5.2 Produce a photo in response to an image that we like.
For this exercise I examined a number of photos that I would of wanted to make a ‘homage’ to. I initially thought that I would base the photo on one by Joel Sternfeld-one of my favourite American
photographers. He has a sense of poignancy and of the bizarre that other photographers such as Gregory Crewdson also share. The photo is of a fireman on a ladder attacking a fire in the background whilst in the foreground his colleague is buying pumpkins in a store. It is a juxtaposition rite large.
The context for this photo is the 70’s during a downturn in US morale and employment. It is said to represent the way the Americans were turning their backs even as the proverbial house was burning down-a timely metaphor that was well gauged by Sternfeld I thought.
Searching for the image for 5.2
As I rooted through a number of photography books, I came across the image of Andrés Serrano ‘Piss Christ’ (1987). Probably this is one of the most irreverent photos that I have ever seen. The reason that I chose this photo is twofold. First of all I saw it as relevant to our theme of contextualisation. As Juliet Hacking states, if it had not been for the title: ‘Piss Christ‘ it would not of caused such a storm in the public. In other words, in this case it seems that the title created in Barett’s terms the “internal context”. If the photo had been untitled I still believe that its “external context” would of created something of a reaction in the public as it is an image that provokes a ‘double take’ by virtue of the red liquid submerged christ. Not a typical depiction. However, the words had impacted the image as they seem so slanderous. According to Serrano, this was not his intention. This is the second reason for my choosing this photo.
Intention plays a big part in contextualising the photo. In Serrano’s case maybe the intention was not explicit enough, or maybe his intention was to simply provoke reaction and therefore dialogue. The image was produced as he explained it, as a protest against the cheapening of religious icons and to question the need for faith at a time when HIV and AIDS were at the height. The public read it as a denigration of religion (Christian faith) and reacted accordingly with political and religious leaders alike in outrage.
My homage is therefore to Serranos not so much for the crudeness of the image, although I perceive a certain beauty in it myself, but for the provoking of habitual thought and a questioning of that.
The context of my photo
My Image below has elements of the “original context” in that there is comparing and contrasting to original works…in this case the work of Andrés is being compared with the photo that I have made. Comparing and contrasting are elements that fall into the “original context” category. Also the photo offers a theme and a response in some ways to current issues around religion and our views of it. There is an interpretative context going on, based upon the photo of Serrano.
There are also elements of the “internal context” in that one can identify the subject matter, or that which is obvious in the photo and begin to interpret meaning. The objects in this photo represent religiosity although it is not completely certain what is being said. Therefore it is open to interpretation. This is one of the problems often found when looking at photography, it is not always clear what the photographer wants to communicate. The connotations are really the main communicating points of the photo within and I would say is the key “context” for this photo. This point is somewhat subltle and I think it requires further reflection as its not necessarily always obvious. I find the questions below useful for deepening into this three point analysis:
- What do I see?
- What does it mean?
- What is the subject matter?
- What is the relation amongst the subject matter?
- What is the form?
- What is the medium?
- What is the style?
- What is the difference between one photos and others?
- Who made this photo?
- Why he/she made this photo?
- Who influenced the photographer?
- How do you know?
[3](Questions from: Conference paper, Iwan Zahar (2010)
What am I responding to in Serrano’s photo?
I am responding specifically to the idea. The idea that being religious means paying homage to articles and objects of religiosity. I feel that this is what I am trying to say in this photo. That actually wherever you are is the place to practice your religion, including in the toilet! So, in a way the use of imagery that is not just christian (see the meditating figure) responds in a similar way to Serrano. The imagery is different but the message is a response to how he perceived superficial spiritual ideas. That people talk a lot but do not walk the talk. I respond to the photo using my own style and composition but the message intention is the same. When I see Serrano’s image and understand what he says it is very clear to me, why he made the picture this way. My response is one of kind.
Final note*
The picture has a red hue to it which I left intentionally as a ‘homage’ to the colour and richness of Serrano’s image. See original images that I took. I decided later to reduce heavily the red (having shot with a speed light using red gel) because the use of that kind of light seemed too strong and overpowering. Red however connotes friendship, passion and life.
- Image 1. Sternfeld J. Mclean, Virginia (1978), http://erickimphotography.com/blog/2014/02/14/6-lessons-joel-sternfeld-has-taught-me-about-street-photography/ [accessed March 2017]
- Image 2. Serrano A. Piss Christ (1987) From: Juliet Hacking, The whole story (2014:438) Thames & Hudson.
- Questions from conference paper: Iwan Zahar (2010)https://www.researchgate.net/publication/294089006 [accessed March 2017]
OCA log level 1 Photography 