Couple of things to make clear at the start . . .
I’m not talking here about the day-to-day, vernacular photography we see posted on social media. I quite like some of that and appreciate the function it fulfills. (Although some of what follows can be applied to that kind of photography, too. After all, all photographs define, somehow, some aspects of the aspirations and world view of the person who took them.)
What I am talking about are the bodies of work created and circulated by photographers who intend to situate their work within the confines of the “serious” and/or “fine art” realms of PhotoWorld™. What are their personal politics? How is it rendered in their work? Do they care? Does it matter?
So okay, with that out of the way, let me begin . . .
My view of, and interest in, photography has always skewed towards the political. And I define “politics” in photography quite broadly. It need not be, in fact often isn’t, overt. It includes informed and incisive looks at, and dissections of, the world. It might consider personal or global politics from a tempered, poetic perspective, or simply be a photographer trying to honestly define their life. (Can there be anything more political that trying to honestly define your life?)
And, it must be said that a good photograph, no matter what, contains a multitude of wonderful aspects to appreciate. What I hope to find is informed opinion and intelligence, photographs that will educate me by showing me something I haven’t thought of before. Or photographs that cause me to reconsider or expand my world view by shedding new light on something that I have thought of before.
But I also look for and analyze the politics contained in images, whether those politics were consciously embedded by the photographer or not. (And this coincides neatly with my belief that many photos are gateways to some aspect of their creators’ subconscious, to their aspirations and/or world view . . . i.e. their politics)
But (and remember I’m talking here about “serious” and “fine art” photography) . . . but a lot of photographs that are created, liked, and given blue-chip support seem to me to be nothing more than pro forma, commercial images that merely support a product. The product being the status quo.
There are, of course, a million shades of grey. I’ve seen quiet, beautiful work that is profoundly political, just as I’ve seen bold edgy work that seems nothing more than a clever way to separate money from patrons who want to appear radical (while at the same time making sure the art they buy matches their glamorous decor).
Don’t get me wrong, I know we need a certain amount of joy, distraction, and just plain beauty in our lives. And, sure, there’s no reason art can’t supply some of that.
But the embrace of anodyne photography equals a tacit acceptance of the tumult that the world (your world, my world, everyone’s world) is being subjected to these days.
Which side are you on?
JUSTIN WONNACOTT STUDIO SHOW
This Friday and Saturday Justin Wonnacott will be opening his studio. You are invited to drop by, look at some photographs, have a drink and a chat. And, it must be said, chow down on some of the stellar snacks he’s been known to make.
Happening this Friday, November 29 between five and nine and on Saturday the 30th from one until about six.
Getting there is a bit tricky but will be worth the effort. This is what Justin says:
Folks are invited to a party in my studio with things to eat,
some wine and pictures on the wall.
My studio entrance is the north door at 82 Rue Hanson in
Gatineau on the second floor of La Filature .
I will leave a note on the door with my phone number to call
and I will open the door for you.
Come and see where I work. But….. If you plan to come please
RSVP in a facebook message to let me know when you are coming.
Thanks, Justin Wonnacott
REMI THERIAULT at STUDIO SIXTY SIX
Also on Friday, No Vacancy, a show of Remi Thériault‘s images of life on the road, in the clubs, and stuff, will open at Studio Sixty Six. That’s November 29th, six to nine.