documentary and the city
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DOCUMENTARY AND THECITY
or WHERE IS THE STREET?
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DOCUMENTARY AND THECITY
or WHERE IS THE STREET?
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DOCUMENTARY AND THE
CITY
or WHERE IS THE STREET?
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What is documentary? What ‘type’ of pictures are made under this name? A crucial dynamic: picture or proof ?
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“From the specimen here given it is sufficiently manifest, that the whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way. The more strange and fantastic the forms of his old teapots, the more advantage in having their pictures given instead of their descriptions. And should a thief afterwards purloin the treasures—if the mute testimony of the picture were to be produced against him in
court—it would certainly be evidence of a novel kind; but what
the judge and jury might say to it, is a matter which I leave to the speculation of those who possess legal acumen.”
William Henry Fox Talbot, The Pencil of Nature
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“From the specimen here given it is sufficiently manifest, that the whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way. The more strange and fantastic the forms of his old teapots, the more advantage in having their pictures given instead of their descriptions. And should a thief afterwards purloin the treasures—if the mute testimony of the picture were to be produced against him in
court—it would certainly be evidence of a novel kind; but what
the judge and jury might say to it, is a matter which I leave to the
speculation of those who possess legal acumen.”
William Henry Fox Talbot, The Pencil of Nature
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Eadweard Muybridge, ‘Morning Call, 16th June, 1878’
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Alphonse Bertillon, display stand in Exposition Universelle, Paris, 1889; precision equipment for the recording of data at crime scene
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What is a document? What is documentary? A question of the real and relation to representation: to
giving an account. Real / Realism
Document / Documentary / Documentary style
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What is a document? What is documentary? A question of the real and relation to representation: A
question of giving an account. Real / Realism
Document / Documentary / Documentary style
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What is a document? What is documentary? A question of the real and relation to representation: A
question of giving an account. Real / Realism
Document / Documentary / Documentary style
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What is a document? What is documentary? A question of the real and relation to representation: A
question of giving an account. Real / Realism
Document / Documentary / Documentary style
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What is documentary photography?
The term !documentary" was first used on 8 February 1926, by the
filmmaker John Grierson. He used the term documentary in the NewYork Sun to describe Robert Flaherty"s film Moana , about the daily life
of Polynesian Islanders.
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Grierson defines documentary as a kind of educational media: “the observation of the ordinary or the actual and the discovery within the actual of
the patterns which give it significance for civic education”
Not a ‘servile accumulation of fact’ but an “emotional map”
A search for “what actually moves: what hits the spectator at the midriff: what
yanks him up by the hair of the head or the plain boot straps to the plane of decent
seeing ”
cited in John Tagg, ‘The Plane of Decent Seing’, The Disciplinary Frame
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John Tagg: “In the mutation from ‘document’ to ‘documentary’, however, we are dealing with
a new level of activity of the extended State… The history of ‘documentary’ is
therefore the history of a specific management of representation that has to be
located in the cultural strategy of a particular kind of governance: a hybrid of
discipline and spectacle; a strategy of management of meaning and identity”
document > documentary
… from surveillance to ‘a rhetoric of recruitment’ in his The Disciplinary Frame: Photographic Truths and the Capture of Meaning , 2009,
University of Minnesota Press, p.xxxii
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Steve Edwards:
Four modes of documentary:
1. ‘Liberal’ documentary (1890s): Jacob Riis2. ‘New Deal’ and FSA approach (1930s): Walker Evans / Dorothea
Lange [Lewis Hine as key pre-cursor] 3. ‘New Documents’ (1950-60s) a subjectivised approach; RobertFrank / Diane Arbus
4. ‘Photo-conceptualism’ (1960-1970s): Ed Ruscha / Martha Rosler Martha Rosler: The Bowery in two inadequate descriptivesystems , 2012
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Jacob Riis, Bandit’s Roost , c.1890
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Lewis Hine Making Human Junk
1915
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Walker Evans
Sidewalk in Vicksburg, Mississippi
1936
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Walker Evans, Negro Barbershop Interior , 1936
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Walker Evans:
“Documentary? That’s a very sophisticated and misleading word. And not really clear. You have to
have a sophisticated ear to receive that word. The term should be documentary style.
An example of a literal document would be a police photograph of a murder scene. You see, a
document has use, whereas art is really useless. Therefore art is never a document, though it
certainly can adopt that style.”
Interview with Leslie Katz, Photography in Print , ed. Vicki Goldberg
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Dorothea Lange White Angel Breadline, San Francisco
1933
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Dorothea Lange, Ex-Tenant Farmer on Relief Grant in the Imperial Valley, California, 1937
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Helen Levitt Untitled, New York
c.1942
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Robert Frank, From the Bus, New York , 1958
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Robert Frank
View from Hotel Window – Butte, Montana 1954-56
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Lee Friedlander New York
1963
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Diane Arbus, Tattooed Man at a Carnival , 1970
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Martha Rosler
The Bowery in two inadequate descriptive systems
1974-5
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Key principles of street photography (from Clive Scott Street Photography, 2007) *Street photography is aligned to both documentary and ‘art’-photography
*It can be seen to move through a number of paradigms:
from France in 1920s (Brassai, Andre Kertesz, Henri Cartier-Bresson)
to the U.S. in the 1950s (Lee Friedlander, Diane Arbus, William Klein)
via precursors (Eugene Atget, the Seeberger Brothers)
and becoming an international form (Daido Moriyami, Raghubir Singh) *A mode of photography that includes: ‘staccato, jotted style’ a speed of gesture and glance (the fleeting instant) haptic impression and forceful expression… (a question of types of attention and experience) an interest in ‘fringe’ areas (the criminal, the trash, the night…) posing a uniform (mass) against a multiform (chaos, the singular) – the crowd and the street
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Andre Kertesz
Meudon, Paris 1928
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Manuel Alvarez Bravo Laughing Mannequins 1930
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Manuel Alvarez Bravo Optical Parable
1931
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Bill Brandt Footsteps Coming Nearer 1933-36
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Robert Doisneau Be-bop-en-cave, Vieux-Colombie
1948
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Lewis Hine “I wanted to show things that had to be corrected. I wanted to show things that had to
be appreciated.”
Henri Cartier-Bresson
“Poetry includes two elements which are suddenly in conflict – #a spark between two
elements”
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Henri Cartier-Bresson
Athens 1953
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Elliott Erwitt Las Vegas
1954
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William Klein
Candy Store, Amsterdam Avenue, New York
1954-55
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Daido Moriyama Stray Dog, Misawa
1971
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Eugene Atget Au Griffon, 39 Quai de l'Horloge
c.1903
The street as a particular ‘mode’
A way of experiencing urban life…
A way of traversing particular spaces
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Georg Simmel: ‘Bridge and Door’
“The people who first built a path between two places performed one of the greatest human
achievements… The will to connection had become a shaping of things, a shaping that was
available to the will at every repetition, without still being dependent on its frequency or rarity.”
Human activity is based on connections and separations as exemplified by two key structures: *bridge – that which ‘connects’ that which otherwise was without relation
*door – that which can allow access but also deny access – a simultaneous connector and separator
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Eugene Atget
Bridge, Parc Monceau, Paris, France
c.1900
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Eugene Atget Door, Hôtel de Gouffier, Paris, France
& Door, Hôtel de Chateaubriand, Paris, Franceboth c.1900
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Eugene Atget The Cabaret of Hell, Boulevard de Clichy c.1900
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Marcel Duchamp: “The question of the shop windows .·. To undergo the interrogation of shop windows .·. The exigency of the shop window .·. The shop window proof of the existence of the outside world .·. When one undergoes the examination of the shop window, one also pronounces one's
own sentence. In fact one's choice is 'round trip.' From the demands of the shop
windows, from the inevitable response to the shop windows, my choice is determined...”
The Essential Writings of Marcel Duchamp: p.74
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Eugene Atget Boutique automobile, avenue de la Grande Armée
1924-5
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Eugene Atget
Boulevard de Strasbourg , 1912 Balcon, 17 rue du Petit-Pont, 1913
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Lee Friedlander New York State& Baltimore, Maryland 1965
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Photography:
window or mirror? Lee Friedlander Midwestern, United States 1966 & Las Vegas, Nevada 2002
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Photography:
window or mirror? Lee Friedlander Midwestern, United States 1966 & Las Vegas, Nevada 2002
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Eugene Atget Organ-grinder , 1898-1899
Postman, 1899-1900
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Eugene Atget Pavers c.1900
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How is a street ‘made’? What is the relation between its elements?
Is the ‘street’ a collection of people, the production of people, the
arrangement and relation of people to place…
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Henri Lefebvre and The Production of Space…
To think of the street: *an ‘abstract’ space: one that is planned, designed… *a ‘lived’ space: one that is inhabited and practiced… Two forms of producing space.
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The street as a site for a number of different activities and functions: *entertainment *communication
*consumption
The ‘street’ is a name for that which is not only a route for travelling, but also a
particular mode of experiencing public life within an increasingly urbanized
experience.
The urban space [the street] is not just ‘where’ we are, it predicates ‘how’ we act and
experience…
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Brassai Paving Stones
c.1930-2
The notion of a street as a physical space: a space that can be viewed ‘askance’ The surrealist street as a site not merely of ‘everyday’ but also of the ‘magical
circumstantial’ – a site where profane illumination might happen…
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A question: not merely ‘where’ is the street… but, ‘when’ is the street…
Brassai Paris at Night 1933
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And…. What is a street called? How does this specify a locale?
Bill Brandt A Snicket in Halifax
c.1937
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Andre Kertesz
Pavement
1929
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Laszlo Moholy-Nagy
Gutter 1925
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Daido Moriyami front cover for Record no.1
1972
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A SPHERE OF DISTINCT TRAJECTORIES A SPACE OF DIFFERENT MOVEMENTS AND TRAJECTORIES…
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Wolfgang Tillmans
rat, disappearing
1995
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Wolfgang Tillmans
rat on trash bags 1995
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Bruce Gilden
2013
shown online as
Deep-Fried America on a Stick
at http://www.vice.com/en_uk/read/
deep-fried-america-on-a-stick-0000144- v20n11?Contentpage=-1 and as
Postcards from America at http://
postcardsfromamerica.tumblr.com
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Bruce Gilden2013
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Paul Strand Blind
1916
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Paul Strand Wall Street, New York
1915
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Paul Strand From the El 1915
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Donovan Wylie Citizen, Miami, Florida 2013
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Donovan Wylie Citizen, Miami, Florida 2013
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Jacob Aue Sobol Milwaukee, Wisconsin
2013
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Different movements… ‘action’ or ‘trace’…
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Lázló Moholy-Nagy
Parking Lot, Chicago
1938
Jacob Aue Sobol
Milwaukee, Wisconsin
2013
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Jacob Aue Sobol from I, Tokyo
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Jacob Aue Sobol from I, Tokyo
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Jacob Aue Sobol from I, Tokyo
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How is the street the ‘carrier’ for things… A particular form of conduit A site of conduction
How is space is spaced, structured?What falls out? Space is not ‘continuous’ but rather is stratified
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La Revolution Surrealiste
No.11, 1928
How to look for that which ‘falls out’ of representation?
How to look into the ‘underneath’of the street…
To ‘search the gutter’ for a subject…
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Dora Maar Untitled 1935
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The city and dream-work… or, the dream-work of the city…
Brassai Statue of Marshal Ney in the fog
c.1932
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The city and dream-work… or, the dream-work of the city…
Brassai Statue of Marshal Ney in the fog
c.1932
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Wolfgang Tillmans
spread from Zacheta Ermutigung
2011
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Tod Papageorge Central Park
1982
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Jeff Wall Citizen
1996
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Andre Kertesz
Quai de Bercy 1926 The object that is ‘known’ but that is ‘veiled’ / mysterious…
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Umbo Uncanny Street 1928
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Henri Cartier-Bresson
Paris 1932
The activity that is of the ‘gutter’…
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Daido Moriyama Provoke, No.2 1969
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Nobuyoshi Araki Tokyo: A City Headed for Death 1993
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Nobuyoshi Araki Tokyo Lucky Hole
1985
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Brassai,
Graffiti de la Série III, Naissance du visage,
c.1930
The activity that turns a ‘place’ into a ‘space’
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Helen Levitt New York
c.1939
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Paul Graham
New Europe
1986-1992
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Richard Misrach
from Destroy This Memory 2010
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Richard Misrach
from Destroy This Memory 2010
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The activity that turns a ‘place’ into a ‘space’
Michel de Certeau, The Practice of Everyday Life
Place is the which is defined by the ‘proper’: a distinct and stable location…
Space is “intersections of mobile elements… Space occurs as the effect
produced by the operations that orient it, situate it, temporalise it…”
“Thus the street geometrically defined by urban planning is transformed into
a space by walkers.”
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The activity that turns a ‘place’ into a ‘space’
Michel de Certeau, The Practice of Everyday Life
Place is the which is defined by the ‘proper’: a distinct and stable location…
Space is “intersections of mobile elements… Space occurs as the effect
produced by the operations that orient it, situate it, temporalise it…”
“Thus the street geometrically defined by urban planning is transformed into
a space by walkers.”
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Bruce Gilden
USA, New York City 1984
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Bruce Gilden
JAPAN, Tokyo 1999
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Jacob Aue Sobol Milwaukee, Wisconsin
2013
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Henri Cartier-Bresson
Mexico City 1934
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Jacques-Henri Lartigue Au Sentier de la Vertu
1912
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Jacques-Henri Lartigue Avenue du Bois de Boulogue, Paris 1911
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Jacques-Henri Lartigue Losers at the Auteuil Races 1911
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The ‘straight-up’ The street as site of fashionable display…
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The Street as relational space…
A place where people display themselves to others. The development of the urban individual(Georg Simmel, ‘The Metropolis and Mental Life’)
Street fashion as distinct from that which is planned… not whatthe designer produces, but about the manner in which it is worn…
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Henri Cartier-Bresson
Rouen, France
1929
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http://slidepdf.com/reader/full/documentary-and-the-city 118/146
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Wolfgang Tillmans
Circle Line
2000
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http://slidepdf.com/reader/full/documentary-and-the-city 120/146
Wolfgang Tillmans
Circle Line
2000
8/12/2019 Documentary and the City
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Richard Avedon,American Harpers Bazaar ,
September 1954
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William Klein, American Vogue, July 1959
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http://slidepdf.com/reader/full/documentary-and-the-city 123/146
William Klein
French Vogue 1960
8/12/2019 Documentary and the City
http://slidepdf.com/reader/full/documentary-and-the-city 124/146
Alasdair McLellan
Together that summer we raised some hell, yeah! 2013
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http://slidepdf.com/reader/full/documentary-and-the-city 125/146
Alasdair McLellan
Together that summer we raised some hell, yeah! 2013
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Alasdair McLellan
Vogue, March, 2014
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Henri Cartier-Bresson
Madrid 1933
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Walker Evans
Torn Movie Poster 1930
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Walker Evans
Houses and Billboards in Atlanta 1936
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Walker Evans
Penny Picture Display, Savannah 1936
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Berenice Abbott Newsstand, East 32nd Street and Third Avenue, Manhattan
1935
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William Klein
Gun, Gun, Gun, New York
1955
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Lee Friedlander Galax, Virginia 1962
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Richard Prince Untitled (three men looking in the same direction)
1978
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Where is the street here? Is this an issue of ‘public display’? The mediated nature of ‘everyday life’? The street as a place to ‘find’ images… The street as a place where images circulate…
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http://slidepdf.com/reader/full/documentary-and-the-city 137/146
Guy Debord:
“The spectacle is not a collection of images,
rather, it is a social relationship between people that is
mediated by images.”
The Society of the Spectacle
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Paul Virillio: “The screen abruptly became the town square.”
‘The Overexposed City’
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Paul Virillio: “The screen abruptly became the town square.”
‘The Overexposed City’ Lee Friedlander Monsey, New York, 1963 &
Wahington D.C., 1962
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Paul Virillio: ‘The Overexposed City’
Nina Berman
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Hedge
2010
Nina Berman
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Hedge
2010
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Graffiti from Tunisia 2011
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