In keeping with the theme of Truth Fantasy and Fiction, the recent exhibit at the Tate Modern Gallery covered a wide range of Photographers that consider the level of deception and fabrication present in the photographic form. The exhibition itself covered over 50 photographers over a broad timeline covering the questions of truth in photography over its progression into the digital age. Interestingly both an observer and a photographer have to take into account what truth they are seeing in an image. The exhibition made it clear that it is possible to manufacture an entire myth through purely photographic signifyers such as lighting and staging. Take the example of this image by the photographer Kamaitachi, which is equally accredited to the dancer depicted Tasumitlijikata. They both ventured out onto the countryside and decided to capture images representational of the myth that the area was haunted by a hostile spirit. In this respect we truly see a level of dark twisted narrative, but also an ethereal beauty in the costume choices of the dancer. His flowing presence is captured by the materiel as well as the movement he is making so that the viewer can get a sense of his action even in a still image. What is perhaps most interesting about this image however is the framing. The darkened areas of the lens appear in an almost eye like shape and not only bring in connotations of demonic mythology (an eye being frequently associated with the devil), but also invite a look at the very concept of looking. Here we consider both a representation of a watching demon, and the eye of the audience, allowing us to consider the role we play in the fabrication of this myth and particularly how much we are influenced by the codes and conventions associated with this feeling of discomfort or fear.
This series emphasized how easy it is to manufacture a reaction from the audience; a theme continued in several other artists work at the exhibition. For example the work of Eichelboom. He went into homes of people in a neighborhood when the father had left for work an staged a traditional family portrait with himself as the father. By calling the series 'My Family' he forced his audience to consider how normal and natural the family looked and provided a vague sense of unease in that something so meaningful and personal to an individual can be altered very easily form the outside. The natural look of these images is aided by their slight lack of focus and overexposure due to the us of flash, as well as the slightly uneven framing. Here he uses the common conventions of a blase' and not fully thought out image to expertly convince his audience that what you are looking at is really a typical family, not only extrapolating an interesting look at stereotyping but also at the freedom with which people can be manipulated.
The photographer Boris Mikhailov, took images of a seemingly fun holiday in Cuba during the cold war. At first glance, much like the previous set of images,hey seem like perfectly ordinary and happy people going abut their holiday business. However, the context alters all of this as we realize that Cuba was under the control of America and these people where in fact only acting out what would politically make the US appear ingratiating and kind. They where forced to fill out this stereotype of hat they where expected to be. In a way we get anther example of fiction here as they are fulfilling a fabricated narrative, however it also show that truth of the way people where expected to behave, and it appears that the alleged truth of an image is purely dependent on what we have been told about it. this series in a way exposed different truths by putting across a message about the power of photography in politics.
A much earlier photographer capturing images in the 1800s, Nader, captured image of a mime pulling various different expressions. Though not a representation for a genuine emotion, these where seen as a document of that emotion in stage and performance, the audience being aware that this is a purely fabricate images through the traditional mime's costume. Furthermore, the image is entitled 'Pierrot, Surprised' and thus suggested that the image is such a documentation,there to capture an overzealous representation of emotion, but nonetheless recognized by the plethora of audience members. This raises the question of syngnifyers within cinematography and art as, though emotions are something we are encouraged to feel, otherwise the empathetic connection to art would be lost, but we seldom see it represented honestly
Similarly Samuel Fasso invites the question of complete fabrication in his series where he dresses himself up as famous names from the African American community and stages famous images of them. Though clearly not who his is pretending to be, his images are really quite realistic and provide a striking resemblance, if not to the person he was trying to depict, then to the whole genre of politics and fame in photography and how easy it is to project meaning onto an image. The exhibition as a whole emphasized that we can never see absolute truth. The only thing we can get is our honest reaction to it and an understanding of our own assumptions. In this way, the photographic medium is the perfect art form with which to examine truth, fantasy and fiction as it simultaneously fabricates, alters, questions and destroys truth in order to create new truth.
This series emphasized how easy it is to manufacture a reaction from the audience; a theme continued in several other artists work at the exhibition. For example the work of Eichelboom. He went into homes of people in a neighborhood when the father had left for work an staged a traditional family portrait with himself as the father. By calling the series 'My Family' he forced his audience to consider how normal and natural the family looked and provided a vague sense of unease in that something so meaningful and personal to an individual can be altered very easily form the outside. The natural look of these images is aided by their slight lack of focus and overexposure due to the us of flash, as well as the slightly uneven framing. Here he uses the common conventions of a blase' and not fully thought out image to expertly convince his audience that what you are looking at is really a typical family, not only extrapolating an interesting look at stereotyping but also at the freedom with which people can be manipulated.
The photographer Boris Mikhailov, took images of a seemingly fun holiday in Cuba during the cold war. At first glance, much like the previous set of images,hey seem like perfectly ordinary and happy people going abut their holiday business. However, the context alters all of this as we realize that Cuba was under the control of America and these people where in fact only acting out what would politically make the US appear ingratiating and kind. They where forced to fill out this stereotype of hat they where expected to be. In a way we get anther example of fiction here as they are fulfilling a fabricated narrative, however it also show that truth of the way people where expected to behave, and it appears that the alleged truth of an image is purely dependent on what we have been told about it. this series in a way exposed different truths by putting across a message about the power of photography in politics.
A much earlier photographer capturing images in the 1800s, Nader, captured image of a mime pulling various different expressions. Though not a representation for a genuine emotion, these where seen as a document of that emotion in stage and performance, the audience being aware that this is a purely fabricate images through the traditional mime's costume. Furthermore, the image is entitled 'Pierrot, Surprised' and thus suggested that the image is such a documentation,there to capture an overzealous representation of emotion, but nonetheless recognized by the plethora of audience members. This raises the question of syngnifyers within cinematography and art as, though emotions are something we are encouraged to feel, otherwise the empathetic connection to art would be lost, but we seldom see it represented honestly
Similarly Samuel Fasso invites the question of complete fabrication in his series where he dresses himself up as famous names from the African American community and stages famous images of them. Though clearly not who his is pretending to be, his images are really quite realistic and provide a striking resemblance, if not to the person he was trying to depict, then to the whole genre of politics and fame in photography and how easy it is to project meaning onto an image. The exhibition as a whole emphasized that we can never see absolute truth. The only thing we can get is our honest reaction to it and an understanding of our own assumptions. In this way, the photographic medium is the perfect art form with which to examine truth, fantasy and fiction as it simultaneously fabricates, alters, questions and destroys truth in order to create new truth.
Emotion headshots
Satircal film posters
press footage
Satircal film posters
press footage