (41- ). Also: ~rrurh in Ch. ~. 1 <lo not pretend 1hat rhe ,t::icements I have
chat n haJ come up against the 'la~t monochrome, to !,CCmas if Lhe thou,ands of \C1l<l1cr!, who were pre~ent
decide m turn ba1.:kto rhe point of hifurrnti on called Ma net, lW[hat Barthe~ reltuire~ 1> a rad1cali1ation uf ah~orpnon; 1ust quoted arc pcrsp1cuou!>,h111in the prc~ctll conte'<I tht'y were arrangl"d delihcracely, like figure~ in a painting, to
in 11rder to e>.plore rhe path nm taken by rhc h1Stor~ of he rran~form, the ,mi\lcnce that rhe sub1c:ct of. rhe are, ro sa)' the least, food for further rhought. ee al~o the focus che entire at1cntion of the vie,\ er nn the rail ceno-
modernist painting. Needless m say, he h<1dro sacrifice phut<>graphnor he ,een as ,ecking t) proJucc an l.'lfcct. reflectiom thar folio\\ (pp. 8 ,--). taph of unpainted wood in rheir midsc. In rhe distance ,
p,unnng on rhe way" (Look. 1 oo Yet1rsof Cu11te111p urary into the in,i5tence tha1 rhc photographer nn l ht: !,ecm a~ Vischer and Naef, Jeff Wla/1,pp. 4 17-1 8. The four v11lumc~ mounr-ain~,lnped gently in ,he hate, rismg in easy ~rage~
Art, tran s. 'iimon Plcasance and Frorm1 \Xlood51Bnmcl~, seekinV,m produce an effect. Acrn.111}, thi~ is coo wc.1k a the rcrralugy compmes , with their ong,nnl date of puhli- m the leLof cht: picture, awn)' from the broad plain ,It
1.0011,pp. 1.45-f>, re,. and enlarged edn. of Vnte1. , oo ans w:iy m put it. Th e effects Banhes b intl'l'l!stc,J in are not catit1n, are: Spring Snow ( 1961< ) : R111wwayHmsts I 1969): rheir foot; to the right, they merged m the <l1~tancewirh
d"art co11tempomin l Brussels, z.000-01 I. merely one~ chat sccm m be: unintended; the)' .ue ones Tl,t Temple of D,11011 ( 1970); and flu: Dec11y, 1f the Angel ~cattcred clumps of trees, va111shinginto rhc yellow <lusr
11, Jhe notion rhar a photogr,1ph tenJs strongl} to reveal rhat ch:11 re:illy Jre 11ninrcndcd. r\nd while th1s_imisrence on (19"' 1). uf rhe horizon. And here, instead of mountains, rherc wa,
per 5ons in it are merely posing, if thar is 111facr the case. the unintended makes Banhes .. . a cruc1Ji figure for A work I discuss ar lc:ngth in TJ,e Mrm1e11t CJ(Caravax~iu. a row of trees growi11g taller as the eye moved tu rhe
was regarded h) the ntm:teenth-century phorog.rapher and Fried and rhc critique nt the pusnn tdern. it .ilso makes See my Co11rhet'sRe11/is111, pp. 148-55. nght: a yellow sky showed rhrough the gap berwel'n
theorist A.-A.-1:. Disderi in hi, Cart de la ph1Jtogrt1phJe hnn :1 cruci:il figure for wrirer, like Krau!,~and C,olomon- Yukin ~1i;;hima, Sprmg S11nw, trans. Michael Galla!!,ht:r them. c;i'( vcrr rail trees stood at graceful intervab ln rhc
( di(,!) a, prest:nring .10 in~uperahle p~oblcm for phot~)~r:i- Godeau, who are c:ommiucd 10 dcfendin!!,rhe pos1mo~- (New York, 1975), p. 372.. foreground. c;1chplaced ~o as to compleme nt the l,,erall
pher~ whn wi~hed to con~rru1.:tmulti-figure comp1)s1non, crn. Indeed whar I have 1usr described a, the rad1- Yuk10 Mishin1a, Tl,e Te111/1leof D,1w11,rr:rns. E. D:111." harmunv of the landscape. It was impossible m tell what
nf genre subject, . As I pur it in rourhet's Realism: "Fnr caliza11onof absor ption (the radicalizanon ol~ the ~cfus~I ~aunders Jnd Cecilia ScgawJ Seigle (Nm Yori.., 1975), kind th~y were. hur their heavy top hranche~ seemed to
Di,deri phomgraphi;.: vcrism exacer bates the issue of of perform.ince ) rurns our in Barthes ro ~ d,1ale~t1cal:it p. 1 16. Furrher page references will he in parcnrhcse~ 111the bend in the wind with ,1 tragic grandeur.
rbeamc.iliry with respect to an entire clriss ol subject m.Hte.~ turns rhe antitht:atrical 1nm pun: rh1.:amcal1ty; 11 rum, text. The distant cxp,msc of plain, glowed faintly; rim side
which the phomgrapher is therefore ;:ailed upon ro es~hew. what Fried calleJ absorpnon into what was ,upposed Ill Fried," Arr and Ohiccrhood," p. 14!<.The quotanc1n comes of rhc mountain~, rhe vegeramm la)' flat and de~obre. At
(pp. 45 -6). But precisely th,11 fearnre of _the meJ1um ~ ht: its opp11,nc, liu:ralism. l.:ilf<l. from Perrr \liller, /on.1tl,,m Fdw.1rds (New York, 1959), the cenrer c,f rhe picrure, minure, smmJ rhe phiin wooden
rumed ro positive accounr by Wall in v;mous works. Sec pp. ,29-Jo. A recent b1c,graphy 1s George M. Mar sden, cenotJph and tht altar with flower, lying on It, ir~ whire
The crucial point 1s not rhert:fore the ~pnv~1qn ~if rhe
also Dianne W. Pitman, rn whom I owe 1he refercnc:e to J,math,111 F.dw,trds: A l 1fe I 'ew Havcrr'an<l London, doth rwisrc:d by !'he w111d.
pzmctttm but r.irher "irs independence of rhe inrcnnon ol
Disdcri, Ba:ille: Purity. Pose, and P11i11t111g i11tl,e I l/6os 200,). For the rC!.t ~uu saw 11orh111g hur soldier!>,rho11~ands
rhc phoroJ?,rapher~ (4.39). As Michael~ :ih,n wmc~: See Jenmfcr A,hron, From Modernism tu l'ost111e1de111zs111:
(U111vers1ry Park, Pa., 191;18
), pp. 107- 1." nf rhem. In the f(lrcgrn11nd,,hey were turned away from
17 I take up the theme of severing in .1 different hut related lllna,much as rhe ,<leaof the medium i, a Funda~~e~r,111) Aml'rica11 l'n1try t111tl T!Jt:'IJI'}' in tin: Ttvc111tethCcnt11ry the camer,1 ro reveal the white sunshields hanging from
context in my account of what I call "the ,nrerna.1strncrurc arr hi,roric al one, whar deline~ the medium spec11i1.:1ty i,f (Cambridge .ind New York, 200 ), pp. , 69 - 76. A~hton'!> their caps and rh<: JiagonJI learhcr straps across rhc1r
of the pictorial act" in The Moment of Car,wagg,o, a hook - chc photograph -1c5 indexkaliry . its auron 1.ui~,t~\ the read ing focuses on crucial par:igraph, from Edwards~ The hacks. The)' had not formed up in neat ranks, bur were
in-pmgrc~s ba~ed on the Andrew W._Mellt1nLecrures <lnt~c /)l(m:1 11111, in short, the byp.1ssing o_f the arnst s ,men Great Christz,111Doctrmt of Orig111alS111D1fe11ded, as clustered in groups, beads drnoping. A mere handful in
Fine Am given by me at the Nauonal r.allery of Arr 1n nonaliry - i~ whar calls into quesuon HS capa .. 1ryco counr quoreJ by rhc poet Jori e Graham for her own :inrithccicol, rhc lower left c11rner h:id half-turned their dark faces
W:i~hingron, u.c., in Spring 2002.. .,~ an art. 1-rit'd, in "Art and Objecrhcmd," .argued that in<lce<llireral1st, purposes. ~ly thanh ro A,hron fnr mak111g wward the 1.:amera,like figures 111 .i Renaiss(lncc paint
1 11 Peter Galassi. "Gursk~ ', World," in Andreas Gursky, e:xh.
t heJtnCJlit) (of thi.-kind ch,H I have identi~cJ hen:_,, 1th the significanct or rhc epigraph clearer ro me than I had ing. F.1rcher behind chem, J hrn,t of ~11l<liers stretched
car. (New York, z.001), p. 41. . . " rhe 1111 ct11111)
was not merely a wrong turn 111rhe h1srnry been able ro make n tor myselt. away 111an 1mmc11 se ~emic1rcle to 1hc ends of rhe plain,
1~ Ori~in:ill) published in Art(orum, repubhshe<l ln \Xall. uf an, not merely .l thrc.ir m good .in hut also ,1 threar Excerpts from lvlis hirna's retr:ilngy have already figured so many men th.it ir was quue impmsible to tell one from
Selt:cted Essays t111cl Interviews, pp. 1 73-8 J. to arr as such," .ind, especially if we brack!'l the advo- rwice in chis book, in Ch. 1 (l-londas rdlecrion, on anot her. and more were grouped fur away among t he
z.o Sec also Michaels's discussion of the i~sue of the shape of cacy that i\ mhcrn isc so cenrral c1~the cssa~ (1f, in other vo)eurism in The Temple of Dt1w11) and Ch. 9 (the dc~crip- trt'es.
the phomgraph in connection with Jame~ Welling'~ work words, we srop rrying to keep an from ,ommg m .111 end tion of the Ba) ' of !-iuruga111the fiN page~ of T/,e /Jccay r,f Tlw figurcs of rhe~c wlclier~. in both foreground and
in The Sl,apL' of the S1g11ifier,pp. 100-05; a~ l\lichaeb ,md jusr focus on the difference between art i1 ~d nonarr), tl,e A11gc/).Then come~ Wall's rran,parcncy, waling rhe rear, were h.,rhe<lin .1strange half-light rhat ouclineJ leg-
remark,, the tlrms of his :111al y~is resonate with chose of my we can see how right he i,. For the whole idea of the bond hcrween The Sea of Fertiltty and the new Jrt phocog- gings and boots .111dpicked out the curves of hcnt sho ul-
, 6 es,a)' "Shape ,is Form: Frank Stella'<;l::ccentric Poly- p 1111
ct 11m ,s rhar 1r undoes the opposi11on hcirween_good raphy. I ha, e no idea why rhis hond exist~ (no idea, rh:it is, ders and rhc nape, of necks. This lighr charged the entire
9 7
gons .. (rcpr. in Art and Objectl,ood: Essays t111tlReviews arr and bad art by trearing all photograph, as ii they_ wh) Mishima play~ the role he doc, 111 th,~ book), bur it is picture with an indescribable ~en:.cof grief.
!Chicago and London, 199SI, PP 77-\19), a predeces~or were not arr a nd so asses~1ng them ,n~rcad 111 rerm~ ol worth noting Lhat rhe fir~l chapter nf Spr111g'111011' opens From these men, there emanated a tangible em11rion
rc'<t of .. Arr and Object hood .., It is striking, mo, chac the rheir cffen .... A<:,lonj.\ as we art.: concerned ahou r rhe wnh a long :inJ minutely derailed descripnon o t a phoro - chat broke 111 a wave ,1gainst che small white alrar, the
wntlr Lvnnc Tillm.in in ,in interview with Welling sugge~r~ Jmr1ct11111 , rhe qucstmn about any photograph m1'.st be graph enti tled "Vicinity of Tokuri Temple: Mcmonal flower~, the cenotaph 111their midst. From d11senormou~
that a ;cccnc series of colored /'lowers "arguc[s l for a nor whether it is good art ur baJ an but whether tr can Service~ for the \'(/ar Dead,"' dared ,lune z.l\, 1904 (rhe ref- mass ~rretching tll rhe edge nf the plain. a single thought,
pre,ent-ness of the phorograph: pm,enml'!>s of cou_r,c be art ar all. 14-1:z.l erence i~ ro che Rus~o-Japanc~e War) - suggbung rhat the beyond all power of human expre~sitm, bore down like
being a key term in' Arr and Objecrhood" ("James Wcllmg ennre tcrralogy take, place under rhe sign nf phoroJ,;rnphy. a g rcar, henvy ring of iron on the ..:enrer.
All of which, for Michaels, is what has plai.:edphmog~aph)
in Convcrs.irion wirh Lynne Tillman,~ 111James \Vcl/111i! Nothing is said about che photograph having hccn manip Borh irs age and ir, sepiJ ink ringeJ rhe phowgraph
a t rhe cenrer of contemporary debates about arr. (S1g111n
Ffowcrs I ew York, 2.007J. n.p.J. ul:ired hy its maker, bur aspects of the description make with an at1110!.phc re of infinite poignance. I 1- :z.l
canrl) , Uanhes in Camera /.11Ctd<1 makes no claims for it ,eem unlikd) that rht' rcaJer 1s hcing a,ked co viHmli,c
:! 1 Sec ~lkhael hied, "Roger Fry's formalism," The Tanner
Ltt11rcs 011 Hw11a11\ 'a/11es.nu. !.J (Salt Lake Cit)', Ur., phorograph) ' as an arr.) .in ,,rdm.1ry candid , hm. lndt:cd I could imagine Wall hem~
) asunan Kawa barn - 'I ukio M1,h1ma, Cnrr,rspo11da11ce
2.004), pp. 1-40. . . 1s,.n -11170 , cram. D0111iniqul"
Palme (Paris, :z.ooo),p. 170.
2.:! Michael,'s w:iy of purring this is at fin,1 slighrl) ct,nfusmg
In F~em.:h:"Chaquc goune Ju temps qui <:,'ecoukme semhle
m rhar he n:fer~ to 1he phomgrapher's ...ib!.orpnon" acwrJ-
-------------- - -- -- ~ -~---__..:iill-- -
- _.,-
-- ,
Thc publisher rhanks tht' fo llowing people, museums, and Arts, Boston: 85; Courtesy Andreas Gursky, Monika ~priirh 1'01 E: Page numbers an italics refer to pages containing and Barthes's Camera l.11c1da107-14, 194. 2.14, 239-40,
phorographic libraries for permission ro reproduce their Galeric, Koln / VG Bild-Kunst, Bonn / DACS, London 2008: illu~rr:mons; where information ,s in a note, the page number 33/1,345-6
matc:rial. Every care has hccn raken ro trnce copyright holders. 'JO. 9r, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, rm:, 10,, is given followed by the note numb er. Dijkstra's beach series 2.12.-1 3
I lowev1r, if we h,1ve omitted anyone, we apologi1.c and shall, 104, 105, 106, 107, 108, 111; Scala Archive~, florernce / trurh's family porrrairs r 96. 198-<;1.20 3- 4, H 1-2
if informed, make corrections ro any rurure edition. The Museum of Modern An, ew York/ Barnett Newman abso rpti on of street photography 101-2, 243-5
1 umhcrs refer to figures, unless otherwise indicared. Foundation/ ARS, ew York and DACS, London -2.C>oS:109; and diCorcia's work 149- 52, 254, 2.56, 257-8 anJ to-bc-seenness 2.14
The Metropolitan Museum or Art . New York/ DACS, ill French painting 26-7, 38, J!J-40, 12 ~-s,340. 350-51 and Wall'~ work 66, 80-81, 8 5-93 . 11;-8, 246, H 2
fhumJs Demand, VG Bild Kunsr, Bonn / DACS, London, London/ VAGA, New York 2.008: 110; Courtesy of Luc Ill Gursky's work f73 see also absorption; thearricahry
Courre~) Spriith Ma,zers Gallery, London: fronrispiece, J 62., Delahaye: 1 12., r 13, T 14, 1 15, 116, 140, r 41; Bildari:hiv performance of 137-8, 349-50 Arb us, Diane r, r, 149, 2.39
1(,~, 164, r65, 166, 167, 168, 169 , r70, 171, 172.; Preussischer Kulrurbesitz, Berlin / Jor g P. Anders/ Nationa l- and portraiture 193-4 and Diiksrr:i 107,208, 2.10-11, 2.14, '3Y
1008 Thomas Srruth: page-.:, 63. 64, 65, 66, 67, 68, 69, 70, galerie, Staadiche Museen zu Berlin: 117; Die Phmogr:iphische Faigenhaum's work 21 5 Jnd SuUlh 195, 196
.,,, 72, ;3. 74, 75, 76, 80, 81, 82., J 18,119,110,123, 1:1.4, Sammlung / SK Stifrung Kultur - Augusr Sander Archiv, Koln / Fischer's Nuns ,md Monks 22.5, 22.6 Arden, Ro y 3, 7
12~, 12/i, 173, 174, 175, 176, 177, 190, 2TO, 2 11; VG Bild-Kunsr, Bonn, and DACS, London 2008: 12.2., 203, Srrut h 's family portraits 2.03 Armsrrong, Carol 38 111.43
Hiroshi Sugimoto, ~ugimotu Scudio, ew York: 1, 2., 13)1, 2.04; Courtesy of Rineke Dijkstrn and Marian Goodman Zidane film 228-~ 1 arr: poetic revealing 61-2.
1K,. 186, 187, 188, 189; Courtesy vfCm<ly herman and Gallery, New York: 127, n8, 129, 130, 131; Courtesy of and srreet photography 102 Artaud, Antonin 1 r4
Merrn Pictures: 1, 4, 5. 6; Courtesy or Jeff Wall and Mari:in Patrick Faigenbaum: 132,133, 134, 135, 136, 137,138; and Strut h's museum photographs 127-8, 135-6 Ashton, Jennifer 3 5 2.
Goodman Ga llery, New York: 7, 8, y, 1 S, 19, 2.4, 25, 2.6, 2.7, Courtesy of Roland Fischer/ Von I intel Gallery, New York: and Wall's work 37-6l, 65-6, 74-80, 136. 145. 34 1, auronom) ' of artworks 145, r 50
2.8, 29, ~o, 31, 12., 33, .H, 36, 3-, 38, 39, 4 2 , 43, 44, 45, 46, 142; Courtesy of Roland Fi~cher / G Fine Art Washington: H9-50 Ave<lon, Rich:ird llJ, 149, 375 11.16
47, 48. 49, 51, 52, 53,147,207, 2oy; Courtesy of Thomas 143; Anna Lena Films, 2006: 144 , 145, 146; The Estate of and Heidegge r's Being-in-the-world 49-50. 346, 347 Philip Rt111dolph roy, 110
Ruff, DJvid Zwirner, New York and DACS, London 2008: Garry Winogrand, courtesy Fraenkel Gallery, San Franci sco: and Wittgenstein anJ the everyday 76-80
ro, 11, 8 3. 84, 86, R"', 88, 89; Jean-Marc Bum1mame / 148; Counesy or Beat Srreuh and Murray Guy, ew York: see also anritheatricality; Fried: Absorption a11d Bajac, Quentin 183
Courtesy, Timothy Taylor G:illery, London: 12, 13, 16, 17; 149, 150, 151, 157-, r53; Co urtes y of Philip-Lorca diCorcia Theatricality Balrz, Lewis 337
1,rephen Shorr. Co urt esy of 303 Ga llery, New Y0rk: 14, 15; andDavidZwirncr,NewYork: 154,155,156,157,158, r5 9, Adam~, Parveen 266 Balzac, Honore de: I.e Chef-d'oe1wre i11m111111 104
')cala Archives, Florence/ k.imbell Arr Museum, Fort Worrh, 160, 161; Candida Hofe r / VG Bild-Kunst, Bonn, 191!8: 178, Adams, Robert 337 Barenrs, Els 2.37
Ttxas: 10; Bildarch1v Preussischer Kuhurbesi,l, Berlin / Jorg P. 179,180,181,182,183,184, r92;ThesrateofGarry Adelat"de,011 la femme 111
orte d'amour (a nonymou s conte) Barney, Tina 337
Anders/ Gcmaldcgale rie, Sraa rliche Muscen zu lkrlin: 2.1; Wi nogrand, courtesy Fraenkel Ga llery, San Francisco I 24-8, 29 Banh, Uta 284-5, 337
National Gallery of Art, Washington D.C.: 21; Courte~) ' of Collection Center for Creati\'e Photography, The University of Agee, James 195, 338-9 Barthes, Roland 4, 171.
Gerhard Richter :ind Marian Goodman Gallery, New York: Arizona: 191; Courtesy of Jame s Welling and D:ivid Zwirner, Alberro, Alex ;7711.38 and Brecht 1 r4, 345, 36711.11
2 1; RMN. Paris/ Thierry Le Mage/ Musee du Louvre, Parisi New York: 193; Co urt('sy of So nnabend Gallery: 194, c95, AJetti, Vince 2.58 Camera l.udda 13, 30, 95-114, r44, 196, 2.22, q8. 268
35; Blaucl / Gnamm-Arcothel.., Weilhcim / Sriidcl Museum, 196, r:n, r98, 199,200, 2.01, 202; Trustees of the British Amano, Taro 19-20 pose and anritheacncality 107-14, l'J4, 2q, 139-40, ,3!1,
rrankfun: 40; images The Meuopolitan Museum or Arr, Libr ary, London: 2.05; Corbis / Ma~simo Limi: 106; Courtesy Andre, Carl 270, 2.9_1 345-6
New York: 41, 5 5, 5lJ, 12. 1; The Cleve land Museum or Art, of Tony Smith / Marrhew Marks, New York/ ARS, New and Bechers 321-2., 32.3, 327,331, 347 on pose in cinema and photography I r r
.)cvcnty-fif1h anniversary gifr of Th e Print Club of Cleveland, York, and DACS, London 2.008: 208; akg-imagcs / Erich antirheatricalit) ' fl1111Ctlllll 95, 96-8, TOO-Ot, 101-3, 103-6, 345
l'J'J0.51: 50; Aperwre found:ition, Inc . Paul rrand Archive: Lessing/ Kunsthisrorisches Museum, Vienna: 21 2.; of :m phomgraphy 331!-47 st11di11111 95, 96-8, 104
Hi Lee rricdlan<ler, Courtesy Fraenkel Gallery, San Francisco: RMN. Paris / Gernrd Blot/ Musee des Beaux-Arts, Nan tes: and cinema Io, , 3 Wessmg's Nicaraguf/ 94, 96, 97, 1 oo, 112
r1, 78, -r9; Bridgemnn Art Library, London / Museum or Fine 213. and Barthes's p1111ct11m 100-03, 104, 106, 107-14, 345 Winter Carden Phorograph 98-u4, 10,-4, 106. HS
ru1d blindness 91, 93, 2;8, 2.55-6, 36lfo.14 and Diderot 98,100,345, 36711.12
Ji Corcia's Stnrybook /,ifc 258-9 theater writings I r 4
distance :ind "seve ring" in Gursky's work 158-6 5, r 77, 179, Bashkoff, Tracey uo
182., 186-7, 343 Batkin. Norman 37311.15
Faigcnbaum's husts or Roman em per ors 2.18, 2.19 Baude lai re. Charlt:s 63, 64, 144 , 23 5, 2.71, 395-t-;11.r 5
and French painting 10, 2.6-7, 34 . .t3, 9R, 100, 12.7-8, 140- Baudrillard, Je:in 38211.49
41 Ba1.in, Andre: "mummy complex" 3/!111.43
anJ high modernism 170-71 Becher, Bernd :llld Hilla 1, 78, 1 12, 303-30
and posing H, T 3 s-1 :ind Carl Andre 321-1, 323,327,331. 347
401
40 0
uncunsciuusne~s moments 20 7-f<, 210. 2.r 1-13, 2.14, 230 ' fac ingncss" c.leChasscy on Becher lecrure 39 511.41/ ( ,reenberg, Clement 4, 1,4, r 44, 187-8, 3 7 2.11.6
reda. Amsterdam, The Netherlm1ds. May , 6, ,994 212 a nd Barrhes on phorography Ir 1-1 2 ~r.eric.1ulr's Romanri.:ism" 12.8 Greu7.c, .Jean-Bapristt: 40, 98
01llem uth, Stephan 147-8, r50 in Manet's work 40, 43, 150-5 2., 340 James Welling's Lock" ,0,-4, 322. f-athcr uf the hlmily R(Jddi11g
the Bible 2-
DiPietro. Monty 389r1.41 an<l Ruffs pomaits 149-50, .339--10 Mamit's Modernism 2., 4, 26, 40, 91!, r45, 150-52 Grimm, Melchior 19c,,
Disdfri, A.-A.-E. 39611.1 6 see also frontal pose in photography The Momeut of Caravaggio 35811.9 Groover. Jan 317
display of art ph0t0graphy 14- 15, 22., J?, 106-7, 14;1-4, 3 E)- Faigenhaum, Patrick 112., 142, 1.15, .:l38 Realism, \Y/riting.D1sfiguratio11 J 5811.9 Grundberg, Andy 2.10-1 , , 2.50
40 busrs of Roman emperors 21 5-21, 342 "Shape as Form: Frank Srella's Eccentric Polygons" 66, 8 1 Gursky, Andrt:as 1, 115. r56-8i, .i.72., 21'<6,57,11.10
c.ltsrnncc A11g11srus 2.17-18, 217 \'(lhy Photography Matters as Art 3 36, 337 anJ absorption 17 3
,tnd confrontation .339, 340 Caracalla 2.18, 2 J 9 Friedlander, Lee 240, 27::., 337, 145 and abstract art 165, 179-81
in IJdahaye's work 183-4, 181,-7 Gord1e11Ill 218,219 At \V/ork 1,7 -8 ,, 17-8, 140,341. digira l manipubrion in wo rks 165-6, 169-70
in Gu rsky's work 156 . 157- 65, 1-7, 179, 182., 186-7 Julius Caesar 2.I 8, 2, 8 frunral pnse in phorogrnrhy 111-14, 143, 145 diptych form r 69-7-::.
Doblin, Alfred 3 L8-19 Salonine 21 ii, 2 1 S Bechers' industrial scrucrures 306 distance and "sevtring" in work 1 'i6-65, 177, 179, r:h,
Jucumcntary phowgraphs Titus 218,219 portrairnre 194-6 343
Del;.1ha)e's photojournalism 182-7 Del Drago Family 215, l.I6 and Dijkstra's work 207-8 and Del:ihaye's panoramas r l!G-7
.ind esthc tic appea l 30-35 falseness and trurhfulness and represenrarion 27-8 Ruff's portraits 149 . 339-40 and exclusion r8o, 344
see alsu Wall: "documentary" photographs Fanrin-Lacour, Henr i roo Struth's family portraits 202, 203-4 globa lization as rhe1ne in wo rk i:73-6
Dreyfus, Huberc L. 64, 65, 232-3, 358n.15, 35911.31 Homage to Delaao1x 1 50 and streer photography 239-40 J\tlanta 165,165, 1t(r
Drury, Maurice O'Connor 36411.33, 36511.37 Ferguson, Russell 1..36-7, 2.38, 239 see also "fadngness" Autoba/Jn, Mett111a1111 1 67-8, 1 fill, 11<0
Durand, Regis 10, 148, 223-4, 22.5, 2.66, 2.71 film see cinema Fry, Roger H5 81111destag, 801111r68-y
Diirer, Alb recht: Se/f-P1;rtrait1 15, 133-4, t 3J Fineman, Mia 22. 1 Cairo Diptych 1 <,9
Duve, Thi erry cle 3!,15-611.15 Fisch('r, Roland 112,338 Ga lassi, Peter Clucagu Board of Trade 165, , 79
Nu11sa11dMonks 215, 2.23-6, 224,225,342 on diCorcia 2.49, 250, 1.53 Chickens, Krefeld 173
Edwards, Jonarhan 3 5 2. "forgorren" se lf (011bli de soi) 40-41, 203, 2.30, 339 on Fried lander 17411.2.6 Diisscldnr(, Rhri111 58
Egg leston, William 337 Fraenke l, J effrey 2.39 on Gursky 157-8, 16r-3, 166, 168, 169-70, 172.. 1.,.3-4, EM Arena, A111sterda111 I 1 64
Eklund. Doug las 38711.2.7 Fragonard, Jean Hon ore 21! 1 7 7 ,344, 37511.ro, 376-711.36 11gadi11e 1 64
Elinga, Pieter Janssens: fnterior with Pai11ter,Reading Wloman. Frank, Robert 2.38 on Ruff 148, 37511.10 Fishennen, Millheim a.d. RulJr 158, 1 S9, 1 -3
and weeping Maid 72., 72, 75 Frenc h painting: modern traditi on ga llery inreriors and Heifer's work 2.88-y4, J44 Giordano BmmJ 377n,37
Elkins, James .335 and absorption 26-7, 38, 39-40, 127-8, 340, 350-;, Galton . Francis: composite photographs 319-21, 320 Greeley r 73
Ellison, Ralph: Invisible Man 44-7, 84-5 allusions in Watrs work 16-17, .350-51 Gardner, A lexander: Portrait of Lewis P,1yne 104, ,05 , 106 Happy Valley I 167, 167
Emerson, Ralph Waldo .38rn.39 anJ antirheatricality 10, 26-7, 34, 43, 98, 100 , u:- - 8. Gauthier, Michel 356-711 .31, 37611.2.9, H7"45 Hong Kong 1111d Shallghai Bank, Hong Ko11g16!!
Enframing: I leidegget and Wall's work 60-61 340-4, Gerica ult , Theodore 100 Hong Kong Stuck Excha11ge170, 171
Engelmann, Paul 76, 77, 7S evo luti o n of 2 l:.11lra11ce to tl,e Adelphi Wharf 89, yo, r 57 Hong Ku11gStock Exchange, Diptych 169, 170, 17 0 --;1,
Enright, Roberr 4t, 64 and portrait painting 192-4 Raft of tht! Medusa 28, 89, 1 15, 1 t6-17, , r7, 128- 9, 157, 172 . 179
r.psrein, Mitch 3 3 7 Fried, Michael 34 Kla11senpt1ss r57-8, IJ7
Estep, Jan 63,211, 36011.5. 36:w.2.8 Absorption and Thet1tricality2., 4,24 1 98,100, 12- Gest, Ben 338 Klitschko r 72
esrherics on b lindness 9r, 93, 255-6 Gilden, Bruce 98, 100 May Dt1y IV r64
and Bechers' indusrria .l strucrures 307-8 on Chardin 39-4 0 Gisbourne, Mark i 96 New Years Swimmers 159
and documentary photographs 30-35 on portraits r!,12-3 G lenn, Constance W. 2.8(,, 2.90-91 Nha Trang, Vietnam 173. 17s
Evans , \XiaIker 33 5 and Wall 38, 341 Goethe, Johann Wo lfgang von: Almr ot Good Fortune 330, 99 Ce11t164, 180
Let Us Now Pmise Famous Men 49,194, 195, 338-9 "Ast and Objecthood" 2, 7, 43, 66, 162, 181, 2.58:, 338, 330 Paris, Montpamasse 165, 170
Many Are Called ("Subway Portraits") 93, 93, 1or-2, ro,. 3 H , 345 Go ldbl att, David J.l7 Pollock's One: Number 3 1 180
236. 251 . 338 anthropomorp hism 331, 39w.21 Go l<lin, Nan 337 Prada r I 64, 165, 179
and DelaJ1aye's L'A11tre22. 1-2 and Barrhes's Camera Lucido I oo, 1 1 1 Goldsrein, Ann 192 Pr,1daI I t 7':J
eve ryday and Wall's work 62, 63-93, 33.3, 341, 346 and l:3 echers 322., 323, 32.8 Gordon, Doug las Resta11m11t. St Moritz r 81-2, 181
exclusion 12.4, 187 C hevrier on 1 44-5 Deii1Vu 13,338 R/JintII 1 65, 166, 179, 1 80
and Bustamante's Tablea11x2.1, 22.-1, 124, 187, 1.86, .340, aDd Demand 270-71, 2.75 Feature Film H8 Salerno 163-4, 163
344 epig raph m 3 5 2 Play Dead: Real Time u7, ,38 Schiesser r69
and Demand 2.66-7 and H ofer 288 Zidane (wit h Parreno) 2.15, 22.6- 33, 22-., 228-9, 342., 347 Schipol 1 66- 7
and Gursky 180, 344 and Louis 181, 39111.21 Gowin, Emmir 337 Sha Tin 172, 17i., 180
and Hofer on movies .13, 79 grace Siemens, Karlsr11her73, ' 7-l
interiors 286-8 and Wall 81, 365 - 611.42 Barrhes on Winter Garden Photograph 109 State11ille,l/li11P1S1 6';), 169
zoo phomgrar,hs 301-2. on We lli11g303 -4 3nd diCorcia's heads 258 Stockholder Meeting. Diptyc:h 174, r76, 1-6-7
anJ Srrurh's "Paradise" ser ies 299-.300, 344 and Wittgenstein 78, 79 and Srrc u li's video wo rks 243-4 S1111rlayStmllers, Dilsseldorf Airpurt 1_56-7, , 56, 1 73
and Sugimoto's seascapes 2114-9, 344 Art and Obiecthnod: Essays and Reviews 4 Graesch, Anrhony 82 Swimming Pool. Rr1ti11ge11 159-61, 160, r64-5, 17,
see a/sn "severing" in G ur sky's work Co11rl1et'sRealism 1, 4, 26, 40, 98, 128, , 45, 350, 39611.r6 Graham, Dan 2.88-9 TimesSq11t1re11,5, t70, 179, 181
Alteration tn ,1 S11b11rba11 Ho11se36211.2.7 Tokyu Stock Exdmnge 161-2., 161, 173-4, 17 9
402 md e )(
103
Turner Collectio111 So Ichikawa, Masanori 19k Liebermann, Vakria 18
Untitled 1 , 7':J, , 80-R , and high modernism 2, 4 3, 162, i. 70--- 1, 344-5, 35 2.
indererminacy I inder, Mark ,88 - 911.40 and tableau form 144-5
Untitled II 1 82 34 5
and Barthess p111,ct11111 Lingwood, James 306, 307, 31.L-2, 329-30 and theatricality 2.70-71, 30~
Untitled Ill dh s Tablea//x 20
Busram::111re' Lurnaeus, Ca rl 3 1ll and Wall's C..oncratcBall 130-33
Untitled \ 165 and Demaod's work 264 - 5, 266, 344-5 litera lism see minimalism (lirer,ilism)
Untitled X 1 80 and Welling's Lot'k ,o}-4, 321!
indexic:aliry and p hotography Lombino, Mary-Kay 284-6, 2X7 Mishima, Yukio 4
Untitled X JI ( 1) 17/;-9, r,IJ and Demand 268-9, 272 1.oock, UIJich 21, u, 35711.52 The Decay of tht i\11gcl198-9
lurid, I/ 1 66 Gurksy's digital manipulariun uf work 1(,6 Louis, Morris Spring S11ow 348-9, .351-2
Giim:how, Be.ice 33 8 Krauss's "Note.s on the Index" 261! "Unfurleds" r8o. 2.70 desc:rip1ion of photograph 39.,11.32
Michaels on 3J 5-6, 3I<511.r 1. Alpha-Pi 81, 81, 181
H:1mho11rg, Maria Morris 36711.1,, ,8711.27 Wall's After s,i11gSnr,w," 30, 44, 33-/ , 347-5:.
and $truth's cityscapes 2.78, 281 Lllfrer, Vera 33"'
Hamilron, Geo rge Heard 36211.23 Yuishiki school and ala)'a constiousness , 'i 1-2
infinite in I legel and Becher~' work 324-6, 317-8
Hansen, .Miri:un Braru 36611.fi The Temple o{ Daum 24
intemion 352 McCracken, John 304
Hauge land, John 3 5 811.15 voy;;:urism in 28-,0, 3 5
and Demand's work 271-6, 2.81, 316, 344-, McDowell, J0hn 232, 233, '47
Hegel, G. W. F. 3-4, 78, H6, 347 Mirchell, Wi lliam J.T. 337, 37011.26
"gap" between intention and effecr 272,345 Mahayana Buddhism 3;r-2
The 11cyclopediaLogic F- 4, 325-6 modernism see high modernism
and Dijkstra's work 207-8, 211, 2.14 .\llalcolm, Janet 37,511.16, 38011.34, 382.11.50 ,\11.o
ndrian, Piet J 12, 1 14, 187-R
infinite and Bechers work p.4-6, J 27-8 and Srruth's ciryscapes 277-Sr Malcolm, Norman }64-511.37 Morgan, Jessica 207-ll
'fric11ccof Logic 324, 32.6
M.111ec,Edo uard 2., 7, 100, 2.1.5 Morin, Edgar 369 - 70 11.25
Heidegger, Marrin 3-4, 8 r Jamt!S, Geoffrey 337 "facingness" of work 40, 43 . t 50-52, 340 Moriyama, Daido 239
"The /\ge of rhe World Picture" 60, 62 Jameson, Fredric 37711.4 1 portraits and Ruff's work 150-52, 340 Morris, Robert 270
Being and Time 47-56, 64-6, 78, ,47 Judd, Donald 22, 179, 270, 304 and Wall 6 3, 340-4 1 "Narcs on St.:ulpturc" 1-14-5, 288, 3 3;
"The Urigin of the Work of Arr" 62, :;03
B(/r at the Folies-BergereJ 6- 17 Untitled 39111.2 1
"The Quesrion Concerning Tecl111ology" a nd Wall's work Kafkn, Franz 102 Deieu11ers1,r /'herbe 40, , 50-5 1. 3 40 mt,vies sec cinema
60-62 Kant, fmm anue l 64, 78, 3 24 Excc11tio11 of Maximilian HO Moyse, Edouard 22.5, 22.6
'The Turning" 60 Katz, Vincent 36711. 1 1, 38311. 15& 17 Old Musician 40. 150-5 1, 340 Mulvey, Laura 35411.6
and Wall's work 4 7-62, 64-6, 7 8, X 1 Kertesz, Andre
Olympia 28, 40, 150-51, 340 Musil, Roberr 4
and rechno logy 60-62 Piet Mondrian i11His Studio 1 1 2, 1,
3, 114
Pnrtrail of Victorine Nle11re111151, 151 The Man r11itho111 Qualities 20, , 76 -9. 28 1
wc,rld a od worldne.ss 47-56, >46, 3 4 7 The Violinist's Tm1e yS, <J<J,tr 2., 36811.14 see also Fried: Ma11et'sMfJdemism
and Zitla11efilm 23 2 Kimmdman, Michael 134-7, 131! Mann, Sally 337 Nadar qy
Heilmeycr, Wo lf-Diete r 134 King, Jo hn 36511.37 Monuvich, Lev ,7011.1.6 Naef. Heidi 3 5711.45
Henson, Bill 3 3 7 Klein, William 18, 239-40 Mapplerilorpc, Robert 1 12 Nattier , Jean -Marc 199
Hernandez, Anthony '137 G//11 .1., New York 238-9
Marcoci, Rosana 261,270, 3/1511.l! Newman, Barnett 23
Heynen, Julian 38811.35 Mayda)', Moscow r r 2 Marder, Maleric: At Rest 338 011l'71/ellfI I 79 , J 79, I 80
high modernism Shi11ohiern,Fighter Pilot 98 1\llarioni, Joseph 337 Nicpce, Joseph Niccpho ri:: 3 7011.25
antithearric.iliry 270-71 Klei st,
Heinrich von 4 Masuda, Rei 2.99-300 N ixon, Nicholas 337
and minimalism 2.., 43, 162, 2.70-7 1, 344-5, 352- "On tht! Puppet Theater" 24 ,-6 m;;:mory and Barrhes"s p1111ct11m 103-4 Noland, Ke1111erh1SX
and tableau form r 44-5 Kluge,Alexander 271 Menze l, Ado lph 38811.u \lia Mcdic111 1 80, r 80
and Wa ll's work 81-2 Georg: Daum F,7.70-7 1
Kolbe , Michaels, Walrer Benn 4, 337-X, 368 11.q, 7,7211.6
Hoft:r; Candida 1, 21, 115,18 7 ,338. HO Krauss, Rosalind 3 36 'Photographs and Fossils"' 3,5-~ nbjecchood 30,-33
interiors 281-94 "Nores on rile Ind ex" 268 and Barthes's p1111ct11111345 and Bechers 78,303, 321-30, 345, .H6-7
and exclusion 286-8, 344
and indexica liry ,n-6, 38511. 12. "good" a nd "bad" objccrhood
and gallery space 288-94, .344 La Fonr de Sainr-Yen ne 37611.2.2.
on Sherman and Welling 35411.7 , 31!711.24 and Bcchers' typologies -8 . .328- Jo
w h ireness in work 290-91 Lafont, Suzanne 337
fl,e Shape of the Signifier 3 3-, 38611.1 5, ,8711.24 ::ind Michae ls on indcxicality 336
Bnllett;;,e11trum,Hamburg Ill 286-7, 2.87 Lageira, Jacinro 3 5 511.20 on Wh:uton', The House of Mirth 386-711.20 anJ Wall's Concrete Ball 333
BNI- Paris XX 2.84 f.ange, Susanne 306, 309, 321, 39311.4 1 Michals, Duane 337 anJ Welling's L11ck303-4, , 28
Ca' Oolfi11Venezia I 2.1<4,285, 286 Lauter, Rolf 52, 54 Michelangelo: Da111d138-42., 342 sec ,zlso Fried: "Arr a nd Objectho,,J"
Ca' Reuonico Venezia I 2.91, 291. l::rwler, Louise 337 Mies van der Rohe, Ludwig 66-,2 O'Dohcrty, Brian 4, 289-90. 291, 292-4, 344
DHFK Leipzig IV 2.90, 291, 293 Le, An-My 337 Miller, Perry ,52 Ohlin, Alex _,7711.40
Museo Civicn Vietmza JI 282-3, 282., 286, 2.!:l7-8 Lear, Jonatl1an 35811.3 Miller, Jean Fran<,;ois I oo Olicski, Jules 180-X 1, , 88
Neue Natio11algalcr1c,Berlin \Ill 283-4, 2,~3, 286 Legros, Alphonse I oo, 1 ,o, .1.25, _:142 "mindednes s" 40 011bitde sni 40-4 1. 203, 2 10, 339, 367-811.14
l'alaz.zo Zenobia Venezta Tl! 284 Leibowitz, Fran 239 minimalism (lireralism) 24, 3 11< Owen, Craig 336
Schi11dlerHouse Los Ange/as VII 2.9, , 2y 1 Lerup, Lars 38 511.4 and antithca rrica lity of arr photography 344-5
Zuologische Giirtc11294 , .301-z, 301,344 Lesser. Wendy r3n. 1~ and Barthe.s's punrt11111345 Parreno, Philippe: Zida11e(wi th Gordon) 215 1 22./;- 33, 22.., .
Holderlin, Jnhaon Christian Friedrich 61 Levine, Sherry 3 3 7 and Bec hers' work ,21.-3 21.8-9, 342, 347
Horsfield, Craigie 2.15, 337 Levitt, Helen 22 1 and Bustamanre's T11hle,111x 22-3 Pascal, 11laise 40
Hiim:, Axel 115. 357 Lewis, Riley H2
and ga llery space 288-90, 293, .H4 P:iyn;;:, Lewis 104. , o f. 106
404
405
Peirce, Ch.tr ies ~anders 38511.12. Ruff, Thomas 1.4. 1 r2, 1 1 l, 1 , 6, 2.-2. Sm ith, Tony 1.70 Audience 2 1 3 X-40. c3 9
Penn, lrvmg _no11.28 and Ce,anne 152-3 D,e 318, J p J 140, 1-10
A11d1e11,:e
pcrformanct' "facingncss of work 149-,0, 319-40 and Wall's Concrete /Jail ,30-, ~ A11d1
c11re- 141, r -11
and Strurh s mu~eum phomgra rhs I l 5- 7 historica l as)11ci:111011s
o f wurk 153-, Snyde r, Joel 38511.12 cityscapes 171>-8 1
m Wall's photl)graphy -11 ,o, 65-n, .qn, 34')-,;o Jnd Mancr's porrrairs t 50-51, 340 Sobel, Dean 2.61, 31<511.6 Grosh) treet. "Jt'w 'r'ork ,sol101 27b
see alsri ~stagm1;": rheamc.1lil) "Aire red Portra11~" 15 3 Solomon-Godeau, Ah 1gail 336, ;8711.2.4 Diisselstrasse, Dusscldorf l 7<J
Pfob, Rupert 16\, 164 en larged pixel phomgraphs 1 ,4-, 1 H Sonrag, Sus:1114 Horder 8riie"ke11str,1sse.
Dnrt1111111d
278 . 2.80
Phillip s, /\Jam 2.1o " Hou ses" 148, 150, 1p.-3, 15:! 011PlmtogrtJphy 2')-JO, 79, 194. 36911.2.2 JnJ inrcnnon 2.-.--8 1
philosophy :ind :m 1-4, :qn-7 " ~1achines~ , 54 un Arbus 208, 37111.34 Pr111,:eRege11tStreet, Fd111h11rgh :!-II
see ,1lso Hegel; H c:1tltggcr; Wirtgen~rein "New,paper Photographs" r 54-5 <111Evans 101-2., 338 Smtt/J l.ake Strl'cl Apart111
e11ts .1. C/11C",1go
2.7R,:!HO
Philp, Annc:tte 3"'411.19&10 "Nigh t~" n611.2. 1 Regarding the Pain of Others q, JO-H, 10::. family portraits 148, 191-2.06, 2 q, 2.15
Pippin, Robert 3-4, 4 7-8 . M,, 24 "1'udes 153-4, 154 on Wall's Dead Troops Talk .,i.-,, 246 11nd ah~orption 2.03, 230
Hegel .111JBechcrs work 12s-6, 32.7, 328, 346 "Portraics" 2., q, 17-18, 19, 143-4, 146-55. 195, q9-40 spec tator s see beh<)lding antith eat rica lity 196, r9 841, 203-4 , H ,-.:.
place l'ortrmt {A. K11chddf t.17 sr:iging " The Remstei11h.muly. Nliimlershac/J 191, 111J, 1 'i9, 2.00.
Demand on 2.60, 268 PortrJ1t f 8. fii11ger/,- cinema and art photography 10-11 2.oc, 103
Stturh's ciryscapes 276-ll 1 Portr,11tf K. K.11cf/clf ,- diCorci::i's Storybook f.ifc 2.58-9 The C111 1s()la11Jiramify. lvlda11201, 20 ,
rocric revcnling ,)f :.ire A 1-2. Portrait /R. l-111lnm/ , 4- performance Eleonor t111dCdes Robertse111, Edinl,urgh 2.01, 1.01.
Pollocl-. Ja ckson 11.7, 179, 11<0 "SrJrs" 148. 1 50, 15 3. 1 SJ and ab~orpc ion in Fried landcrs work 137-8 Tl,e Hirose Ft1111ily, Hiros/11111,1
1y o . 191, 196, 197. ioo.
Pouns, Larry I RI< Runge, Philipp Orm 39011.9 and Smtth'~ mu seu m ph otograp hs , ,5-7 20t 1 2.03
porcrairs 191-2.33 ,J 337
Ruscha, f:, nnd Wall' s photography 41, 50, 65-6, 246, '149-,0 The Mart111lvlasrmfamily. Diisseldorf ios-6, .to;
and scale 17-1 !I Ruskin, lohn 37011.z.R sec also rhearricalit) ' and resemhlance 199-2.00
cheacricalit) 19::.-4. J, 8-9 SrJ IIJbr as) . Juli an 37711.39 The Ridner Fa1111ly, Diisseldor( 20 4-5, 20 -1
see also Ruff: "Por tr ai t~"; \rruth: lami ly portr:rns C.aint-Victor, Paul de 225-6 Stein, Geruude 4 The Shimada Family, Ya111,1g11ch1 z.oo-o r
posing Sa l,1, Anri: 1.nrzg ormw 33!< ''Picru res" 149-50 The Smtih Fa111dy,fife 191, 191., 196,200, 2.03
anJ anrnheatm:aliry 34 , 1 n-7, 341-2. Salgado, Sebasriao ,37 Stcll::i, Frank u, 2.3. 119, 356 11.2.8 techniqu es for achieving portrairs 196-8
in Barrhes\ Ca111eraL11mla 107-1 4, 194, 2.14, 2.39-40, Salzmann, Augu~t ;69 11.21 Sremmrich, G rego r 365-61 1.42., 366 11,6 museum phorograph~ 115-4 1., 145, 162., 342-,, 347
338, 345-6 San d er, August 149 Sternfcld, Joe l 337 anJ ahsrr,1ct work) 1:!5, 127. 180
Srrurh's famil} rortrait\ 196, 198-<1. 2.0:--4. 34 1-2. People of the T111e11tieth Century revcns, M ark 254-5, 2.56, .:.58 Alte Pmakvthek, Self-Portrait 1 1 5, 13 3-4. , 3 ~
and rhcarricaliry 40, 50, u 1, 35 8-9 :1nJ Becher s 318 -1 9,31/1, 119 Sticglirz., Alfred: The Horse-Car Terminal 112. Art lnst1t11t e of Chicago 2 1 r 5, 1 16, 1 19-1, , 11.0 . 12.8
truth 's Pergamon Mu seum piccur cs 134-8 and Srruth 195, 195, 19(,, 197 Still, Clyfford .:.3 Calleru1del/'Accademia 1, Ve111,el r 5, 1 r8, 119, 1 :1.1-2.,
uncon~ciou~ poses in d1Corcia's work 256 ante. Loe 156, .:.57-8 Strand, Paul 36711.I 1 127
111Wall'~ work H, 50, 65-6, 2.37 Sa~s, Louis 380 11.34 Blind 93, 93, 255 "Herm 1mge" se rie\ 116, 3 43
see also fronta l po se in photography Schabel. Jo hn 338 street photography 135-59 K111isthistorischesMuseum J, Vienna 115, 117-tll, r di,
"p resence-at-hand" .ind H eiJcgger 48, 49, 78 5chjeldahl, Peter IH, 13 , -7, 198,181. J7911.2.2&15 anci rheatrica liry 101-1, 2.43-~ 12.1, 136-..,
Probst, Barbara J 18 Sch mickl, Silke r }II, 18, 37 411.i.7 unawareness of subj ccrs 101-2., 236, 238-9 l..u uvre 4, P11risI r 5, 1 16- 17, 11-.. 128-9
Proust, Mar cel 4, 98 Schmidt, Michae l B 7 di Co rcia's work 2.52.-6, 2,7. 1.58 Mu see d'Orsay , , Paris r 2 5
memory anJ l.farrhes's J11111ct11m 103-4 Schneid , H erve u6 Srreuli's video works i.40-4-1, 2.47-8 Museo def l'mdo , 343, 343
on Ruskm and re,1ding 3 1011.28 Schor, 1 aomi 36611.6 and Wall 2.35-8. 1.40 Museo del Prado - '42- 3, 34 l
chwah sk)', Barr y 38.p1.2.6 Streul i, Beat Io 1, 2. 54. 34 2., 36711.1 r Museo de/ Vat1ctJ110, . Rome r 15
Quinton, Fr:inc;ois 264 Schwander. Martin 38, 40-4i, 43, 75, 77, 2.50, 34 r and co-be-seenness 246-8 atio11c1I
G,1llery 1. Lo11do111 ::.5. 11.r.
'>eidel, ClauJia 37311.12. I-our Twn Screen Pr<>1ec11011s 1.40-47 National Callery 2, Ln11d1mx r 1 5. 1 \0-3 t, , JI
Raphael frescoes 115, 132-3. 132 Sekula, Alan J 19-2.0 BKK Siam Square, Bangkok 242, 1.43 Nationul M11se11111of Art. Tokyo 12.4-5. 125
''rea di11cssto -hand " in H eidegger 4X-9, 50, 5 s-<i, 64- 5, 78 Senn ett, Rich a rd u911. 2.6 Broadway/Prince Street 2.46, 1.47 ~Pergam1>n Museum~ series 115, 1"14-7, 13r. H:2
realism severing" in Gursk)"s work 158-65, 177, 182., 186, r87, 343 8th Ave1111e and 35th Street, New York City 2.4.:.-3, 2+,1, " Prad o'' ~cries 116. ,42.-3, J-1,
and absorp tion 4 :1., 4'J, 77 Sherman, Ci ndy 337 1 47 Riiksm11se11m , . Amsterdam t 25, , :di
in rhea ccr 7';) Untitled Film Stills 7- 10, 8-9, r3-14, r 1 r , 1 i.:., 24 9, George Street 811s Stop, Sydney qr, qi, 1.4 2., l.15 San Zc1ccar1.1, Ve111ce1 15, 12.9-30, 1 10
see also Fried: Cwirl,et's Realism 38-11 . .1.4 The Pallasades, Birmingham f 11 gla11d/i40-4 1, l-J 1. 2.45, d, Raffaello 2. Rt1111e1 15, 132-3, r 32
Stc111;:e
Reich, Lil) 66 anJ arr phorol:(rnphy 1 8 146 sec also "A udience " se ries ,1ho11c
Rembrandt 115, 117- 18, 118, 11.1, 1:i.7 Sho re, Stephen 3 3 7 Venice Beach 2.46, 1 8411.2.1 f'a11theo1137 411.19
Syndics 1 25, 126 Uncommon Places 2.1-2., 2.1, 1i4 ew York City 2000-oz 2.47-8, 2-,R .1.p ~Paradise" ~eries anJ exd11s1on 2.94, 2.99-300, 300, 344
Renner, Lois H 7 )ilhoucrres and Bcchers' work 306 Porte de Fla11drc,Bmxelles 1 8411.24 sufferin g and esrheri cs in phol(1gr:iphy 30-3 s
Rcu st, Han s Rudolf 3 8911.47 size of Jrl photo gra phy wo rk s q , 1 , - ill, 37, 101>-7, 14 3- 4 Srrucver, Nancy$. 36 111.15 Sugi moto, Hir os hi 1, 11, _n5. 31~, 340
Richter. Gerhar d 179. 180 Busram:m te's Tal>lea ux 2.0-2.1 Struth, Thomas r, 21, r11 . 156, u8, 340 D10ramas ~. , 8
Readmg f Les1:mdt!/42-3, ,p., 102., 24y. 341 Delahaye~ pan oramas 18,, 184, 186 Becher discussion 1 2.1-2 Drwe-lns r 4
rruth 's farnilr portrait :i.04-5. 1.04 and d erail 15- 16, 164, 186, 2 1 1 and ro-be -~ecnne ss 34 1-2 Mu111eThet1tl.'rs5-7.6, 11-11, q- 14, rx, 111
Riddy, John H7 diCo rcia's heads 2.5"' "AuJiencc" serie~ 115-16, 13>1-42...145. H:! " C::t~Capt:!>" 10, 294-9
408 index
408