Writing about Photography
If a picture tells a thousand words, then it stands to reason that photography will have inspired its fair share of writings. Critical, theoretical, speculative, philosophical, historical, autobiographical and fictional. Certainly, over the years, TPG has been witness to, subject of and instigator of a variety of texts that aim to elucidate, illuminate, define or simply just celebrate the photographic form in words. From specially commissioned essays to narrative fictions inspired by specific works or themes, this viewpoint presents an evolving and diverse selection of some of the ways that the literary has framed the visual.
Hayleigh Longman writes a story behind one of her photographs.
Daniel C. Blight considers photography's interactions with the genre of the essay, asking questions of style, idiolect and the politics of communication
Emily LaBarge confronts various photographs' depictions of things circular, orb-like and celestial, from Nadar's The Giant to Noemie Goudal's Station works.
Esther Teichmann blends the essay with fiction and autobiography, narrating a journey through seduction and fantasy, both written and visual
CN Lester recounts personal experiences of gender non-conformance, visibility and invisibility, in relatiosnhip to an anonymously authored 1880 photograph
Jonathan P Watts writes on Helen Sear's project Brisées, and considers the origin and meaning of the word from broken branches and snapped twigs, to pixelated and monochrome images of woodland scenes
Stanley Wolukau-Wanambwa considers Dana Lixenberg's body of work Imperial Courts, symbolic violence, and the visceral inequities that result from the equivalence in American life between blackness and threat.
Harris Elliott considers British black male identity, Trap and oratorical prowess
Gelare Khoshgozaran considers the figure of the jinn as the temporal embodiment of human desires and emotions in Morehshin Allahyari's work She Who Sees the Unknown: Ya’jooj Ma’jooj
Skye Arundhati Thomas, in this fictional letter to her grandmother, engages protest, nostalgia and time, as read through an appropriated press photograph by artist Rosângela Rennó
Daniel Rubinstein takes the identity and meaning of contemporary photography head on in this philosophical essay
Andrew Dewdney offers a critical response to Daniel Rubinstein's essay What is 21st Century Photography?
Duncan Wooldridge reflects on Ill Form and Void Full, the minimal photocollage work by Canadian artist Laura Letinsky
Isobel Whitelegg considers the importance and social context of the Brazillian artist and designer Geraldo de Barros' two bodies of work Fotoformas and Sobras
Maya Benton recounts her first and subsequent engagements with the work of photographer Roman Vishniac
Anna Dannemann considers the meaning and artistry of Roman Vishniac's images