My good friend striqun has emailed me with a debate. This happens to me a lot. I'm already debating the Qur'an with the Guardian, the improvability or otherwise of humankind with the magnificently named pippy longstocking (no website, so no URL) and that's before I've even started on the usual everyday badinage. Yes, my last girlfriend did leave me. How did you know?
So you all have to help. Not with my last girlfriend, that's all done and dusted. With this.
Here's what he's written. It's about the relationship between photography and art, and follows on from the great zombizi exhibition. Please bear in mind that I haven't edited it, except for a little minor tidying for posting, so don't expect it to be structured like an essay.
Email 1:
Photography isn't art any more than writing is. Writing can be everything from a shopping list to an epic poem. And whilst some people might want to get into that murky realm of defining some writing (and seriously, only a very tiny fraction of it) as art, to talk about writing and art together generally is nonsense. It's a special case, if at all.
Equally so for photography, and I'm sure you wouldn't disagree with that. But what I find important is that talking and thinking about 'artistic' photography distracts us from the far more interesting, innovative, and culture shattering stuff that is photography; something that has only existed for barely more than 150 years and has a profound, and truly revolutionary effect on us. It has transformed our physical and our mental environments in fundamental and pervasive ways - our relationship to what we think we see, and most importantly, how we see ourselves (indeed, it was, in any significant sense, the first time we could see ourselves, and we've not looked back since).
Photography as art is tedious in comparison; conservative and retrospective.
At the end of the 19th Century and the beginning of the 20th, the Photo-Secession movement struggled very hard to earn photography the status of 'art', working hard to disguise the fact that they were taking photos, by performing all sorts of weird processes to their negatives and prints (like some people use Photoshop). With a few very notable exceptions, their work was not memorable.
Eventually even the Photo-Secession movement 'leader' (Alfred Stieglitz) rejected this approach, as he and everyone else began to realise that their medium provided something unique, and very powerful. So good in its own right that no one needed to bother about 'art' - they needed to concentrate on realising the full potential of their medium.
Photography as art is backward looking. In fact, because photography provided such (apparent) realism in its reproduction, art itself was freed from having to pursue realism, and in this sense photography enabled art to move forward and develop into the realm of the unconscious, and so on.
Email 2:
... so pursuing the idea that photography is a special medium in a class of its own, we need to remind ourselves of its unique ability to freeze a moment in time. Whilst photography can be used for still life (and very beautifully too), it's at its best when it's presenting you with a privileged view into an otherwise unrecognisable 500th of a second: unstaged smiles, unfolding tragedies, strange or banal coincidences, beginnings ends and in betweens. Life, death - our mortality - is acted in time, not static.
Similarly, photographs capture, better than most media, moments in historical time. Because they apparently capture what is presented to them, they have the ability to take us to other times. As I said yesterday, photography allowed us to see ourselves 'objectively' for the first time, but far more radical than that, they have allowed us to watch ourselves age. In that sense, even the most humble family snapshot informs us far more emphatically and poignantly about our mortality than almost any other medium can (including graphic art ;-) ). Of course, you're welcome to define family snapshots as art, but in that case everything and anything is, in which case, nothing is.
So, so far I stand by my assertion that photography-as-art is actually the less interesting sub-genre of something so new, so pervasive, so radical (rarely in a good way) that it defies pre-existing categories and demands new ones of its own.
Email 3:
Pondering all this further, I've decided it may be more helpful to separate out my arguments. The whole argument about art is a very difficult one, because it depends so much on what you define art as. For me, it is a cultural category, dominated by class issues, knowledge-as-power, and straightforward careerism and commodification (in its actual practice, and even more so in its critique and collection). From that point of view, I have a personal dislike of art.
Now, whilst I still think the two are linked, my distrust of 'art' isn't entirely pertinent to my other argument; that photography is a unique, revolutionary and very powerful medium that needs to be understood in different ways to other mediums (artistic or not).
As I already said, photography is about time and place and moment and occurrence and coincidence, and revealing banality, and so on, in a way that previous mediums (such as painting) aren't. If we use or consume photography simply as (for example) painting (as the photo-secessionists did), we are missing the point of its uniqueness.
So, my arguments about art and about photography are linked, in that there is still a temptation to wrongly treat photography in the same way as one of the older 'arts' (hence my assertion that photography is not art); but of course, others might acknowledge that photography is a unique medium but may nonetheless still be art; a new art.
If anyone has anything to say, perhaps you might like to add it in the comments box. I shall post some remarks of my own over the next day or so.