Sander, Portraits발음듣기
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Sander, Portraits
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(music) ("In The Sky With Diamonds" by Scalding Lucy) Juliana: This portrait that we're looking at is by August Sander, German photographer.발음듣기
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Sander was trying to create these photographic perfect representations of types of people or types of occupations, is that right?발음듣기
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I think he's just interested in looking at people in Germany as a particular occupational or professional class so they're types ...발음듣기
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Juliana: Yes. Sander did not have strong theories about one type of person looking or necessarily being better and more purer than another.발음듣기
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This portrait is 1931, so for a number of years, he was doing straight portrait photographs, being paid for them in his studio.발음듣기
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Juliana: In a way, yes. If you look at somebody's hands, a worker, a farmer for example, would have hands that look much different from an accountant's hands.발음듣기
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Juliana: Right. He's trying to get a complete picture and sort of look at these connections like how do we hold ourselves and how do we present ourselves?발음듣기
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Would he have photographed a whole series of secretaries and then looked for one that was most ideal in some way?발음듣기
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Juliana: He did a series of women, so there were different types of women like farming women, women that are artists,발음듣기
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they're professional women, intellectual women, this is probably a lower middle class or sort of new salaried woman. (crosstalk)발음듣기
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Because there's a long history in photography going back to Mundy of men photographing women and looking at different types of women, especially shadow sizing working class women.발음듣기
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Think back to, that's not before photography, but just this whole notion of the scintillating quality of ...발음듣기
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He's looking across profession, so he has a couple of books and exhibitions that come out in the '20s and '30s.발음듣기
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The one that was published in 1929 was called "Spaces of the Time" and that was a collection of 60 photographs.발음듣기
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Juliana: It's men and women, yes. It's faces of our time in general and it organizes people by class or by occupation.발음듣기
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young farmers and old farmers, big huge families of farmers, farmers that are rich, farmers that are poor.발음듣기
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It's a sociological, anthropological study of all these and he feels like, especially in the '20s, to make sense of the changing German culture,발음듣기
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Steven: Just this notion of really trying to document and understand through an almost encyclopedic -발음듣기
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The [Bechers] are looking at Sander's project and other German photographers of this period.발음듣기
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Beth: That so reminds me of a 19th century positivist tradition of scientific categorizing, species and putting things in categories.발음듣기
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Juliana: That comes out in how he organizes everything, but he's not going about this as immortalizing -발음듣기
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Steven: That's true, and there may be a thin veil of it, but nevertheless, he's hanging onto neutrality.발음듣기
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There's a pastry chef and this is maybe a little bit more telling about the idea that it's a profession, that he's of a specific profession, because you see him with the tools of his trade.발음듣기
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The image we looked at before, the new woman has tools of her trade, but they're a little bit less obvious.발음듣기
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Juliana: Subjects generally look directly at the camera and they have that dialog with the photographer.발음듣기
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He's got light set up in a certain way that's really contrasty, it brings out the white of his jacket and then there's sort of silver and there's sort of the gleam of the bowl.발음듣기
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He's not really sure if he has legs or what part of his legs are left, so he doesn't have prosthetics.발음듣기
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There's an attempt by the subject to retrieve a degree of dignity in his posture, in his suit coat.발음듣기
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Steven: It's not looking down at him, even though he's at a lower level, we've assumed a kind of crouch so that we're looking across, at least that's what the orthogonal seems to suggest.발음듣기
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There are other disabled war veterans that these little carts that were just vaguely like skateboards and they would push themselves on the ground.발음듣기
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Steven: And to put this person front and center in a photograph as a subject of our gaze, is a pretty powerful ...발음듣기
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Juliana: And I think knowing what we know is going to happen a few years from this, that people who are disabled in all sorts of ways, the Nazis tried to destroy that image of the imperfect body.발음듣기
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Juliana: It's not the first image, it's not a more heroic as far as farmers, he's not with the intellectual types.발음듣기
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Juliana: It is encyclopedic, but he's probably in a similar section of the unemployed. He's not held up.발음듣기
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Beth: What's interesting to me is that if this image had been filled more with pathos, if it had been more pitying, more emotional in some way, Sander might not be part of the Modernist cannon.발음듣기
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Beth: It's this kind of detached gaze that's so much of a part of what Modernism is and as soon as sentiment enters into it, or manipulation in some way, it blurs that line in saying -발음듣기
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Steven: The narrative is inserted then in a very direct way and the Modernist aesthetic rejects this.발음듣기
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This man is, and the wounded, are really a representation of Germany's failure during the first world war, their loss.발음듣기
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He could be disabled from something else entirely, but there's so many images that it just sort of becomes symbolic of that.발음듣기
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I think one of the things that Sander did that was great was used that clinical, scientific gaze where he wanted to organize all these images and it brings out the tension between science and art that I think is really, really important in photography.발음듣기
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It's that tension that makes the images so wonderful and so striking that you really look at this stark image that doesn't seem coated with sentiment, yet also has this convention of beauty and - (crosstalk)발음듣기
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I think one of the things that Sander was able to do, and one of the reasons why he started creating these images, is that he accidentally printed on a different kind of paper in about 1920.발음듣기
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The kind of paper that you print on when you create a photograph, now we have digital images and we print on anything, really.발음듣기
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This kind of image versus a carbon print versus [unintelligible] print, any other kind of earlier photograph, those are much more fuzzy, they're blurry.발음듣기
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Once you start printing on paper that has more neutral tones or even cold tones, it takes on that kind of scientific, documentary gaze so that you're looking at things and they seem more objective and they take up that guise.발음듣기
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Steven: They also, for photography, might have functioned in some way, I guess this is a question, did they function in some way as a way of divorcing photography from painting,발음듣기
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and in a sense giving photography a kind of autonomy, an aesthetic autonomy, maybe alive with science that really finally brought it away from those pictorial traditions in which it had been embedded?발음듣기
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Juliana: That was I think, really exciting for artists, photographers in the '20s, the idea of the new photography.발음듣기
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That was one of the reasons it was so appealing, is that the technology of [unintelligible], of the new with the science, has nothing to do with, or so they wanted to think, of painting and of the old and of tradition admired in the past.발음듣기
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Steven: Except that all of the vocabulary that we've been using is embedded in the history of art and in the history of painting.발음듣기
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Beth: What makes an image successful is just what makes an image successful in way, is what we're looking at.발음듣기
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