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The new passion for deadpan
In the world of photography, it would seem that deadpan is the new in thing. This year's Citibank Photography Prize presents us with four shortlisted photographers working in the documentary tradition, and three of them work in a manner that is determined to give it to us straight.
The organisers of this prize want to see it rivalling Tate's Turner Prize and the Man Booker Prize within a few years, and they are making a great deal of the fact that this year's four finalists are part of a wider, much touted return to documentary values in contemporary photography. This comes after years of self consciously "staged" photography in the vein of contemporary art stars such as Cindy Sherman and Gregory Crewdson, as well as all manner of fashion photographers.
But if the word "documentary" suggests to you the startling serendipities of a Henri Cartier Bresson or the hard hitting revelations of a Sebastio Salgado, think again. With one stunning exception, "documentary" at least the way this jury has interpreted it has less to do with bringing us news from the world out there than with avoiding even the slightest hint of artifice.
Jitka Hanzlova, for instance, a Czech artist, presents a small body of work that emerged from approaching black women in Brixton and asking them to pose for her. pink gold cartier love bracelet The resulting images are utterly deadpan: the women, about whom we can surmise nothing except that they are open to being persuaded to have their photo taken by a stranger, simply face the camera and wait for it to be over.
This sort of thing was done well in Germany between the wars by August Sander, at a time when many people still had genuinely strange and revealing responses to the camera. These days, gold bracelet cartier imitation people are so used to having their photos taken that hardly anything interesting jumps out.
In Hanzlova's case, we might try to get excited about the tension, or the sense of newfound complicity, between the photographer and the subject. But these images are actually devoid of tension. They couldn't be more banal if they tried.
Ah, but strangely, they do try. And this goes for another of the finalists, Bertien van Manen, from Holland. On the evidence of an earlier body of work gold cartier love bracelet buy made in Russia, van Manen is capable of an engaging and artful approach to the snapshot style.
But her more recent trip to China has resulted in a set of images so uninteresting, so uninformative and so arbitrary that it has put her in the running for a 20,000 prize.
Why is "deadpan" so popular at the moment? Perhaps because we no longer quite trust the truth telling capacity of photography. The deadpan manner, by removing any hint of rhetoric or persuasion, does its utmost to avoid making any such claims for itself. The style scoops art world cachet from the sternly objective approach of the so called Dusseldorf School of photographers, whose highly regarded members include Bernd faux cartier love bracelet and Hilla Becher, Thomas Struth and Thomas Ruff.
The deadpan look has crept into fashion photography, too, so it is no surprise to see that Juergen Teller, a leading fashion photographer, was also selected by this year's jury. His contribution sets photographs of the model Stephanie Seymour beside naked self portraits, street photographs and random still lifes.
I am partial to fashion photography: at least it admits to its own infatuations. But in dissolving the line between his fashion work and his private life, Teller gives the impression of riding a trend rather than pursuing a conviction. He has turned arbitrariness into a governing principle, and it's hard to see why.
The real showstopper at this year's exhibition is Simon Norfolk, whose large scale colour photographs of scenes of war wreckage in Afghanistan occupy an opposite pole to the "deadpan" manner.
Norfolk is a politically engaged photographer who told me he has no time for art. Strange then, that his carefully composed images taken at dusk or dawn should be so soaked in art historical and literary references, from the Golden Age nostalgia of the 17th century painter Claude Lorrain to the modern literary theory of Mikhail Bakhtin.
Norfolk shows us a country utterly wrecked by 25 years of war waged with appallingly destructive weapons. How dare they be so beautiful, you are inclined to think.
Norfolk deliberately plays up the contradiction between timeless beauty and present tense trauma. I find his presentation of the contradiction overwrought, but it makes me feel thoughtful and uneasy. And that is surely more interesting than feeling nothing at all.famous fake cartier rose bracelet Galvanized steel You should have it Let's more familiar in regards to its detailed
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In the world of photography, it would seem that deadpan is the new in thing. This year's Citibank Photography Prize presents us with four shortlisted photographers working in the documentary tradition, and three of them work in a manner that is determined to give it to us straight.
The organisers of this prize want to see it rivalling Tate's Turner Prize and the Man Booker Prize within a few years, and they are making a great deal of the fact that this year's four finalists are part of a wider, much touted return to documentary values in contemporary photography. This comes after years of self consciously "staged" photography in the vein of contemporary art stars such as Cindy Sherman and Gregory Crewdson, as well as all manner of fashion photographers.
But if the word "documentary" suggests to you the startling serendipities of a Henri Cartier Bresson or the hard hitting revelations of a Sebastio Salgado, think again. With one stunning exception, "documentary" at least the way this jury has interpreted it has less to do with bringing us news from the world out there than with avoiding even the slightest hint of artifice.
Jitka Hanzlova, for instance, a Czech artist, presents a small body of work that emerged from approaching black women in Brixton and asking them to pose for her. pink gold cartier love bracelet The resulting images are utterly deadpan: the women, about whom we can surmise nothing except that they are open to being persuaded to have their photo taken by a stranger, simply face the camera and wait for it to be over.
This sort of thing was done well in Germany between the wars by August Sander, at a time when many people still had genuinely strange and revealing responses to the camera. These days, gold bracelet cartier imitation people are so used to having their photos taken that hardly anything interesting jumps out.
In Hanzlova's case, we might try to get excited about the tension, or the sense of newfound complicity, between the photographer and the subject. But these images are actually devoid of tension. They couldn't be more banal if they tried.
Ah, but strangely, they do try. And this goes for another of the finalists, Bertien van Manen, from Holland. On the evidence of an earlier body of work gold cartier love bracelet buy made in Russia, van Manen is capable of an engaging and artful approach to the snapshot style.
But her more recent trip to China has resulted in a set of images so uninteresting, so uninformative and so arbitrary that it has put her in the running for a 20,000 prize.
Why is "deadpan" so popular at the moment? Perhaps because we no longer quite trust the truth telling capacity of photography. The deadpan manner, by removing any hint of rhetoric or persuasion, does its utmost to avoid making any such claims for itself. The style scoops art world cachet from the sternly objective approach of the so called Dusseldorf School of photographers, whose highly regarded members include Bernd faux cartier love bracelet and Hilla Becher, Thomas Struth and Thomas Ruff.
The deadpan look has crept into fashion photography, too, so it is no surprise to see that Juergen Teller, a leading fashion photographer, was also selected by this year's jury. His contribution sets photographs of the model Stephanie Seymour beside naked self portraits, street photographs and random still lifes.
I am partial to fashion photography: at least it admits to its own infatuations. But in dissolving the line between his fashion work and his private life, Teller gives the impression of riding a trend rather than pursuing a conviction. He has turned arbitrariness into a governing principle, and it's hard to see why.
The real showstopper at this year's exhibition is Simon Norfolk, whose large scale colour photographs of scenes of war wreckage in Afghanistan occupy an opposite pole to the "deadpan" manner.
Norfolk is a politically engaged photographer who told me he has no time for art. Strange then, that his carefully composed images taken at dusk or dawn should be so soaked in art historical and literary references, from the Golden Age nostalgia of the 17th century painter Claude Lorrain to the modern literary theory of Mikhail Bakhtin.
Norfolk shows us a country utterly wrecked by 25 years of war waged with appallingly destructive weapons. How dare they be so beautiful, you are inclined to think.
Norfolk deliberately plays up the contradiction between timeless beauty and present tense trauma. I find his presentation of the contradiction overwrought, but it makes me feel thoughtful and uneasy. And that is surely more interesting than feeling nothing at all.
The Wall