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27 февраля 2020
Эссе на английском по предмету «Проектная фотография» 10 страниц
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Photography and Abstraction
GEORGE BAKER
Here again the road leads over capitalism’s dead body; but here again this road is a good one. —Bertolt Brecht
Twenty years ago, Rosalind Krauss attempted to rethink the entrenched relations between photography and abstraction with a small exhibi
tion devoted to the work of James Welling and Holly Wright. Gone were the classical nudes and the gleaming pears and the cacti, and in their place appeared body parts and close-framed images of hands; gone were the light studies and architectural medi- tations, and in their place a series of images of gelatin, or tinfoil, or aged diaries; gone were the Modernist concerns with pure form and the conditions of visual transparency, and in their place the opaque photographic conditions of the uncanny, the compulsion to repeat, and the “empty sign.” [1] Provoked by Walead Beshty’s recent essay
for this series, I want to speculate on the need to rethink the relations between photography and abstraction once more and yet again, today.
In doing so, I will not comment much on Beshty’s reading of my prior essay, “Photography’s Expanded Field,” except to observe that it is extremely disorienting and yet refreshing to witness an artist turning the tables on a critic, doing to a work of mine what I most often do to a work by a given artist: interpreting, historicizing, and critiquing it. Melancholy, allegory, failure: I will not comment on these. Instead, let me simply narrate some
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ESSAY / GEORGE BAKER
motivations, as I perceived them, behind my writing
of that earlier text. One thing was clear to me: it was
not “theory” or “structuralism” that could expand the photographic object or medium. My essay was a heuristic exercise, an attempt to invent language and transform our historical and descriptive discourse, for that expansion of photography had already occurred—indeed, a generation before the writing of my text. Theory could potentially clarify our relation to an expansion and a transforma- tion that had already happened (but then again, such transformation has also hardly concluded). If I may
then play with Beshty’s terms, it was not theory that had “abstracted” photography, but rather photography that had become—in some new and potentially radical way— abstract. Using vastly different terminology, this is the event that I called photography’s “expansion” and that
I wanted to trace in my earlier essay. I do not mean that photography had become abstract in the formalist sense of the term—empty, blank, nonrepresentational. Rather, I understand abstraction as a social as much as a formal process (a process where form overtakes the social, where form transforms sociality itself). It is that violent decontextualization, voiding, and recoding of objects endemic to the principles of capitalist modernity.
We may push further. As an artifact of capitalist modernity, photography has not only been abstracted in recent decades, transformed “beyond recognition”—what more surface descriptions might identify as its recoding at the hands of digital techniques, for example—but it has itself always been a force of abstraction. This cuts counter-intuitively against the conventional understand- ing of photography’s essence as indexical, as a potential assertion of physical presence, or as inherently (for critics like Clement Greenberg, and, more recently, Jeff Wall) depictive. The old modernist (and more recent postmod- ernist) debates on photography and abstraction thrived on
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28 февраля 2020
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Эссе на английском по предмету «Проектная фотография» 10 страниц.docx
2020-03-02 18:23
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Все отлично! очень быстро и качественно))) отдельная благодарность за пояснения и разъяснения моих вопросов.
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