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Central Saint Martins College of Art and Design, University of the Arts London and The University of Chicago
Press are collaborating with JSTOR to digitize, preserve and extend access to Afterall: A Journal of Art, Context and
Enquiry.
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Something strange happens when one becomes involved with the work of
Thomas Struth. In looking at and studying this photography one becomes
more and more convinced of its sincerity and truth. Trust grows, and
especially in the portraits, friendships are made. Instead of highlighting
something like mediation, which has become a critical byword of late, Struth's
photography turns on a natural and almost living connection between form
and content. Moreover, rather than undermining what adequation there might
be between form and content, serious and sustained involvement with
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42 58 cm, colour
identification takes its usual time. Of course, there are photographs that
leave one cold as well. But then, one always has favourites, and affinities for
a certain face or way of being, a particular street or a building, always make a
world of difference.
What is strange about all this is not simply the propensity to form an
interpersonal relation with a photograph, but even more that Struth's
photographs seem to expect, depend on, and actively pursue this kind of
bond with the viewer. What is strange is that something like friendship is not
only sustained but deepened over time; and what's more, over a period of
time which is rightly described as that of critical engagement. The fact is that
in the context of Struth's work the scepticism that runs through much
contemporary photography, as well as its criticism, is made superfluous.
Truth is never in question, precisely because the bonds of friendship are
always in place.
In terms of Struth's place in the history of photography this can be explained
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and Hilla Becher is certainly operating, but not to the same extent. The
newness of the first encounter with someone or something is too important.
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One can group his pictures according to an obdurate epistemology like "house,
street, individual, group" as in the title of an early catalogue, but what help is
this?2 If one is to account for the fact of surprise or wonder in the face of the
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p.18-19.
4. In Norman Bryson's account Struth's
photography is 'a question of a certain kind of
temperature of viewing, not too cold, nor too
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instrumental reason is shot through with a kind of pathos. Over what one can
only assume is a long afternoon, I take it for granted that a rapport has
developed and a certain familiarity grown between the photographer and the
subject.5 Giles Robertson, Edinburgh, 1987 is a moment rooted in this shared
history. Though there are equally compelling examples from other locations
and histories around the world - consider Beata and Kata Laszlo, Venezia,
1995; Family Okutsu, Yamaguchi, 1996 or Anna Grefe, D?sseldorf, 1997 - in
this case Struth's humanism is grounded in a particular set of material
relations built up over a number of afternoons and worked through over the
course of a couple of years. Struth's photography hinges on what minimal
adequation is forged between form and content herein.
Acknowledging this minimal adequation, or lack of identity between form and
content, is crucial. It places itself at a distance from contemporary liberal
theory at the same time as it recognizes that the success and failure of this
photography pivots on what liberal theory would claim as the immediately
social and communicative dimension of living labour. Thus recent
commentators on Struth can claim that his pictures 'belong to the subject. In
a way that counts, the subject authors the picture,'6 or that 'the picture has
been allowed to form itself.'7 Tempting characterisations though they might
be, such conclusions deny the viewer's own hand in constructing the identity
of the other. This blindness is something Montaigne's my friends, there is
no friend' both courts and escapes. In a single breath one is swept up by the
identification promised by friendship and a resistance to the truth of its
beautiful illusion. In the instance of Giles Robertson, Edinburgh, 1987 the
motivation that binds form to content can be nothing other than the
reproduction of an extant social reality. Minimal adequation is what identity
continually represses.8 It is always framed by the naturalisation of difference.
So if history (local, personal, social, cultural) is given its due, it gains a voice
only by virtue of translation, through a process of projection which finishes off
rethinking the terms of the democratic. How it does so is the crucial question.
To answer this we will have to confront Struth's photography as symbol and
how this is undermined by a notion of allegory, that is, as a celebration of
friendship and a testament to friendship broken.
p. 29.
6. Peter Schjeldahl, 'Epiphany', Parkett 50/51,
1997, p. 168.
7. James Lingwood, 'Open Vision', Parkett,
clarifies what we are up against. Richter is seated in the foreground with his
paintings in the background. What the piece speaks of, in a general sense, is
that in Struth's work the essence of photography has to be thought in tension
with the history it represses: that of painting. That there is a substantive
connection between photography and painting in the case of Richter that
goes to the heart of the matter. The point is that the causal nature of
photography - the relation that led me just now to pose this photograph as
something entirely other, as illustrative of a larger truth - is necessarily placed
in tension with questions hinging on photography as a mere effect. To
reformulate this as a linguistic problematic, one would have to call in both the
motivated nature of the symbol and the arbitrary condition of the sign. The
p. 8.
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painterly aspects, yet not only does the minimal adequation between form
and content hold up under scrutiny, it becomes stronger as critical
engagement proceeds. Struth's work depends upon this act of identification
to such a degree that its status as photography is incomplete without it. In a
sense, the work counts on being looked at. In fact, the unity of Struth's
photography, the very truth of this photography, rests on the structural
That identity cannot be simply shooed away like some bothersome insect. It
remains a problem for, in effect, one is faced by truth in its insistent
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We know from the work of Paul de Man, that the tension we have been
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This clarifies many things. First and foremost it puts the question of the
aesthetic in the harshest possible light. One glimpses the relation that it has
always sustained with wonder and the technology of othering that wonder
has fulfilled within discourses of discovery.15 One sees 'truth' and how
conflicted it is, or indeed the beautiful and how it is implicated in a structure
of power. If couched in the bond of friendship, the instancing of the subject
turns on a far more violent appropriation of the world. In Struth's photography
one is always glimpsing this use, because of the emphasis placed on identity
and the impediments put in the way of unrestrained narcissistic projection or
identification. Struth's photographs are allegorical to the extent that narration
underwrites what perception posits as present or determined.16 In fact, the
identity posited by Struth's photography always stands as an 'allegory of
reading'.17
Consider again the tired subject matter of Mus?e du Louvre I, Paris, 1989,
and Mus?e du Louvre II, Paris, 1989. What is striking about each is the
significance of the immediate, and that the immediate is stripped of any real
importance by virtue of the series. Thus, in spite of occupying a place in a
series or actively referencing the series as a whole or the other pictures in it,
each picture references its very own peculiar conditions of viewing. Typology,
which in the work of the Bechers functions as an external relation between
landscape has eyes. They place the process of identification implicit in the
machinery of the symbol under pressure. They thematise a limit beyond which
interpretation is blind, pointing up a passage or negative moment in a dialectic
which is continually secreted away. Quite frankly the wide open is a symbol
of identity and truth, but as well a sign of what identification continually veils,
immediacy in all its rawness, this unknown section of the American landscape
is the most natural of subjects Struth could take up. Not because it is any
different from a designated natural wonder like El Capitan or indeed distinct
from even a marvel like Treasure Island in Las Vegas, but simply because
'wonder knows no exit from the unordinariness of the most ordinary.'18
his/her tracks, rapt in awe, or taken by surprise. Thus, the baffled people,
astonished people, the contemplative, devotional, stupefied, frenzied people
all wondering about truth, beauty, and art. As a figure of immediacy, the very
essence of surprise, wonder has an uncanny ability for unsettling the relations
between cause and effect. Like the tension between symbol and allegory -
which has to a large extent rehabilitated both the philosophical and rhetorical
legacy of wonder in contemporary theory - wonder has the capacity of
shifting attention from the object to the subject; from the question of the
1986.
18. John Llewelyn, On the Saying that
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Look at the woman with the stroller in Struth's Art Institute of Chicago II,
Chicago, 1990. Much has been made of her position vis-a-vis the perspectival
construction of Caillebotte's painting.20 And no wonder! It is as if she has
taken the street scene before her as an extension of her own space. The
same holds true for the woman nearer the painting on the right. What is also
undoubtedly true is that each of these figures, are simultaneously engaged in
another kind of reflection. Clasping ones hands behind ones back is as
earnest a gesture of this as the apparently slow, reverential approach of the
other.
For the woman with the stroller, experience and the representation of this
experience are two sides of the same coin. Both philosopher and rhetorician,
'mimic' and 'actor', the irony of her situation is paradigmatic of that
predicament which grips the viewer in face of Struth's photography.21 For
one's capacity to reflect upon the image is grounded upon a blindness to
one's empathie involvement with it. One could say that though a philosophical
knowledge of the image is grounded in the performance of a set of practical
linguistic and rhetorical competences, the meaning made denies this. Though
one might use the language of photography like a rhetorician, one treats the
language of photography like a philosopher. In Struth's photograph the likes of
a minor philosopher extricates herself from a form of object perception that
relies upon walking the streets of a painting. And yet, what is also clear is
that one must resist the temptation to hypostatise this mimetic act over and
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pp, 97-98.
21. See Jacqueline Lichtenstein, trans. E.
p. 75.
22. Bryson argues for the 'insistent diagonal' in
Struth's work. Norman Bryson, 'Not Cold, Not
too Warm', ibid, p. 158.
23. I would like to thank Alan Johnston, Robert
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