Intimacy and Focus: An Exploration of Four Influential Contemporary Photographers
Words by Carys Granger
Photography is a means of capturing a freeze frame in time, while simultaneously holding deep contextual meaning within the image. This notion of capturing a moment in time is unequivocally relevant when showing identity and context, regarding pictures of people. The photographers discussed in this article provide an insight into the multiplicity of ways one can photograph people and what this means on an individual basis, as well as there being examples of portrait photography as means of focusing on collective identity. In this discussion, I will explore the photographs of Philp-Lorca diCorcia, Katy Grannan, Nan Goldin and Zanele Muholi, as they are great paradigms of how images of people can be viewed and processed.
Philip-Lorca diCorcia’s Head #10. 2000, is from a collection of candid photographs of strangers photographed in New York, Times Square. He used a strobe-light to capture the person within the hustle of the New York scene, giving them the limelight and detail as if they were of celebrity status. Taking photographs of strangers with such a definition in a public space reflects on how photography can be used to manipulate what is happening in actuality. Therefore the subject is not aware of the photographer and isn’t constructing a fake narrative that would be shown if they were posing for the camera. Philp-Lorca diCorcia photographs are particularly intriguing and alluring to the viewer, as he presents a duality of candidness as well as purposely subjecting the subject to be brought to the forefront of the scene. This mix of naturalism and direct manipulation of the pose of the stranger, this process is best described in a direct quote by the photographer, “I was investigating things: the nature of chance, the possibility that you can make work that is empathetic without actually even meeting the people.”. Showing that despite a lack of communication between the photographer and the subject, through this mode of photography a narrative is created.
Philip-Lorca diCorcia, Head #7, 2000
Like Philip-Lorca diCorcia, Katy Grannan also captures imagery of strangers across the country in California. Katy Grannan’s Anonymous, San Francisco, 2009, presents the desire to be seen despite being anonymous, which creates a myriad of themes regarding who is being photographed as well as who these photographs are for. Grannan presents her subjects in a stark and direct manner, which highlight the individuals’ imperfection. We only correlate these people in her collection of photographs being unflattering, due to societal standards that have taken over our standard of what beauty looks like. This is a direct juxtaposition of photos of celebrities whereby they are shown off exuding beauty and poise. Instead, Grannan is more in touch with realism with her photos, which in itself is alluring to the viewer as she dissects the complicity of aesthetic judgement.
Katy Grannan, Anonymous, San Francisco, 2009.
Nan Goldin’s photography explores an ostensibly vulnerable and introspective insight into her images of intimacy, sexual identity and selfhood. Goldin’s The Ballad of Sexual Dependency is part of her oeuvre that fascinates me the most, as it captures a multitude of scenes from life and subcultures in New York during the seventies and eighties. Looking directly at the LGBT community, as well as presenting herself and others in the depiction of heterosexuality and the dynamics of intimacy towards individuals in her life. The reception and criticism of her work are particularly intriguing as she shows a position and looks into these individuals that are contested and misunderstood. Goldin’s The Ballad of Sexual Dependency is part of her oeuvre that fascinates me the most, as it captures a multitude of scenes from life and subcultures in New York during the seventies and eighties. Her image, Rise and Monty Kissing, New York City, 1980 exemplifies the lustful intimacy of this series. The infatuation and intensity of this work reflect the direct connection between viewer, artwork and artist. Similarly to many contemporary artists, Goldin’s exposal of her life through her photography allows an immediate reflection of the leitmotifs presented.
Nan Goldin, Rise and Monty Kissing, New York City, 1980.
Lastly, Zanele Muholi’s Faces and Phases photography collection is a great example of how pictures of people are innately necessary for people to claim their own identity. Which therefore leads to better representation and viewers can resonate with the people photographed. This ongoing project captures the black South African (LGBTI) community, which is a group that has been subjected to an overwhelming amount of dehumanisation, discrimination and prejudice. Muholi’s uses black and white photography to create a dialogue of confrontation for the viewer, as well as for the individuals photographed to be given a voice and presence. Too often marginalised groups are not given the attention and understanding they deserve, this is especially prominent in both public and private spheres. Therefore as an activist, Muholi uses pictures of people to provide representation and a direct confrontation which societal traditions and issues.
Zanele Muholi, Sunday Francis Mdlankomo, Vosloorus, Johannesburg; Xana Nyilenda, Newtown, Johannesburg; Lynette Mokhooa, KwaThema Community Hall, Springs, Johannesburg, 2011.
These themes and artists intrigue me as they use photography as a way to structure personal narratives of themselves or others. The themes connect to identity and character. This mode of photography is the clearest form of expression, although it can be manipulated, allows viewers to relate to what is being photographed, as well as educate themselves about life and reality. These topics strike me personally as photographers and their work enables me to connect to the histories that are represented photographically, representation in a form that other mediums art fail to. Representation in relation to identity is paramount for the forgotten and neglected histories to be rightfully narrated.
