I chose to examine chapter four, “Something and Nothing,” because I was really drawn to the photographs used in the section. The type of photography described in this chapter is along the same line of ideas as some of my own. When I don’t photograph people, I tend to look for objects, things and moments which would normally be passed by or go unnoticed. Yet I find these aspects beautiful and by putting them in a frame, others do as well. It is an incredible phenomenon that we can see things so differently depending on how they are presented to us. The photographs shown in this chapter depict many scenarios or objects that we would ordinarily pass by, ignore or even fail to notice; “objects that would barely constitute proper subjects for photographs,” (Cotton 115). Yet postmodernist photographers threw out the rule book about what constituted proper photographic subjects. Photography took on a new meaning; as a medium that could show absolutely anything. While reading this chapter, I was fascinated by the idea that because an object has been photographed, the photographer has given that object significance.
“This strand of photography has been driven by related attempts to make art from the matter of daily life, by breaking down the boundaries between the artist’s studio, the gallery and the world,” Cotton 116. These photographs make the audience think more about the subject and its significance or origin, than about the photographer and his or her technique or reasoning. I really identified with Richard Wentworth’s work shown in this chapter. “His photographs set up a visual pun; the objects are redundant from their original function, often reused or abandoned,” (Cotton 119). By photographing these objects, the photographer gives them new meaning and characteristics.
Photographers from this chapter also attempt to give meaning to “fleeting phenomenon;” capturing a moment that will never be the same. The effects of rain, snow or ice, for example, when captured photographically these moments become frozen in time. This makes the viewer consider the significance of these moments that they might never have seen. My favorite image from this chapter is one by Wim Wenders, specifically the Wall in Paris, Texas. The quality of the color pallet was what originally drew me to the photograph as well as the almost dreamlike quality of the light. I love the space that is being photographed in the image and the ways in which that space is being interrupted. In this case, it is being intersected by the angular power lines, while also being interrupted by the peeling concrete exposing brick. The construction of the image also provides a sort-of mirroring over the diagonal lines for the brick patch to the small window.
“All the photographs in this chapter, in subtle ways, attempt to shift our perceptions of our daily lives,” (Cotton 126). As a result, I was really interested in the photograph taken by Wolfgang Tillmans of the abandoned jumpsuit. The photograph really captured my attention because the object almost looks as though it is being worn in the photograph, due to its positioning. It also has a haunting feel as a result of what is absent from the photograph. Also, this chapter discussed how objects and scenarios can appear very different depending on the camera position and orientation. The slightest changes to camera orientation can create huge differences between images and their context.
“To what degree does it need to be abstracted by the seemingly innocent frame in order for us to recognize this grouping of non-subjects to be a still life?” (131-2). The entire chapter seemed to address this question. All of the objects featured in the photographs in this chapter were being abstracted in some way by being placed inside of the photographer’s frame. The original context is no longer apparent and our understanding of the scenario is warped.
I think that the work of photographer Aaron Schuman would fit into this chapter very well. His website is http://www.aaronschuman.com/. The first photograph I chose from his website was the one of a green house with icicles and snow. I thought this photograph fit well into the idea of capturing “fleeting phenomenon.” In this photograph, Schuman captured a moment that would never be the same once the snow melts. The other thing that stands out about this photograph is the cleanliness and smoothness of the asphalt versus the roughness and dirtiness of the snow. Normally, snow is described as looking like a blanket and ice as slick and smooth. But in this photograph, the roles have been reversed. The other photographs I chose from Schuman’s portfolio are depictions of things forgotten or left behind. But these images also show objects that might be passed by or ignored by the average viewer. By photographing them, he has given them back a sense of value to the objects as well as a feel of nostalgia. It is only because these objects have been photographed that we now notice them as viewers and wonder about their origins. Overall, I think Schuman’s work is beautiful and the use of color is very important in his photographs. The colors pallets play an important role in the viewers understanding of and relation to the photograph. For example, the color of the roller skate in the second image is so vibrant compared to the cool, dark tones of the ground. For me, I immediately connected with that color and the idea of time passed in the photograph. Thus, it triggered various memories for me which I’m sure are different from what would have been triggered for another viewer.
The second photographer that I chose to look at was Anne Schwalbe, whose work can be found at http://www.anneschwalbe.de/. I was very interested in the way her work focuses on the minimal and perhaps the visually unattractive. But, through photographing those things, Schwalbe makes them fill the frame and command attention. Schwalbe also makes those things appear beautiful and interesting. The photograph of the hay is really visually interesting. Regardless of the fact that it is merely showing a single thing, repeated countless times within the frame, it still captures the viewers attention. The areas of light and dark make you wonder where the photograph was taken, what the light source is, and what surrounds what is shown in the frame. The neutral color pallet in both this photograph and the one of the worm on cement create a particular mood to be experienced by the viewer. However, the third photograph employs a much more varied color pallet but has a great sense of ambiguity. The viewer is forced to look closely and consider what it is that they are being shown.
The final photographer whose work I chose to look at was Karin Bubas. Her use of light was what attracted me to her work, especially in the three photographs I chose. The natural light in each photograph is beautiful and gives each of the spaces a kind of luminance. I enjoyed her focus on commonplace objects and scenes. Once again, like the other photographers, she chose to photograph things that were not necessarily visually appealing to the naked eye. But when placed in the photographic frame, this images project a feeling of nostalgia and longing for a comfortable memory. Also her use of monochromatic color pallets makes the images very visually pleasing. The color choices also speak well to the mood of each photograph.
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