Chapter4 Something and Nothing

Tlre proloenphs in rhis chrpter show how non_humrn thing3.

ofr.n qu teord nrr/, cv.rydry obiecls. can b€ md€ exftordinr/

by be ng photogrrphed A5 tlie r de suggesis. th. nufiofdr ly lilc
,or" ,',.3"b." '" o e go'l D'
Butbccxus€we miy ord nar l/ px$ drescoblec6 b/, or kccP them
rt nre per ipher/ otour v slor. wc mr/ noi rutomlti.ill/ 8Ne
tlren cred€fc. rs visua slbrecs w th n art! l€x coi Thcs€
pho!o!rphs retrin !h. rhinS-n€s ofwhat !hey n€rrib€, bu! ther.
subl€.is a, e tr[.rcd cofcept!all/ bcca!5c orthe w./ the/ hNe
L r.e.'-en"d lr o Snp',d.og Dh/q'o',d'..., -\8'cr
r v5ui charlcand mxSlnativc pos bilit/b€yond its.vcrydiy
fun.ron.Luscou5iidsennn trcatmcnt,shiftsrrscnleo t/p.xl
eN ronmeis, sinrpie iuiRpor tlons and reh!iof shPs bctween
shlPos orforms a Lf..mploye,l hcr e. Thc l.onographyforihis
n rnd of phologrrplry n.lln€sobjc.ts brhnced and nxcli.d. the
en8€i or corn.6 ofthln€s, abindoned sPrces. r!bb sh !nd decay
nndlugtrve or ephem.ri forms. su.h ns trow, condensrt on 1nd
ght This lnvento y mly seern I (e i st ofslight and trrnsiant
rh n8s. obi€cls lhatwolld bx, ely con*irute ProPer.ubjeds ror
photogrxplrs Bu.one musr be clLtious about th rk nSofthis tyPc
olphorog rphyasprmtrrilycon.€rnedwiihnll.ingvlthlenon-
s!bl.cB, or rhlnSsrn dr. world !hi! are without vulal symbo sm
hr ! utlr, there is io such th ngi! rn unphoto€raPlrcd or
unphotosriphabhnLbi€d.k sforustodet€rmrncrs!biecfs
sign n.rfce, kfownrg lhrt it mun hNe o.c. lor the aftist has
phoioRraph€n irand.herebydct€n1rcdiirsvsfilicant Wihrhis
t {i,ri s! !ta,.ifii'irl
typeof wo.l. thepra.ririon.rfoee6 o!rvn[l curiosity bysubdv
.
aid n[gifanv€ly eoco! ]8 n8 us to conternPhte the nuffottlre
",.': wor d arcund !s nr our daily lrvei ih nowwtrys.
Sncethem'd l960s.tirephlrlconceptur smotstlllfe
photoErlFhy hxs hadin nnporuntpanLle prict.cin Pos_
I'linimalistsculp!rr. ln s rnple renns, thls soann olphotograPhy
has b€€n drivetr by rchtcd tcrnPGto mrk€ arttromih. mrtter

t , :, (; t i1c ji"t
/
(r, i'1t.i.t
ofdxily ilc, b/ brerking down the boundxries betweei thc xrt ni
*udio. drc Srlleryrnd the wor ld Concohihnr ro this hrs beef x
shrd inv€niSaion mo rhe.reilon otworl< nom which overt
s 8ns ol thc rtisr! r.chni.al skill n'! absent The !'ewowitt
iher€fo c hive a d fercn!responsc from rh cnsendered by
trditionr vftuoso ma*erpieces narthutory R.lher rhrr rsking
how ind by whose hind the work otJrtwrs n1ide. lhe qucnjon
becomes How did th s obiec! comc @ be herci And wtu icr
or.hr n olevenB brought tr into foclsi Borh contempo, i, /
sculpture mpi'cd b/. anronS odrer things, rlE 4.dplc ofMirccL
Duchrmp: readymtrdcs in the etrrl/ /errs olrIc lweitic.h ccntury
Gee pi8c 22) lnd pholordphy ciniclivitc rhc sameco.ceptua
dynrm cithey botf crcrc puzzlcs rfd coniourd our expcctarions
oi sry. rhc w.,thr or sctrle oIobjccB. orthe pernane.cy or.an
r worl Urr'./tre/d.rrb .er-enononori.obtc4 \J
dAC c(pli,u. lorn $ rhoJL -or \cuonstoraoen\ronn-rjr n
or$rn.'n,mi.cdco.n 3r,onb r'een11,,eaed'Jn .
h6 ift!trlhtions i.d exhibitions dispiry workthat, with a
O-eolrl^emo{cndu nS/ llhrenr'Jlphoto8'ip-.cp otc('\
rcnmrktrbre econom/ otdcrns. offeB cxotinsind plilul
toplinlt quei on oirexpectalions ofthe nature ora wor(
corcep rl iou neys. Hc bcSrn akins photoSnphs (both Po arcid
oriaw 'erlzed by rr'cSwssirtns %r$ Fisdn (b t952)
rnd 35mm) $ rccords orroundsculprurcs hed scovcred ly ng
d DNid we6s (b. 1946) n rer QuierAFen,oo, s€nes t tl
amonSrh. dclltusoithe sreetand thcn reinstaLlcd rn gallcnes.
Thc photo8mphs show hblerop i$€mblagcs ofmundi . tcms
thrts.€nr to have becn iohd c osc ar hand ii dre xrtiss,stud o.
dr plrotogriphs nc!n8 r5 d'igrrn. of the spatirlrchlionships
rnd c eneis he ws reconsr tuing ll atfiBt Orozco!
F schlr rnd Wclss.rcitcd s.ulprurilrorms by fixinB ind brtrn.rng
photogriphy sccmcd to bcr iunctionrlrccord ol his worklnt
these obtc(s togerhcr ind then photogrnph ft rh.m l8inrt du l
pro.c$. it wni cxteided turtherand mor€ cenrall/ into hr
bicL(Sroundswnh rxk n8 shidows. lcnding i com c drnnN ro rhetr
ocur c to bccofre onc oflhe toremost edofh6cxhibied
conscio!ny unsophisucated renporriyscuiplures.ThesccminEly
rnd published rrpracti.e. Orozco con$rntly quc*rons rh€ v.ry
ad ho. ind onglrnrorous nyle olphorosraphy rsed in o!rcr
ntur of r ls r vehicle for ideas. and wtrh phooSnphy w4 nre
Afrmodrs!8ge*s I if n tywrhinother nrind of arlnrnkirrg
L c o D./,lo,e -I€ uoa to rle nrtJre oio5o@gnpl-r rrrtcs
thi.e'nc gcd in drc 960s.The $eitlon of documenrrr/
pho@griph5 (whcic dropholo8,rph 6
drd re pe, pcMl hoveriig betwecn bcinSlhc mcd um aidthc
nori,rc.ded rs rhcnnn
y'btc-t &ed'r' or P, o'i _o rr'vrtc
'no l
l2le/cmpl'fier ins
wor k olar) ofl,,iDimrhtt sculprurc ind landir wis monvrrd 'n,enr
pnr cu rr nans olthouShr in the viewcr on onc l.vel, the
byrh€ dcs re tocrexrei long tcrm record olihcwo s,yuch
prorogrrph cii b€ secn ardle doc!nrcnt.tion of thc h ghly
or' \' a orRobe, S.,,llon (lcl8 7r J' a cobp' f1or'.
fuSn'v€ rc! oi brerdring onto rhe s€rmlcs y shiry su -l]ce
(b l9ll). for€xrmp c, s cxpericnced and lnder*ood onty
oirhcpirno@p Phoro8rrphy,byitsabilitytocapturea
thro(€hphoiogmphy Usingaphotogriphinthtrwry!o
d ssc'nhite an ephenrcrilrrtist c aci or tcDrpor rry wor< ofrrt
nr scconn ottinre mikes ur rhin[ abolt wh his(pe.haps
ju*) hippe icd in n ont or d1c came6 But this somcwhrt
contaiNif nhercnt ir onyrnd imb guny drit has been.on$.nny
forc.5ic rcad nsotBreodr on Pdno beli6 anodrer cqurll/
explotcd rnd rcinvcnrcd rn con!chporary u phologr rphy
imporbnt tr.ct ofthe won(.Ior it mrkcs us see (he imae. dt
Oic ofthe ma n prchgonisrs ofcontemporrry $itt tite
nrg., slorms of a sur f.cc, which is i fundimcnhlcondirion
phoiogriph/ isthe l-ct can r' tGr cibrtcl Orczco (b t962)
of r pholog[ph]c pi't. Bccause dre bluned $ace oflhe brcrrh
Orozco! rr is full ot imposible. wtrtyand NEin ve8.uc\
isfrim.dwirhinaphotograph.thisdi8htgesturer.dthe
whedr.r rn rhe form olphotoSriphs, cottxsc5 or scu p!u, cj.
mcd um olphorosraphy be.ome somcrhinrwirhi. irr.
 Fc x conzrlezTotreis (1957-96) lsc orphotosnphy
cncou xged sensor y iid P lylul F a c Priion lrom the vrewei
inke€p.swiththeetrectof hismasrcn m:ed ncdirinnxihoons
rh.! uscd obJecalron domestc or soc allifc rnd dren
rc.oft€xtunlized thenr ni gllle /cnv onm€nt. His!ntirled
b bo ds ll3l. inhallycxhibned in NewYon< n 99 .idthen
rhrougholr Europe ind AmeIi.tr, showan unniide bed. recouPc
rbsc.i w th on y ihe n rces olthei' bodies imPrifted on the
t - 'noP,'on. li€p orot.ph d pr'or'o 'i J l 'e
sccne sgven nsinha b/ be ngPlaccd intothe Publiccont€xs
oI!rbxnsrccerndhi8hwrysloi drescrltinyof pr$ers by.

This v e sight and thc scnsiriviiy

f!sior of pub c sit€ xnd pr oI
' p'oo!' p o^ le,'e^e ob'ng'.' or''P'r'F
ro rhe workiid t The cont nctol
mpr m dr. r m..n nSon
thitth. own€rnre responsiblelo dGpil/ins
owneEhip shrcs
rhepccctriunrberofb bo d s tes sinlloncorny, nxtlern

s,

s x, blr rdexlly twentyjou, o.xtons Ort ni Lvd sPlxved2r

r|c heiglt ofA1DSnwi cn€s in lhe W€st ihe wod(! sense ol

los nrd ibr€nce tookon xddcd roc ilatrd PoLiticxlsi8nin'afce
Fo-nror€ tlr!tr th fty yeaE, & ifth artls. Richard Wenrwofth
(b. 1947) rsFhotos,xphcdthesisnsrnddebnsof urbnnnree6'
Of.cn. h s photosrnphs sct uP i virurlPun;lhe obrec$ are
realndidr nom their or Sina function ofren relscd or
oJS Pl'o 08' !l'. eY8 'n'^ om'ih
cofricchirrcterizitions ln keep rewiih thePhenomenoogicrL
hn8lage oIh s scllPtur€s. WenRo th\ Photogrrphs dmw on
orr ira
ilinquistLveness to tmdetsond a ienDtve vrlues or
mcrnrngs olrhifgs ihrough touch, t€xture and w'"i8ht lnthe imxS€
shown h. € IL14l. !h. o, Panckare wedged inloadooturv
Pre''tr.Jo.,.' rn- o eIo et f" r'.!^ ofpr'F r I
icccs to thc prcP€r ty.ltor€ frnon cal nitratiYes .i e suSSested

bytlns ii-guln8s8h! such is. P€r hiPs. the dr .ilc, desP$at€

fr€r:lres txkentosolv€ cn.prrl(n8 Problems i'r Ibusvcirv or
rhc rcasons lor bar r icidi'rg a door Wentworth! xrtistv e5 n
hisnrdinSx.dfoclslnton slch cu ious fornx in urbr de$irus
 (b. 968) bircl( ind whneserics Ners(ent
lnJason Evrnss
lll5l. d,. photosnphe n.ds i stnr8e scllplu.r ro ninrhe
r tcd sard bu !up ovcr r drx nagegri! xiter r .oanal r aiNto t
$(,sir/o, phi.ert)^tie Thr photograph shows how r fnSile, fleet ng phenomcnon can
be nlde to rcsonaie thr ou8lr phoio8mph/:the fr.tthat w.adrer
conddons.o! d lrive ffealed thn temPorary Physicalefie.t,
and dren beobserved bythe photosraPhci hrs a nraSical
ls dcpicrion in mdroneSreyi rxrherthan coo!r,
sc enn pty.
nnotony.gcstur€toth€twe.icth cent!ryqadiiionottre€r
photogr.pliy but nko ar e$en! rLgrrPhic wiy in which !'.h
x sghtcan becon€ pholognphically most rcsonant ln the New
s.errjcries,€xs ymiss.d, se ennipito!sdcur sare chnrged
w rh visurLins 8uc by bein8 fi xiied rnd phorosriPhod such
'n

Pre.or
Ns.lShxfrns(b 964)sewDgkiilorprdni.roblc)Ai'tdPla.eIl16]
xn imrg'.ir/ Lnvenigxrion, thc posFon ofthe
irltrted by
'nvii.s
sewing box of dre slde tible. which creates i
bxlancingact,l
rot€rn ofdone*.iry. sli.f-trn s photoBraphy olten uses for ms
io!nd in driLy l€ wrshins.up onn dnininSboxrd,.onn'uctol
s.rfioldnB.8ri$ crturgs. with in utrde rtted Plro.o8riPhic
$yle. usc olinblct liSrtand, ahnvel/ long.xpos!res, h.
qtrnsfornsthese!ccn.s ntopoericobscNiiionsaboutthe
wrys we conducrour ves through our unconscious acts of
o derie m.ifsnrddspiiy'n8obl€cs.Thcreissom€dring
hi8lrly rtu nve in Shxn trni wtry ofwo1(ing He resisrsthe ul€e
to con*ruc!l sccre to be photoSnphedirithcr his si pilces3
ofniy r8 iltunen to the po$ib liesof€v€rydrysubleclsrii
means ofcxP or nB our characreB and wi/s of fe.
lcnnirdBolande\ (b l9s7)Crobc lllTls nlar y conremP ates

dicnno.€ftye!nreinlnefu plxcnsof obiects n unexPected

pos tions Frcm reet level. Bo rnde phorogrxPhen g obcs nor.d
on nrc wifdow Led8ei ofhom€s. By means ofthis ver y simP c
easrur€,ourp€..Pionardlnderslindingof th€wornnE
b ougr nto consider xiion.l4on obviously. thcsc phoro8raphs
dr trw our r(e]non ro the wry we rcceNe <now edge aboutlhe
worn nomi dwi cd, s mPlifien rnodc They denonst xte how
pltlx ou' p.sPcciive s,fiamedis itis bythewindows outol
wr ch. ina i'to whLch. we lool Human understandrng fro'n
to mrcroconnic ProPortionsi3 rcPeated y exPlor€d
'nicro
iTouShBohidcrwo (xsenseolconnrrinedhumin
unde 5!1fd 18isysurlized!h ou8h s nP€ and subtle
obsclioons.610be is.lso. inrpotunrly, par.ola ser l€s ol iniScs
 spicc:ndxsrscresoltwo'd rrensioni PcurcpLtrnestit
lrnge on thc vrntn3€ point olthc pholo8rrphcr, rnd the,tlorc
oirh€viewcr Thc sub,e.tol(hc photogrnph ( th€ ei rcPc(re
ind'rshye cdconrpiexty.driwnoutotthcprocc$oIwtrlkng
rnd s€ek n8 pictur€s i'r dre f ow of daiLy ife.
AmeIcrn a(isr d dir ector Wim Wendc' i {b. 1945)
photogriphs hivci r€hted scnse ofthepctures wnh n our
€ vnonmenB bc nSrecogniz.d ind forml zcd WenneE s bciter
kroM for h s lcrur e f ms, but he uses sillphotogriphy wh.i n
nre.ar r res ns owd 3ro-y x rd docs noi r equ chm!oconsrlct
onecincnMilly ln Wol, D Pon5,Iexos l9l, the cn.ks in ttrcro)d
ind r. pLx(cr on the rdc otihe building drit his fr len rwxy ro
r 3 jean-H!rc 8u*rnErte

ritho ilrx. r rirBlc phoiogmph Thc cpetiiron ofBornde!

obsc'vitof olhudrn b€havroo nikesrtrvisui conrmensryod
.uhu' e idro rlrin r depict or ofr solitnr /, c Senurc.
'rrie 'phorosrrpl's 'd'or/n.rm
Soaierhd! t16rig by Ffcnd, !i5rlcii
'n ^
M,8,. ,.r (b c5)^,,\4!,, n rd,r(..,,, ,

r ocitionsarenotrcvci€d ntl,e r tcs lnneid.

iltho!Blr the
'Lctr d^.r." .rrc$o'ledo rl'o',,'he!'.. 18,..rdv. ,E

xnd cir nrmber phicsnDrrppc sorn.ofrhc mrt.r WhI

'
B!*rmant€ s Urdo3 in drese s rcs s notJa.nrxlnrfoinrton
ibor! r spcc nc ScoE'iphio oc
blt5inrp c fo ns lhrt
on.
rcsof c picrotrrl/ p'.r! cswrlr i land(rpcs
Th6 scirc| 18fo'
of rhc edge oic lcs rndorh€rn[n ]xde ph.es ln3 beenoneol
(hc thcmes o{h s photoSr rphy lor oycr tw€.ty'llvc yer6 ndrc
Dngc n'own hcrc tlL8l. ns!rcs of n loolbi p!cl)r'€enn!.d
bor r n ihe lorcSround by rrc w c fcn.c ard rhc i r'lDg wecd,
ird n the brck8rolnd byrSrrvc/ird of urbtrn holsing | *igcs
ol n€slect Tlrcsc..nrcns cR6t.r bothn:i c.-dimensionil
 rey.ilthe brickwo.kbene h c,! ea.allesoryof the
deter oradotr ind fr€ lit/ or the phce, €mphasDed b/ the
Tr-thr dh8onrl ne. olrhp po*cr ' rDles d'$e!ring rle rniSe
Architecru.e. in thc conter( olthis chapten lcnds to be
phoroS6phed :(he point at which buildinSs have d€teriomei
or oor|ved rhcir orifnilpurpore.abandoned by $cr inhrbiunB
ro l.rv. only krces olp.evious human rctivity. Anthony
Hernandezi (b. 1947)phobsriphy throush the l980said 1990s
concenrmed on such rrchnecluil spaces His Ldnde<dpes for dre
HoDele$, cr.nted rn rhe 1980s, nre phorotraphs of lhe remporary
shellers mrdcon rcadvdes and wrsteltnds byhomeless pcople.
Thc hovemcdts a.d.hiracteG of the mrke6 ordrese shclle6
arcvsua y ctiievcd n wh!!lhcyhave eftbchind,niorc.si.s of
prvNe povefr/ and 5orv'$1. Hcrnandeui more rcccnrwork.
|; t:i, Afio I A ( 1998) rid 4/60 vilasc (2000), c.nres on spr.es rbod
to bc demolished or in tlre process ofgraduald.erio adon He
photosdphs wh.r is overlookcd (socially and pohicall/ is rell
15 v 5!ally) ir tlrese dcQyinsields ol ehotionx chptne$ n the

imrtc shown herc t.m the Ariso v/ose scrEs 1201. Hernrndez
obscr ves a snrllbu! hiuntiDs ind pmloundpieccofevrdcncelelr
b/ prcvols nhlbihtrt5 of the low-in.omc housint c$aie ln Los
AnBc 6 whcrc he himscll was born .nd raised.

i'r!"';'it

_i,:.,"-e€l

i,e l; r:i;,.ii:
 in the Mdrenris ser ies by Brnsh photogrpher Pelcr Frrser
(b. 951) Th€ c ose up swi, l oIs/nthetic dun'n rhe mage shown
hercl22l.o.riruresas avot€x. a P€, rect nro o-univere .f

wr*€ mic.rand in image ofthe hugc cosnos of dust.round u3

oro! -. (o raF" o' o''h"dF' rn ' 1
'p
!ublcci.onve!as.att€ri'rgof wastelhardo€s no!have xlxed
shtc, €r xloic .uLtui al shrls lnto i Pclo.irlforni fowchnEed
wnh Nxg raLconnoht 6ns ola *ar/
.on {€ilxrion
Planrrcd W llmlnr's (b. 952) Dds Ldnd series draws out
the rnur s,idiosynftrsies xnd P3$ln8ofrhe seasor w thrn l
conrmuniiy n rr,c Ste€,lind rcron olGennrny [123] ln nxty
phororriphs mrde over i twelve-/err Pc-od star lng n\ 1981.
Wllmionfornd rn *'!!l'fes, trndscaPesafd Por.rns rsPecls
of l rlnl[fe$/]c i Pungent s€rsc ol h s €xPc lenccs
thrt conve/
xce
o{ drc p Ddr Ld"d could be const led rs a diar/ olthe life
ofihe coinrunq. ButW llDxnn! w:y ofPhorograPh ng does no!
hold the sr'ne n€lree ol nrblediv. nrlative o_ iN nncv thiiwe

^I plrr -,4,: " ol ed^Fnr5r por

'
n rhen nplicc,andwhr!n conveyed n !h€ nnnlseLecton, is ih€
pi.iorr c rxrgc tDt can b. found n, i
Phce, per hiPs.n/ pix.e. rf
.f.l.oc lr tlre nrblLc dr lmr ofth. cxDosed wood ofrlr€ tr€e
whe.brafcheshivcbroke.olf unn€rthew.ighiof thcsnow,

,r.'.^,
'.:-..'/.
'i\.

A nrc plrorornphs n drn chaptei in lubde wa/s, ntt€hp!

!o nriir our per cept o r oi our diily v.s There ssomedring
rfni nmphrnt nnd op.n.ndcd. yci sillrcsoilnt. i. rhis for m
ofpho@griph/ 1'' rccy Banr's (1975 2008)hirhysenui
p'o'oj.,p D 4Ll2ll.oi) €chcoBl' i "e atrl ',.''
xnd p aced or r window 5 81i!h ngonio rihrcuSlfontc.
s x. xss. n lile Th. scnsc of prysi.a]n/ ii d)is uf cono iY€d

.onb rxtlof of p lorns tr delicit.y mrpped The imiSc

rnes rnd
u r.lrnr on orr conp' rh]twc rre looLi rg iti
ehen5ion
cotr,posilron wtrhLn rlre oxd rlon oisrll' f. pcilrernxk ne,fo! d
wnrnn.lyllfc ThisnfnrngotxknownpcfutrelorrnEnl5on!ph/
WIL J lrd\moF l, , ,l."n",encot ('
^
lxndscape. This el€g xc t rce of x pnst €vent u prmlle ro the
'epresenri!ion oiabindoned ind det€r ior aring archtr€cture
shown cxrlcr n this chrprcr
Amercxn photog aph€ RoeEdnidge (b. 1974) shifrs bctween
photoSraph c n/lcs, dcp.ndins on lhe nature ofthe n,biec he G
photoSrxph n8. H s reperore in. ldes poarrits $igcd in whn.
bnc(drop stud os, shor in n cont€mpomr y quas $sh or ny e,
dcidpan rrch rcclura! photogFphs and bhsh ycoLou,ed snrps of
lound$i!lliles1241.Th€rciadennne fdcrtionrhrtEthrdget
confdent and d ver s€ photogr aph c pr actice is aboutfind ng tw $s
onlheim.Serypesthatwealsee,drawinSourartentonboth
'o''b"- :ndro15 8c !n o t rlir -ode-of epe-" t g
rh€nr rna giving them visurl sub$rnce.
-l s 1 !.o( drrloS e a LL p otoS'rpl/: p. o,
'el.'ron.n
subjecrs hxs been brilliant y cxp ored by German d tistWoLtgaig
T maE(b. 1968). Sinc€ th€ hte l980s,T mrnshasedned
rogelherfound a.d *ock ma8es, photocopesand h6own
photoAraphs, dhpayin!ihcm insevgi pr n@d formst on
poncrrdsto inkjetpr nts He has wor ked acro$ vrr ols conrexB,
f o'n fragazi.es to artga erieJ and books, producinS ands.apes,
portriits, frshion shools, stiL fes and, more recendy.ab*Rd
photogrphy t ggered bydxrkroom m$akes Flis pholo8nphs
oflrui. ipening on windowsilk and the cortents olsparse ktchen
f. is
cLpboards haveasLnrpl. poiSnancy. Anolher recuft ng mot
shownhereii5!'tll25l.ucothing elttodryorabandonedb/iis
 and subied n tct The LLln sour.e s€nes isa Primeexample
ofthe hirne$in8 ol Photography\ documemrv ro € w rhin i
l. .e^orl o p€..uon'nJ p' ' raedo b€o dbe_8
sequ.nce oi nlcresting obscrvrtons and towirds I concePtual
tc r tor/ whc e the subjcct is notqulckLy deciPhercd butS xduxl/

mxde pilpabLe rhr ough ts r anSe of PossibLc $rtes

l€f wa Comp6irioi no 3[127]mvatfilnseem
s DioSondr

ro b. rn ! nEua woll< for him becalsc ofthe abscfce olr crsi

or r.to, s or imp ess ve n,ise.€n5cdie Gee chaPter iwo) lt seem5
i o/ o or u.d aet b.er'
'oPPeo
The z Szag ofihe sLliitLng bofd. cuPbo d, moP. buckct and dity
D(pi ra'T, r),oI2000 linolcd n f oor G. however, not nrer eLy r s ghtgla.ccd rtand thcn
'c.orded. WrlLi crr elulcofr ucton olaBrouPing ofPeriPherrl
thin8s promps questons aboLtour own .ehrionsh P whh
p ooB P ^n, r ,e oo 8J l'3ra' ^lr po
hisrory rnd our own lrves did r.oi ner ofx fLoo. rcpr escnled
n a photognph become iconic, worthy ofour a!.entionr To whr
deSreedo.s trne€d tobeabnn.ied bydre scem r8lv innocenr
lrime i.o, der for us to, ecognre this grouPins ofnon subjec to

w$ cr o r floor s. doors ind shtr brn *€6 ThelrnPscoLPlur

for ns rcird nSoldrc clodres
drtrti'eriwlttirrgy nrne byth€ d
s!gge*dr.th)pcsolthebodiesth€yoncecontaiIed, €a
s redded in nrx sl( n, rnd tr€ xc. oI!inr.sing .r eat n8 a s€nse

h'neswellins! (b 195 )pm-trc hN oft€n m€d tat€don

rhewr/s!hi!plrotog iphy.ar giv€rhedighrc*of suble.BJorn
rfd inrc cctlrl nbnir.e. We i!\getplo-cs th€ rnfinit€ rxng€ oI
po$ibL nes byrcp€rt€d / pt,otograPhingx subjectlron difi€ eit
vrnhgepoirs ln ih. 1980s, hecreated a serlesthit pl!/.d
I ." 'or'r. r'-' o/d-P.!. 8d 'PAd 'd' 8 b'r
rtrit colld eith€r be.o rtrued as !h. brc(d oP to absent obieds
orxs n ble.B r dreir ow. -ghr Th ough subde shtts in cimcrr
posnion rnd fi lot thiontorh€ sam€ physi.lldctl L,W. ng
qlen'ons drc be €Idrx o s€e soncdringf om a single vrntage
Dornt s to k row tr. As drc t r e suRqens, n hiLrlrllsour.eJ
ser ies hc phoroSnphed dilf€r ent lrght sourccs, nom the nrn to

'o.
.. r .D. LB sLl2bl 'o ,, - d" .Jbo o-,eoro
'
w
 brr ih€y hivc p €cir ouere$ olv cwing Posnror(s) This qurlitn
a

wiihrn rhc nxr it ves ofdome3tic si l!ife. s!8!€*s { rughr

cmo! onx!nrtes, cndinS xnd txLlrng aPi' i
One olth. nros drrnrxtic !sei olP€rP€ctivc ln th€ contcxt
otillhfe o..u s wher. photognPher hrve ph.ed th'emPhasis
speciclll on thewxyr inwhidi we see (o-do no! scc) dr€ thln85
arou.d !s i r Prr!. tris our Pcr'.ept on olouenvrcnmenis rither
rlDr rhethrngsconhncdwtrhif tthrtareb€nr8s. utlnzed
Ge,niint*UnBvilr's(b 1956) r€ries Nowhqe Nedr [ 129]
p es down B nrbi.dmdter !othc sPices bciween thrngs'
Fle' e slrctocuses oi x window n rne rnd dre Y €w b'yond
whosc bluriedlo.nn m kth. bolnd / ofwhxtn
ous de th€
phoio8r ap i5 v ni \8. Thlsw€fc nxde h/per senJitiv. ro
\ whrt do not looi i!. rni so do.ot defi.c a5 r
w€ e,l r ort o
s!bied or x.ofceP! ihrt.xn be s.ef. Brfth! Proto€rrPhs,
\
-t
vnr.n rn €d i grLleres, r€sonat€ PhenomerololL.all/ The
5Fx.c bctween rhev€we r.d ihe PhoiogrxPhs bc.omcs Par
ot$e t.rplxybe!wc.n spxce ind nrbl€ct, sccingind notseerng
liLr r l i n E sx 5i8 r.eLli(b 968) os.s bxc. LthtiiS to o ert€
i tc n. ol dlli vu in wh clr t sfotth.obJe.crhcnrevesrhxtf€el

b. x n'll fe? The b€ilty of wxlli photorrrpry 5 dlt. w r c t

rr6csrh.s..omp.xqu.niois, tn'llstrtisfiesu5i5wor.of xn
Lrum Let ns(yi (b. 1962) phorogriphs lmuluncoln/
.ontempit€ tlre nill Ie n5 rcP .scnnn! dre rxtu €ofhlnrn
e rrionslr ps dnorglr drc v€n 8es ordomen c I'L iid rnik.
u5 rh ,( iboLt n s r.r of pj.tor i r€presem$oi {1281 Hc'
phoros rphs oltrbles nnednt€ly alterrfl bctw.cn n.r t mc!
hrvcobv ous conrpost onil'tfe c.c.s io s.vcnte€ndl.efi! y
Dur.h nl lle pi nrin! ALrholrh L.tiffty s notxrm rqto
clii8li8eoltr 6,toodsand
'n!od!c.usioihe5p€.]fi.synbo
I owe wnh n th s lr no ci Seirc of pai'tin!,she s nrawrng oui
s

ritef rior ro th€ mehpl,o .xl xnd f x rr ve poieni il ordonesr.

oo- ..it t ' 1p' - "dp o.lL -eo'L..o',
1--
.io 08'
'P b-'
ihrrdrfrirdesrlren,onoc!xrvrnhgcpoirr!idtofxllyasc bed
ro protoSriplry lincrd. Lcr n5(y rsesrh€ nriiinBmu r Pl.
p€rip.crvcsifdplctur.prnesofn - le FriN ie. whc . oblc.a
. popp .. 8l 'n " ",,r/t' n o'l' - "
nI !,.r. E fxfrr v. por.iix r rhciornaliali!ornr pi
oll Srroq!. s..tbilrrynon
b.iwccn thenr Lctfsl(y! ununii lse
NoidrernE! operrplnrn8c..tcspnoiognpnols eitbexlty.
lamlla. but the ambientiense ofrhe place in which they e set.
he rll' r' l red Jr"J- olrr!' nr8. \1mple li8tr(o_ 8
"o
throuShrwindow,o theref eclionsonashinysudace).drere
!s a temponltensiof from havin8 two sources oflght. one fixed

n the bac( olthe ieht box and the odrer represented in the
photo8Ephicftansparency.Sghicelliusesthispr€nomenaro
represent detalls n interiors that are v rlaliy rcsonant bur non-
specific: we contemplate lhe lee otlhespaceli sheiSheied
r€pr esentalion .ather dDn uy to mtr8ine dre spec fc us. or the
chficter of ts inhabrtans. She ercoun8es us rc re.a from ou-
own mcmories !hose Placesofwhich we hnv€ hnd heiShtened
perceprion. Srbine Hoff B's (b 964) use of photo8hphy has xlso
concentrated on the spaces betw€en the imaga and dD obie( is
l. Wndowwirh Doorll0l Conllated into the imrsearelwo ends
ofa room photographed through a window fr om outs de. The
bu dinsrnd trees beh ndrhe cimeraaho appe : reflected i the
wifdowpines. Hornighasrsed a morc ireral sculpural manrc'
n hcr ins!allar on5, where she b!ilds he. photogmphs iftofree-
srinding blocks ifd shapes threvoke corneB dnd edges of
Mininralistxrchitect!re.takngthc mageaw!/lromtheS.ller/
wal and into ithree-n mensionalsp2ce. Aswith allthcwo lc in
th s chaptef, he. pholographs $ke our familinr ty w th everyday
Bl . ldrnv eu o'h bo ' .* / dd-!e! de.pe"e !e
olr e.vironmens. olfeing a r ch and imaginative gLmpse olthc