The Photograph as Contemporary Art. Precis- Once Apon a Time

This chapter deals with images that tell stories. Whether related to myths or fables, or even stories which we apply to open ended images. This type of image making is described as tableau or tableau-vivant as it involves single images which stand alone and are narrative. In the mid 20th century images were mostly displayed as image essays, or in sequence. The images in this chapter are often parts of sequences, although each image is narrative filled. Pre-photographic art was also narrative filled, but one must not see contemporary photography then as a revival of this, but rather as a mutual understanding of a how a scene can be organised so that the viewer is able to recognise the story. A prominent user of the staged tableau style is Jeff Wall who became well known in the late 1980’s. This ‘staging’ style of photography poses a new role for the photographer; not as the sole image producer, but as the conductor or orchestrator of the people involved( actors, scene setters etc) In this the photographer is more like a film director in that the people involved are used to create the directors desired final effect. Philip-Lorca diCorcia’s work also sets a strong narrative for contemporary photography. The lighting used by tableau photographers is described as cinematic; often dramatic in sharp contrasts of dark and light. This does not however mean that tableau photography is a still from a film, they are not screen shots. Theresa Hubbard and Alexander Birchler both create purposefully ambiguous images that are no less narrative. Their collaborative work ‘Untitled’ shows that with this style time is compressed into a single frame thus creating the narrative. Tableau photography also often re-discusses periods in art and uses current events to support similar ideas. Often with tableau photography the characters face away from the viewer; this creates a sense of anxiety and makes the viewer uncertain of the meaning as the character is unexplained. Deborah Mesa-Pelly’s work uses recognisable stories to create a different narrative altogether; the stories become distorted into something far more sinister. Although this chapter discusses images that mostly involve human staging, there is mention of images that are architectural in character. Katherina Bosse and Miriam Backstrom both use space as a narrative rather than people.