Category: Blog Post 3 (Page 1 of 2)

Andre Kertesz – Photo 7 :: Artist Website

Andre Kertesz, born July 2nd, 1894, was a Hungarian-born photographer who was extremely well known for his contribution in the practical and literary world of photography.

In terms of the studium, Kertesz simply shows a photograph that has a “broken glass” effect. That is what the main focus of the photograph is.

This particular picture, deemed “Kertesz-7” as the name of the photo on the artist website struck me because it is very close to how I see the world myself. For me, the punctum is no other than the inescapable hole of reality which Kertesz depicts as a shattered piece of the photograph. Why? Because in the matrix of all things material, I see too the “hole” in the reality around us – the vibrational truth of how our universe functions, compared to the seemly real corporal matrix that we’ve been programmed to believe exists as separation from everything else. A more or less popular quote would be “A picture is worth a thousand words”, but this work seems to disorientate the entire paradigm of that exact quote into “A black hole consumes the words out of the picture, for nothing escapes a black hole; all attention is drawn to it; everyone will always ask ‘What happened?’ and the words become simply wondering, and wondering can be a dangerous thing if no conclusion is reached.”

Essentially, Kertesz’ work leaves me with a sense that there is more to life. There is more to this reality we have been presented with – and with good reason. It hits me in the place that goes beyond the planes of existence in which we are all conditioned to live in without question. Through all those tall buildings, those beautiful oceans, tall mountains and the gorgeous skies, to the colors we can see and the thoughts we experience… Is there a deeper connectivity to all of this than we think? Who are we and how far do our limits actually reach? Can you actually stick your hand through some hole broken into the construct of the matrix of reality? What do you think you would pull out?

It leaves the viewer with a sense of curiosity for what is beyond the picture. It reminds me of what it would feel like to prove any philosophical argument “right” or “wrong”.  It shows something that cannot be shown. It is truly a photograph that inspired me to write music recently that I didn’t really think I could make. It seems to me that once you break the “rules”, you start to rule yourself.

Untitled (New York, NY 1974) Photo taken by: Elliot Erwitt(July 26, 1928-Present)

Elliot Erwitt’s mission when taking photos was to show the viewer a perspective that had eluded their sight before. Erwitt was born in France, but being born from Jewish-Russian parents at that time, they emigrated to Italy. Finally, at the age of 10, Erwitt and his family emigrated to the U.S. After studying photography in California and working as a photographer’s assistant in 1951 during the war, Erwitt gained a lot of experience taking photos of people, families, and photographs from peculiar angles. He was given the opportunity to photograph important figures such as Richard Nixon and Nikita Khrushchev in Moscow.

The photograph taken above is not of a famous person and not of a family portrait, but of a pair of paws, feet, and a small dog. Previously stated, Erwitt’s mission is to show the viewer a perspective that they would not have thought about previously which is why I chose this is the photo in his collection that grabbed me the most.

The studium seems to be that Erwitt wanted to show the perspective a small dog in New York City in the year 1974. The studium is of a New York City street that includes a cobblestone road with foliage in the background. There are leaves on the ground and the figure in the middle seems to be wearing a large coat and boots; suggesting that the season is fall. To me, Erwitt wanted to capture how different the world is for a small dog than that of a larger being and this is supported by the angle at which Erwitt chooses to take this photograph. Not only did he have to get close to the ground, but he also decided to cut off the left two figure’s upper bodies. This emphasizes that the studium is not only of a New York city street during the fall, but also from the perspective of a small animal.

For me, the punctum, the object that draws my attention beyond the image, is that of the dog’s clothes. The dog is dressed in a flamboyant striped hat along with what seems to be a knitted coat with pom poms near its neck area. Before I saw this dog’s clothing, I just saw the long paws on the left, a person with high boots in the middle, and a small dog looking directly into the camera on the right. The dog’s clothing leads me to presume that the owner cares about the dog’s appearance and may even be of higher status to dress a dog in such vibrant clothing. Elliot Erwitt’s style and angle of this photo helped me to see New York City in a different light.

“Police Officer Playing with Children, Harlem 1978 ” by Leonard Freed (October 23, 1929- November 29, 2006)

When I saw this photograph I was instantly mesmerized by the joy and happiness radiating from it. Memories of my carefree elementary school days came flooding back. I was reminded of a time where I was once this young and innocent, oblivious to the harsh realities of the black and white world in which we live. This photo, taken in 1978 by Leonard Freed shows a white police officer (most likely on duty) playing a game of what appears to be  “Duck, Duck, Goose!” with a group of kids, who are all minorities (black and Latino). What initially drew me to this photo wasn’t the shades of gray melanin on the children, or the lack thereof on the police officer. On every visible face, there is a glowing smile (studium). From the background, with the trash littering the streets and the graffiti stained, broken down buildings, it is clear to see that these children do not live in the best neighborhood or conditions. In these urban areas, the sight of a police officer may leave people feeling uneasy. Whether she knew it at the time or not, by just playing a harmless game with these children, she could have changed how they viewed the police, and also possibly could have had a positive influence on their lives in the future.

The gun in the officer’s holster pierces something inside me (punctum). It makes me view this entire image as a power dynamic. The magnitude of the grins and laughter of the people in the photo significantly outweighs the fear or intimidation one might feel from seeing a gun, especially a white officer with one. In this brief moment in time captured by the camera, she is so absorbed in her own glee that she has no use for the deadly weapon that she carries so nonchalantly. In comparison to the children she plays with, the officer holds a higher position of power and privilege in society. She is white and a member of law enforcement, whereas the children she surrounds herself with are at the bottom of the societal totem pole. The only thing fighting against her is the fact that she is a female. The gun is a symbol of the unspoken hierarchy that lingers within not only the image, but society as a whole.

Minorities are no stranger to police brutality in America, and this is definitely not a recent nationwide epidemic. This picture was taken during a time where desegregation in America was less than than thirty years old, crime in NYC was rampant, and the relationship between the NYPD and its citizens was often less than congenial. Yet, this photo seems to blur any and all black and white lines put forth by society, and illustrate a softer side of the country’s most notorious police department.

Musa N. Nxumalo, Are the fees gonna fall or nah?, 2017.

Born in 1986 in Soweto, Musa N. Nxumalo is a contemporary photographer who tends to focus his works on primarily youth culture, identity and the journey to self-discovery. Musa N. Nxumalo’s Are the fees gonna fall or nah? was taken in 2017 and is apart of a bigger collection of work known as “16 shots”, which is a collection of of 16 photographic prints reflecting on the changing contexts and concerns that confront this contemporary generation of South African youth.

After reading Roland Barthes’s book, Camera Lucida, my perception and understanding of photography has completely been altered. Throughout the book, we see that Roland Barthes has a unique view and definition of photography. Instead of just seeing the photograph for what the photographer intended to capture, the studium, Barthes gets a certain feeling of jubilation from the accidents the photographer ends up capturing, known as the punctum.

As I was searching through Musa N. Nxumalo’s collection of photographs, I was trying to find that unique point in a photograph that as Barthes said, “pricks” me. When I came across Nxumalo’s Are the fees gonna fall or nah?; however, I was able to see his intentions along with finding that point that “animates” me. It is clear in this photograph that Musa N. Nxumalo is trying to depict. We see three men standing in a unique pose, as if they’re imitating the pose of a crane. In addition we see two of the men staring at what appears to be a fence or a cage. In the background I notice a few trees and a relatively big fire that is burning what could be either a truck or a van. The observer can interpret here that Musa N. Nxumalo intentions or studium, is to capture the contemporary lives of South African youth because it appears like it is a normal day for these men. But what truly pierces me is the backpack the guy in the center of the photograph is wearing. At first glance, this backpack was not something I immediately noticed; however, as I continuously glare at this backpack, my mind keeps wondering a million different things. As I keep looking at this photograph, my mind brings me from one place to another. I first question why is this guy wearing this backpack, which then brings my mind to questioning who this guy is and what is his background. Is he a worker, though the outfit he is wearing, or is he a student? As I keep thinking, I keep questioning and coming to different conclusions. This makes me feel as if I have a certain connection to this guy, as I am both a student and a worker as well, even though I have never met or spoken to this person. These constant wonders and limitless possibilities excite me and “wounds” me.

Henri Cartier-Bresson
Fire in Hoboken, facing Manhattan. 1947

This photograph was captured by the infamous street photographer, Henri Cartier-Bresson. Cartier-Bresson was the French pioneer of street photography and gave rise to candid photography as well. His oeuvre is filled with extremely decisive and awe-inspiring photographs of very peculiarly captured moments.

After reading Camera Lucida by Roland Barthes, I have come to see every photograph in a very different light. As a photographer myself, I have always seen a photograph very differently but Barthes has allowed me to bring out a new meaning within each photograph. As he struggled to define photography, he introduced the terms studium and punctum in order to distinguish the most personally animating and piercing parts of a photograph which in turn assist in understanding a photograph.

This photograph is called Fire in Hoboken, facing Manhattan and the moment I saw it in the works of Cartier-Bresson, I was taken aback. I instantly noticed the studium in the picture. The studium in this picture is the charred remains of a building left behind after a fire. I noticed the billowing spoke that engulfs the horizon of the picture, cradling the ruins as a solace of the aftermath. Additionally, I noticed that the spray of water further adds to the studium of the photograph by bringing the subject into context. The aftermath of the fire can also be seen as the spectrum, the subject posing for the picture, in this photograph. After thoroughly examining the studium in this photograph, I decided to look for the punctum. As Barthes explains, the punctum is different for everyone and it incites a piercing response in the viewer. Remembering those words of Barthes’s, I viewed the punctum to be the rising Manhattan skyline in the background of the picture. I recognized that as the punctum because it is very odd to see the contrast of towering skyscrapers along with the rubble of a burned building. It brought out a completely different response within me to notice the towering buildings while seeing what would be the result or future of said buildings after a such a tragic event. The skyline is also the spectator in this case, looking down at the charred remains of the building. The inclusion of the skyline also lowers the tragic nature of the photograph by adding a layer of contrast. Overall, this photograph by Henri Cartier-Bresson contains both a studium and a punctum and the identification of said studium and punctum leads to a deeper and more thought provoking understanding of the photograph.

Vivian Maier – The Street Pictures – 1955 – New York, New York

I will never be able to look at a photograph the same way after reading Roland Barthes’s Camera Lucida. In the book we see Barthes struggling to define photography. He finally comes to terms with the fact that he is unable to define it. Instead he splits photography up into two parts; a studium and a punctum. On page 18 in the book Barthes explains how he realized that only some pictures provoked jubilations within him; only some pictures excited him. He says that the excitement came from the punctum, while the studium is just what the picture is capturing. I was searching through Vivian Maier’s (1926-2009)  picture portfolio of The Street Pictures, waiting for one picture to grab me. Suddenly the one above did just that. In Camera Lucida we see that every picture has a studium, but not every picture has a punctum. The image I chose has both. As I looked at the picture not only did it grab me, but it also put excitement within me. I wanted to know why, so I began studying the image. At first I identified what the picture was clearly showing; I identified the studium. The studium in this photograph is a man sitting on the sidewalk in New York City. There is something wrong with his legs. I realized right away that his legs looked a lot skinnier than normal, and as I looked even closer I saw that he is sitting on crutches. As this is happening people are going on about their days; they are walking right past him. As I looked around the photograph more, I found what I was looking for. I found what stood out to me, what grabbed me. I found the punctum. The punctum in this picture is the little girl’s face  who is walking with her mother on the sidewalk. Her mother is walking straight ahead minding her own business, but the little girl can’t seem to look away from the man sitting on the ground. Her face looks as though it is filled with fear. The girl’s face intrigued me, agitated me, and excited me. It instantly changed the view of the image. The photograph went from a simple day in New York to a whole different meaning. When I now look at the photograph I see feelings. I see the fear of the little girl, which might be making the man feel humiliated, embarrassed, and sad. I now see photography in a whole new light, and with a whole new meaning. I now find more enjoyment in photography than I’ve had before.

Happy Hit Men

Jill Freedman is an American photographer, who started off her career in the most unlikely way. Born in Pittsburg in 1939, Freedman followed the generic path of going to college but found herself unsure of what she wanted to do after graduating. After wandering around Europe and singing for her meals, she finally got her hands on a camera and instantly fell in love with the art of photography. Although she was self taught, she found inspiration through many groundbreaking photographers such as André Kertész, W. Eugene Smith, Dorothea Lange, and Henri Cartier-Bresson.

Freedman has published many photography books, in which she showcases her diverse photographic collections. Her collections include topics like photographs about New York City, circuses’, Ireland, people and animals and cops and firefighters. A particular collection that I found interesting was titled, “boys’ club”. Included in this collection displayed on her website, was a note that explained the purpose of the collection. Freedman wanted to capture the essence of a man, through his candid interactions with other men, women, children, animals and when they are by themselves.

A particular photo titled, “Happy Hit Men” captured my attention because it shows a group of well-dressed men standing in front of an Episcopal church, presumably after mass or some other religious ceremony. What’s interesting is that these men, although they are dressed formal and are serious-looking, they are all applauding and cheering on one of their own as he dances for the other’s amusement. It looks like everyone is genuinely having a good time in this moment in time.

It is generally easy to see that studium of the photo is the group of five, well-dressed men celebrating on the front steps of an Episcopal church. It is important to understand that the cause of celebration is not very clear and there is no date of when this picture was taken. Considering this, the punctum can be believed to be the main man standing in the middle of the other four men, as he purses his lips in a comical way with hands raised and snapping. He is dancing, presumably for the amusement of the other men as they applaud and cheer him on. I believe this is the punctum because it calls the most attention to the picture, as the other four men are looking directly at him and that man is standing almost in the center of the photo.

The Street photographs, Shirley Baker

Shirley Baker ( 1932-2014) was a British photographer who was known for photographing the post- war, working class people of inner city areas. She was intrigued with photographing the places that most ordinary people easily overlooked. This photo found in an e-portfolio titled The Street photographs pictures just the topic that intrigued her and thus came on to intrigue me. Initially, you see here children who are playing jump rope with an adult, possibly one of their relatives. The children and the older man all look extremely happy as if that moment in their life was just the happiest they ever experienced. The older man is delightfully watching the girl in the middle jumping rope while the girl on the end turning the rope, the girl jumping in the middle, and the girl who is holding the mans hand are all looking at the camera and thus at us, at the viewers. That is the studium, the children are happy they are doing something outside that makes them happy, something they like to do, something that in the intrigue of the photographer is easily overlooked. No one, looking in from the side will think so deeply about children jumping rope however, the photographer captures that particular moment, in the action of jumping rope, that shows that such a simple and easily overlooked activity makes these children so happy especially during a time and place that isn’t so happy. However, that only covers the general interest. Here, personally the punctum is the two children in the back who seem to be walking. They are on the same side of the sidewalk as the children jumping rope but they are farther down the sidewalk, fairly close to the street. These children seem to be headlining for the street yet they are unattended, they seem to have no one watching them while they are outside, much less walking towards the street. It seems like every child in this picture has an adult that is supervising them except for those two children in the back. There is nothing to indicate that children should or can be going outside without supervision. It sparks thought about their stories and their lives because, we in this time period are not used to seeing unsupervised children. So, there is definitely thought of what could be different about them and what is there need to be outside, and since they are outside why are they outside together but not being watched, is there trust that because they are together they don’t need to be supervised, what is going on beyond this frame that we don’t know about?  Also, they seem like they’re boys and the rest of the children in the picture look like girls, so it could be entirely possible that because they are boys they don’t need to be supervised. Whichever the explanation is for this, it explains the intrigue of the photographer because to us now, seeing unsupervised children is uncommon but, here it seems to be just another aspect that is easily overlooked.