On a Thursday afternoon, I had the opportunity of visiting, and more importantly, analyzing the exhibit “Modernism on the Ganges: The Photographs of Raghubir Singh.” Prior to the visit, I analyze on of Susan Sontag’s articles titled “On Photography,” where she depicts whether or not photographs just capture the moment or if they have a more further analysis to them each and every time. A part of the reading that grabbed my attention was when she states, “While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency.” This phrase drew my attention to the real task at hand, are photographs just moments in time or is there a deeper meaning? Does a photo really tell a story of a thousand words every single time, or does it just leave you speechless, and which is more impactful?
Throughout the exhibit I was presented with photos of the reality of post-colonial India. Each and every photo had no filter on it and was simply raw truth. Each action, movement and mere hand placement of each individual in every photo draws a question of curiosity and a question of reason. Why were there just kids laying around in poverty? Why were some happy or others sad? What do they truly feel about such events? The photo itself represented the time period in a questionable stance, a stance for question. There is no right or wrong answer, no “yes or no” questions and absolutely no “silly questions.” This is the impact of Raghubir Singh’s photography. It draws the concern to reason and the common phrase of “why?” His photograph shapes the country of India in ways that emotions cannot settle on. My favorite of all the photos was a photo of 4 men placed around in a circle, looking to the camera lens, enjoying the delicacy of a popsicle. Sadly, I wasn’t able to take any photos in the exhibit, but this one photo really grabbed my attention and I still think about it to this day. The joy and utter excitement of the men enjoying something as simple as a popsicle. The way they hold it seems as if they’ve never been presented this sugary iced treat before and you can tell the curiosity, yet joy, in their faces. It seems as if all their problems have slipped away and now the only real concern that they have, is this one popsicle. The photograph has so much humor, yet open analysis for questions of any genre and that’s what makes Singh’s photography such a different way of how he interprets the time period and its reality.
Overall, I truly enjoyed the exhibit and was very bummed out to the fact we couldn’t take any photos of the art itself because it would’ve further deepened the meaning I was attempting to portray. Thank you for the opportunity to visit such a wonderful exhibit!
-Kevin Hasa
Kevin, I was also bummed about the fact that we weren’t allowed to take pictures of Singh’s photographs, but similar to you, I am still struck by my favorite photograph. I liked the way you reminded us that “there are no right or wrong answers and no stupid questions” when it came to Singh’s exhibit, because this is a reminder for all works of art on a more general level as well. Your interpretation of the four men was incredibly poignant and I can see why this photo was your favorite. Open analysis is incredibly important when it comes to photography, because too often are we directed to feel a certain way; ways that sometimes we truly do not want to feel.
That was also my favorite photograph in the exhibit! I think it really captured the spirit of the people living in India at the time in a way that we would never be able to experience if it weren’t for Singh’s photographs. It’s amazing how much of an impact the perspective of the person behind the camera has on an image and our interpretation of it. Thank you for your insights!
Kevin, I was also struck by the picture you mention of four men eating popsicles. It’s hard to describe why that picture is so impactful but perhaps it’s the frankness and honesty that I felt was being expressed by the men. Singh depicted what seems on the surface to be just a portrayal of life in post-colonial India but with an undercurrent of emotion, specifically the feeling that the people of India may be struggling now but it is on their terms.
Kevin, I really agree with your statement that Raghubir Singh’s photographs “shape the country of India in ways that emotions cannot settle on.” While I was walking through the exhibit, I came to the realization that while Singh’s appreciation of his native land definitely shines through in his work, there is also a plethora of other emotions present. There’s love and admiration but there is also a sense of sadness – as if he’s trying to say that India is great but he wishes life wasn’t so hard for its inhabitants.
Great work!