Topic 4 - Reading Photographs - Reflection

-       What challenged you?

During this topic I have been challenged by the variance and variety of responses to images. Even though we can have a set of guidelines or a checklist in order to read an image, each audience member will use them, prioritise them and interpret them and the results of them in different ways.

-       What surprised you?

I was surprised by the similarities in approach to reading a photograph, for example the different suggested writings by John A. Walker, Paul Martin Lester and Liz Wells, all had similarities between the approaches and conclusions. They all write and discuss different areas of photography and give different examples. I think my favourite concept discussed is Wells’ writing on taste and the idea of ‘connoisseurship’. She references A. D. Coleman and says:

‘A. D. Coleman reminds us that the term, connoisseurship, originally “simply distinguished between those who had actually laid eyes on particular works of art, thereby truly ‘becoming acquainted with’ them (the original definition of the term’s Latinate roots, cognoscere) and those who knew them only second-hand, through written descriptions or etched and engraved renditions[1]’ – and later, of course, through the photographic reproduction (slides, book illustrations, postcards).’ (Wells, p.433)

I agree with what Wells says is elitist connotations of this statement, but it rings true that a person that has experienced all that the art world has to offer, even within the sphere of their own country, may have a better and deeper experience than those who have not got access to these opportunities. A good example could be those isolated (to a point) in the North or far South West, their opinion and perspective of an image will be different due to the second-hand nature of seeing images away from the gallery walls. Equally a person living in the isolated parts of the world may not have experienced images of other places at all, as they focus more of their lives on survival. Does this make them any less of a connoisseur? I think that connoisseurship looks to divide cultures and peoples, so that the elite classes can feel a sense of ownership and authority over those that cannot afford to visit and experience artwork of all types first-hand. Wells suggests two further points in her essay,

1.

‘…connoisseurs being viewed as steeped in knowledge and therefore able to exercise discrimination within particular field of expertise. Such notions clearly support power infrastructures within national and international economic and institutional art networks,’

2.

‘…as Poggioli suggested, “sons”[2] rebelled against their father figures. This implies a singular historical trajectory within which younger generations of artists and critics act as a vanguard challenging the previously established.’ (Wells, p.433)

-       What do you feel you learned?

This week I have learnt that it is important to consider a range of different perspectives when analysing an image or set of images. Utilising checklists from Bate, Lester or Walker can help give insight into the singular perspective, however discussion and debate are essential for exploring and highlighting the ideas of others and potential further reading, understanding and interpretation.

Talking about interpreting photographs has led me to consider my own position within society and how this can impact my opinions and perspective. It is and continues to be a challenge to refocus the lens of my mind away from the privileged white, middleclass, male perspective I have gained over the years studying and taking photographs. This is something I want to continue challenging, progressing and engaging with to give a better and more rounded view of the world.

Bibliography

WELLS, L. (2002) The Photography Reader Routledge: London. P. 433

[1] A.D. Coleman (2000) ‘Connoisseurship in the digital era’ in Photo Americas 200, Portland, Oregon: Photo Americas, p. 2

[2] Poggioli, R. (1981) Theory of the Avant-Grade, Cambridge, Mass: Belknap Press.