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| 'Dyanne'. Beth Yarnelle Edwards |
Photographs hold a special
fascination for everybody, the world over. The facility to grasp a moment as it
is; capturing the monumentality or poignancy of the moment with just a click of
the camera is irresistible. Digital technologies have made this simpler than
ever before, so what sets apart the artist-photographer from a doting parent or
enthusiastic tourist?
Photography that engages beyond
familial or familiar memories is about the quality of observation a
photographer imbues their work with. It’s the measure of a photographer’s engagement
with self and subject; exploring facets of looking which draws and sustains a
viewer’s attention. This quality of intimacy and engagement noticeably pervaded
almost all the images in the exhibition ‘American Psyche’ curated by Janet
Delaney, at Religare Art.
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| 'Paul' - Susan Felter |
In addition, what made this exhibition
a unique experience, was that the earlier construct of the West looking at the
East with their limitations of knowing and desire to know, based solely on the
narrow self interest of commerce and dominion, was turned on its head. The
on-going shift in world economic power with its implications of change in how,
once dominant cultures are now viewed by those they dominated, was evinced as
we in New Delhi were invited to look at the ‘American’ psyche through the eyes
of ‘American’ photographers.
The selection by Delaney featured
some known, predictable icons such as the ‘Cowboy’ from Susan Felter’s
portfolio ‘Rodeo Work’, as well as lesser known facets of contemporary daily
life, exquisitely captured by Beth Yarnelle Edwards in ‘Suburban Dreams’. This
was added to by Brian Ulrich’s statement on the “American love affair with
shopping on credit” and subsequent bankruptcy. Chris Churchill’s black and
white images highlighted ‘Faith’ presenting a broad spectrum which included various
organized religions and also spiritual practices. Leon Borensztein‘s series of
commissioned portraits also in black and white, recorded ‘telling details’ and
Jim Goldberg’s ‘Teenage’ narrative added a touch of authenticity to the presented
socio-political commentary. Issues of governance and civic mindedness also
formed part of this montage where Paul Shambroom brought us a close-up view of
the American public servant. Mike Steinmetz stealthily captured candid moments
of unknown people and Todd Hido kept driving and looking, photographing the
outside of houses at night with people at home. Indicated not by silhouettes of
them, but implied by the glare or soft haze of electric light shining through
windows, that were curtained and sometimes not. He captured a sense of the
quietude of night-life, imbuing it with a sense of knowing, despite the
physical displacement of him being outside the frame.
In this vast panorama of life in
America, it was the images by Beth Yarnelle Edwards, portraying the
everydayness of suburban living with precision and sensitivity that left a
lasting impression. These photographs needed no explanation. They had a
timeless, universal quality. Akin to still-life painting of early Dutch
masters, Edwards’s keen sense of observation posed not a critical view but provided
a perceptive document. In ‘Dyanne’ [1998, 19/25, chromogenic print, 20x24 in],
the quality of light and semi-completeness of attire, nuanced a level of
tension. There was a sense of expectation, yet also of fatigue and on looking
more intently, one noticed that the dinner was not yet over. The table was
still set. It was not a sense of let down after the event, but a kind of resigned
expectancy after long hours of preparation, that emerged. Such details reveal
more than just a stereotypical view of the mundane. In another photograph, she
captures ‘Susan’ at work, [2002, 5/25, chromogenic print, 20x24 in] her
bejewelled hand polishing the glass top of a dining table. An Andy Warhol print
hangs behind her and a large urn of artificial Hydrangeas and exotic Orchids rests
on the centre of the table. A William Morris look-alike design on the upholstery
of dining room chairs completes the picture of a home where everything is neat,
clean, carefully chosen and meticulously arranged; a life-style of successful
people residing in the suburbs. Edward’s success lies not only in capturing evocative
everyday moments but also in the lack of self-consciousness with which each person
appears in the frame.
Delaney presented a wide panorama,
attempting to cover the breadth of a vast and diverse culture. This however
detracted from the subtler perspective each photographer had presented. At
times one felt that this ‘psyche’ was orchestrated to present more of a
politically correct statement rather than a heartfelt one. This portrayal may
not have been conclusive or entirely convincing, but in presenting a view
through the lens of American photographers, of nuances most of us here would not be
privy to, it opened up another window of perception.
