Farmerville

Critical Concepts in Contemporary Photography Theory #2

This series presents short summaries of some of the key concepts and discourses used in current photography discourse and debates.

Constructing Subjectivity

Constructing subjectivity in photography refers to the understanding that photography, like art in general, involves subjective choices and interpretations, rather than being purely objective or truthful representations.

‘Subjectivities’ refers to the internal and individual perspectives, experiences, and consciousness of human subjects. It encompasses the unique ways in which individuals perceive, interpret, and make sense of the world around them. Subjectivities are central to understanding how people construct their identities, form beliefs, and engage with cultural, social, and political phenomena.

In series like Play with Me, Mariko Mori blends traditional Japanese aesthetics with contemporary pop culture that challenge cultural norms. (image source)

Photography, often considered an objective medium due to its mechanical nature, actually involves a lot of subjective decision making through aspects such as composition, content, and storytelling. This challenges the traditional notion of objectivity in photography and emphasizes the role of the artist in constructing subjective meaning through their creative choices.

Richard Prince gained recognition for his Cowboy series in the early 1980s. He rephotographed advertisements for Marlboro cigarettes, isolating the cowboy figure. Prince’s work explores issues of appropriation, consumer culture, and the construction of masculinity in advertising. (image source)

Theorists have highlighted that the medium is not purely objective, but rather a complex product of cultural, social, technical, psychological and other factors. Photographs are not simply vehicles for presenting an objective “truth,” since they are influenced by artistic and technical choices that shape how the subject is presented and interpreted.

Representation

Representation refers to the way in which photographs capture and depict the world or others. Photographs are often seen as having more objective characteristics compared to other artistic media, but unlike painting, which involves the interpretation and rendering of images by the artist, photography is commonly associated with the idea of freezing scenes and representing an eternal presence.

This highlights the unique nature of photography as a medium that can capture moments in a seemingly objective manner, thus raising questions about the relationship between reality and representation.

Representation in art is not simply a direct imitation of reality but rather an interpretation or mediation of it. This concept is central to various art forms, and in the context of photography, it takes on specific characteristics.

Sherrie Levine is well known for her rephotography work in the late 1970s. She appropriated and rephotographed iconic images by photographers such as Walker Evans and Edward Weston, challenging the notion of originality and authorship. Her work raises questions about the value of authenticity and the role of the artist. (image source)

In photography, representation is closely tied to the idea that a photograph captures and represents a moment in time. Photographs are often seen as records of reality, as they can document events, people, and places. However, even within the seemingly objective medium of photography, there is an inherent subjectivity involved in the choices made by the photographer — in framing, composition, lighting, and other elements.

For instance, the photographer chooses what to include in the frame and how to arrange elements within it, which has a significant impact on how the subject is represented. The photographer’s perspective, experiences, and biases influence how they choose to represent a subject.

What is left in or out of the frame, the choice of lighting, and other decisions contribute to the subjective nature of photographic representation. The context in which a photograph is presented can also shape its meaning. A photograph gains meaning not only from the captured moment but also from how it is contextualized, edited, and presented.

Photography uses aspects of visual language and its own stylized grammar to convey meaning. Understanding how visual elements like symbols, signs, and composition contribute to the overall representation is essential when interpreting images. With the advent of digital photography, post-processing plays a greater role in representation. Photographers can manipulate images in various ways, affecting the perceived reality of the photograph.

Codes

In semiotics and cultural theory, the term ‘codes’ refers to systems of signs and symbols that convey meaning within a particular culture or society. Codes provide a framework for interpreting and understanding the messages encoded in various forms of communication, including visual arts like photography.

Understanding the different codes involved can help analyze how images communicate and convey meaning. The photographer and image encode, and then the audience decode through acts of encounter and interpretation.

There are several forms of encoding and decoding in photographic practices worth highlighting.

Denotative and Connotative Codes

Denotative Code: This refers to the literal, surface-level meaning of an image. It involves identifying the factual objects or elements within the photograph and describing them without interpretation.

Connotative Code: This involves the interpretation and subjective associations that go beyond the literal meaning. Connotative codes are shaped by cultural, social, and individual contexts.

Symbolic and Cultural Codes

Symbols are signs that have specific meanings within a system of other symbols. Certain symbols or visual elements may carry particular cultural or social connotations. For example, a red rose may symbolize love, and a national flag may symbolize patriotism.

Cultural codes encompass shared values, beliefs, and customs that influence how individuals interpret and understand images. An image may hold different meanings in different cultural contexts.

Joan Fontcuberta often engages in playful and provocative deconstructions of photographic representation. In his series Fauna and Sputnik, Fontcuberta created fictional narratives and hoaxes, challenging the credibility of photography as a documentary medium. (image source)

Indexical Codes

Indexicality in photography refers to the cause-and-effect relationship between the photograph and the real-world subject. The photograph serves as an index, pointing to the existence of what is depicted. For example, footprints in the sand are indexical of someone having walked there.

Technical Codes

Technical codes refer to the use of specific techniques or technologies in creating images. In photography, technical codes include aspects like framing, composition, lighting, depth of field, lens and lighting choices, and post-processing. These technical features influence the visual language and meaning of the photograph.

Color Codes

Colors can carry cultural and symbolic meanings. Different cultures may associate specific colors with emotions, events, or concepts. For instance, red may symbolize passion or danger in certain contexts.

Genre Codes

Different genres of photography have their own set of conventions and codes. For example, the codes associated with documentary photography may differ from those of fashion photography. Understanding genre-specific codes helps viewers interpret the intended message.

In Cindy Sherman’s Untitled Film Stills series, she created staged photographs that resembled scenes from 1950s and 1960s films. Sherman’s work involves a complex interplay with codes related to gender roles, identity, and the representation of women in popular media. (image source)

Intertextual Codes

Intertextual codes involve references to other texts or cultural phenomena within the photograph. It could be a visual reference, homage, or commentary on other images or cultural symbols.

Codes, Remixing and Mashups

Postmodern approaches in art, including photography, often involve the remixing or mashup of codes as a way of challenging traditional notions of representation, meaning, and originality. Postmodernism rejects the idea of a fixed, universal truth and embraces the idea that meaning is subjective, contingent on various contexts, and can be constructed or deconstructed through the manipulation of existing codes.

David LaChapelle is known for his vibrant and surreal images that often incorporate elements from popular culture. His work blends high art with commercial aesthetics, challenging distinctions between the two and commenting on the excesses and contradictions of contemporary society. (image source)

Intertextuality

Postmodernism often engages in intertextuality, where different texts or codes are referenced within a single work. This could involve incorporating visual references to other photographs, art movements, or cultural symbols. By blending elements from various sources, photographers create layered and complex narratives.

Parody and Pastiche

Postmodern artists may use parody and pastiche to playfully mimic or imitate established codes, genres, or styles. Through exaggeration or subtle alterations, they challenge the seriousness and authority associated with traditional codes. This can involve the appropriation of iconic images or the adoption of recognizable visual languages in a satirical manner.

Yasumasa Morimura engages in self-portraiture by inserting himself into famous works of art, film stills, and historical photographs. His series often involves meticulous recreation and reinterpretation of iconic images, blending pastiche with a critical exploration of cultural and gender identities. (image source)

Cultural Appropriation

Postmodernism often involves the appropriation of elements from different cultures, challenging the notion of fixed cultural codes. Photographers may borrow symbols, aesthetics, or narratives from diverse cultures, remixing them to create new and hybrid meanings. This challenges traditional boundaries and categories.

Deconstruction and Subversion

Postmodern approaches frequently involve the deconstruction and subversion of established codes. Photographers may break down traditional visual conventions, challenging viewers to question their assumptions. This can include fragmenting images, playing with perspective, or using unconventional compositions to disrupt established meanings.

Collage and Montage

Collage and montage techniques are commonly employed in postmodern photography. Artists combine disparate images or fragments to create a new whole. This approach emphasizes the constructed nature of images and challenges the idea that a photograph should capture a single, objective reality.

Hybridization

Postmodernism often involves the blending or hybridization of different genres, styles, or codes. Photographers may merge elements from documentary, fashion, and conceptual photography, for example. This results in images that resist easy categorization and question the boundaries between different photographic practices.

Jeff Wall is known for his large-scale, staged photographs that often reference art history and cinematic conventions. (image source)

Meta-Commentary

Postmodern artists often engage in meta-commentary, drawing attention to the process of image-making itself. Photographers may include elements within the image that comment on the codes and conventions of photography, exposing the constructed nature of visual representation.

Barbara Kruger combines photography with text to create provocative works. Her pieces often involve bold, red text overlaid on black-and-white photographs, questioning issues related to power, consumerism, and identity. (image source)

Digital Manipulation and Remixing

With digital technology, postmodernism in photography often involve the manipulation and remixing of images through software. Artists can alter, combine, and manipulate photographs with ease, creating new meanings and challenging traditional notions of authenticity and authorship.

In essence, postmodern photography often embraces a playful and self-aware manipulation of codes, challenging the idea that there is a singular, fixed meaning to be derived from an image. The remixing and mashup of codes contribute to a more fluid and open-ended understanding of visual representation.

Commodification

Commodification refers to the process by which goods, services, ideas, or even individuals are transformed into commodities — objects or entities that can be bought, sold, and traded in the marketplace. This process involves assigning a monetary value to something and treating it as an item of economic exchange.

Commodification extends beyond physical products and includes the transformation of various aspects of culture, identity, and human experiences into marketable entities. Photographers often respond to commodification in their work by critically examining, documenting, or challenging the ways in which goods, culture, and identities are packaged, marketed, and consumed within society

Brian Ulrich’s project “Copia” examines consumer culture and the commodification of goods in large-scale retail environments. Ulrich’s photographs explore the relationships between consumers and the products they buy, raising questions about the excesses and waste associated with consumerism. (image source)

References

Contemporary Photography and Theory: Concepts and Debates by Sally Miller
1st Edition, June 2020, Routledge