Order Reductil pills, The most interesting moment in the Thomas Struth conversation with Gil Blank last night at SVA came about when someone from the audience brought up the issue of access and how so much of contemporary photography seems to be as much if not more about a photographer gaining access to special, hidden or exclusive sites as it is about the actual photograph of that site put on display.
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This a topic that deserves attention.
Struth certainly sidestepped the question…and his parry was classic. I doubt he missed the point of the question. The problem seems to be that the possible answers head quickly down a road contemporary photographers working in a neodocumentary vein would rather not tread (namely, privilege + identity politics of the photographer, rather than the subject).
The strongest retort I could muster would be to affirm his response, that yes, “it’s the person behind the camera that matters most,” and even if you ignore the issue of accessibility, it would be naive to think that the photographer’s “intentionality” was not shaped by cultural politics, which are doubtless many of the very same cultural-political factors that inform accessibility. But with intentionality, the photographer can better feign (and probably quite rightly) an independent subjectivity, or at least a more complex one. So maybe Struth’s response was not altogether bad…but I do think he probably misses the more subtle point that access & intentionality are potentially subject to (i.e. shaped by) identical factors.
[...] the privileged access came up and he apparently side stepped it and said it was all about intent. Here is a report that needs to be read. This is a serious question that deserves more than just this blog post. Taryn Simon’s name [...]
That was defiantly the clincher. During the discussion I kept thinking back to 19th Century travel photography (Samuel Bourne, etc.) as an equivalent to this type of work.
So glad someone asked that question. When I first tried to come up with the 4 competitive advantages in fine art photography, access was most certainly on there, be it from privilege (Struth, Hofer), tenacity (Simon), or personal connections (Dimmock).
so what?
Seems to me that this issue is tied up with the long struggle by photographers to deal with the reproducibility of the medium. Getting exclusive access provides a measure of uniqueness and reduces the likelihood that another photographer will make similar work. It also tends to brand photographer with a subject matter rather than a style. What’s the answer? Obviously we continue to struggle to solve it.
We’ll be talking this over on Twitter tomorrow (5/18, 6pm Pacific, #photoartchat).
Do you know if there as video taken of this talk or a transcript?