Monday, June 24, 2019

Photography: A Little Summa - Susan Sontag

Lynne Cohen
Furniture Showroom
1979
gelatin silver print
Tate Gallery, London

Marketa Luskacova
Woman and Man with Bread, Spitalfields, London
1976
gelatin silver print
Tate Gallery, London

Jonas Dovydenas
Adolescent, Manchester, Kentucky
1971
gelatin silver print
Minneapolis Institute of Art

Guy Bourdin
Untitled
1952
gelatin silver print
Tate Gallery, London

Iwao Yamawaki
Cafeteria after Lunch, Bauhaus, Dessau
ca. 1930-32
gelatin silver print
Tate Gallery, London

1. Photography is, first of all, a way of seeing.  It is not seeing itself.

2.  It is the ineluctably "modern" way of seeing – prejudiced in favor of projects of discovery and innovation.

Yva (Else Simon)
Dance
ca. 1933
photogravure
private collection

Edvard Munch
Self-portrait “à la Marat”
1908-1909
photograph
Munch Museum, Oslo

Samuel Joshua Beckett
Loїe Fuller Dancing
ca. 1900
gelatin silver print
Metropolitan Museum of Art, New York

Arnold Genthe
Merchant and Body Guard, Old Chinatown, San Francisco
ca. 1896-1906
gelatin silver print
San Francisco Museum of Modern Art

Adrien Constant de Rebecque
Man posed as Dying Soldier
ca. 1863
albumen print
Metropolitan Museum of Art, New York

6.  In the modern way of knowing, there have to be images for something to become "real."  Photographs identify events.  Photographs confer importance on events and make them memorable.  For a war, an atrocity, a pandemic, a so-called natural disaster to become a subject of large concern, it has to reach people through the various systems (from television and the internet to newspapers and magazines) that diffuse photographic images to millions.

7.  In the modern way of seeing, reality is first of all appearance  – which is always changing.  A photograph records appearance.  The record of photography is the record of change, of the destruction of the past.  Being modern (and if we have the habit of looking at photographs, we are by definition modern), we understand all identities to be constructions.  The only irrefutable reality – and our best clue to identity – is how people appear.

Mathew Brady
Portrait of Edwin Booth and his daughter Edwina
ca. 1863-65
albumen print
George Eastman House, Rochester NY 

Lady Clementina Hawarden
Poodle on Chairs
1861
albumen print
Victoria & Albert Museum

Horatio Ross
Tree
ca. 1858
albumen silver print
Metropolitan Museum of Art, New York

Roger Fenton
Billiard Room at Mentmore
ca. 1858
albumen silver print
Getty Museum, Los Angeles

John Adams Whipple and James Wallace Black
The Moon
ca. 1857-60
salted paper print
Metropolitan Museum of Art, New York

10.  To know is, first of all, to acknowledge.  Recognition is the form of knowledge that is now identified with art. The photographs of the terrible cruelties and injustices that afflict most people in the world seem to be telling us – we who are privileged and relatively safe – that we should be aroused; that we should want something done to stop these horrors.  And then there are photographs that seem to invite a different kind of attention.  For this ongoing body of work, photography is not a species of social or moral agitation, meant to prod us to feel and to act, but an enterprise of notation.  We watch, we take note, we acknowledge.  This is a cooler way of looking.  This is the way of looking we identify as art.

11.  The work of some of the best socially engaged photographers is often reproached if it seems too much like art.  And photography understood as art may incur a parallel reproach – that it deadens concern.  It shows us events and situations and conflicts that we might deplore, and asks us to be detached.  It may show us something truly horrifying and be a test of what we can bear to look at and are supposed to accept. Or often – this is true of a good deal of the most brilliant contemporary photography – it simply invites us to stare at banality.  To stare at banality and also to relish it, drawing on the very developed habits of irony that are affirmed by the surreal juxtapositions of photographs typical of sophisticated exhibitions and books.

Louis-Antoine Froissart
Flood in Lyon
1856
albumen silver print
Getty Museum, Los Angeles

Franck-François-Genès Chauvassaignes
Nude artist's model
ca. 1856-59
salted paper print
Metropolitan Museum of Art, New York

Mervyn Herbert Nevil Story Maskelyne
Charlton House, Malmesbury, Wiltshire
1856
salted paper print
Rijksmuseum, Amsterdam

Louis-Adolphe Humbert de Molard
Louis Dodier as a Prisoner
1847
daguerreotype
Musée d'Orsay, Paris

Joseph-Philibert Girault de Prangey
Ancient Columns
early 1840s
daguerreotype
Getty Museum, Los Angeles

– text by Susan Sontag, from Photography: A Little Summa (2003)