Contemporary Photography and the Reality Effect

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Introduction

In today’s hybridized artworld, the art object known as the photograph is changing both in subject matter and the tools and techniques
used in its production. The images are produced for different contexts such as documentary projects, portraiture, and fine art galleries.
Photography’s richest quality — the ‘having-been-there’ -- drives viewers' demand for images and has propelled the artform since its
inception. In contemporary photography, creative visionaries like Andreas Gursky and Peter Funch use photography as a way to
explore hidden themes such as chaos and order, repetition and harmony. It is the second order of reality that prompted Roland Barthes
to say, "A photograph is always invisible, it is not it that we see." What we see is a reflection of ourselves, the world held still by a
clicking shutter or by a multi-layered Photoshop image. The natural world reproduced via a mediated experience — the camera and
print — is still the pedestal on which photography rests, but increasingly the photograph reflects a culture in which computers and
technology play a central role in the art making process.

The conventional genres of photography range from a direct, almost clinical recordings of the world, to ironic, post-modern
interpretations of today’s materialism. As contemporary photography becomes more conceptual, its artists reveal the hidden reality
behind themes like the environment, street life, loneliness, and love. A tension has arisen between photography as a form of
documentation and a medium to express feelings, emotions and the artists' visions. The boundaries are blurred.

The images of [survivors from September 11, 2001,] taken by Peter Funch, represent an example of
contemporary photography blurring traditional features of documentary and fine art production. The
hyper saturated colors, close perspective, and piercing eyes are features not often employed in a
documentary project, but here it serves the function to heighten the intensity behind 9-11’s truths —
fright, resilience, uncertainty. Placed inside the context of photojournalism, Funch asks the viewer to
evoke historical background in reading the images, he places the subject inside a world fraught with
emotion, history, and at the same time critiques the modern world’s fascination with protectionism and
survival.

The Americans Around Ground Zero is one example of photography that exposes a reality beyond its first
order of denotation. Pierre Bordieu, sociologiost and critical scholar, writes about the photography's
multi-dimensionality. He calls it the 'reality effect.'

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Bordieu and the Reality Effect

“We are surrounded, it is argued,” writes Bordeiu, “not by reality but the reality effect, the product of simulation and signs (Krauss,
63).” Photography is one object of discourse that propels the reality effect. The intrinsic access to the natural world gives a photographic
an authenticity (deserved or not) into reality, while at the same time magnifying a second order of meaning through the reading of signs
and symbols. The effect can be emotional, psychological, historic, ironic, etc. — the same visceral experiences one undergoes in daily life.
Bordieu goes on to claim that photography is not about aesthetics, “that is, can have no aesthetic criteria proper to itself, and that, in
fact, the most common photographic judgment is not about value but about identity (Krauss, 56).”

By claiming that photography moves beyond aesthetics and into a construction of identity, the discourse and creation of the images are
unbounded, freed from representing the natural world and making truth claims. Donald Kuspit argues that the concept is centralized.
“Now, the creation of the code -- more broadly, the concept -- becomes the primary creative act,” [writes Donald Kuspit on Artnet,] “The
image no longer exists in its own right, but now exists only to make the invisible code visible, whatever the material medium. It makes
no difference to the code whether it appears as a two-dimensional or three-dimensional image.”

The photograph is as much about the viewer’s interpretation of the code as the artist’s intentions. And by reading an image, the viewer
constructs an identity, an internal discourse between the print and the self In Funch’s series of ‘American’s Around Ground Zero’ the
viewer identifies with the subject being photographed but also the deeper symbolism associated with 9-11. The viewer can only intuit
Funch’s artistic intentions, but that is no longer the point — he has successfully used the medium of photography to construct a reality
effect, an image laden with signs and symbols signifying more than its literal reference, in this case, a man wearing a mask.

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The Digital Advantage

The advent of digital photography and the manipulation of an image with post-production tools has freed the photograph from its
optical limitations in the camera. Thereby it gives the artist greater power to construct art objects that have deep second order meanings.
Through the use of post-production, the photograph is no longer an objective view on reality limited by optics or printing process, but a
canvas upon which artistic visions can be translated. The photographic code of realism is being reinforced by artists who can seduce the
viewer into identifying with a constructed reality, even if that reality is not indexical. A latent world of feelings or symbols can be
expressed by artists manipulating the codes, an in particular, the use of repetition.

Kuspit argues for a space in which photographs “expand creativity by allowing for a greater exploration of chance, and thus the creation
of more complex aesthetic "permutations" -- different combinations of identical elements -- than traditional art has ever created, indeed,
allowed or even thought of.” [1] In contemporary photography, the use of digital software allows photographers to combine multiple
elements into one cohesive image. The result can be a dynamic, fluid photograph that steps outside the bounds of synchronicity.

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Contemporary Photography and Repetition Aesthetics

Repetition in contemporary photography is partly a product of digital techniques and subject matter, a movement that has freed
photographs from the constraints of singular exposures or rudimentary darkroom techniques. If used in a way that enhances the code of
realism, the art objects may emanate a profound reality effect. The signs and symbols reproduced can be derived from popular culture or
a subtle play on the subject, from yawns and juvenile’s in Peter Funch’s “Babel Tales,” to the stock traders and race tracks in Adreas
Gursky’s large prints. In each of these cases, the repeated use of signs or symbols are the driving force behind the photographic
narrative. Photography is becoming a conceptual art that blends traditional photographic techniques, the code of realism, with an elusive
sense of self-reflexivity. However, not all art critics are enamored with the current forms.

Art critic JJ Chalresworth writes in [Art Monthly,] “contemporary photography retains a fascination with the theater of psychological
symbolism, the fragmentary narrative, the unexplained and the uncanny, as a space in which common assumptions about subjective
reality can be rehearsed endlessly without ever being resolved.” His characterization of photography is an accurate reflection of the
sometimes vague and vapid aesthetics, but he goes further to indict photography as overly embellishing the symbolism of the modern
world. He writes:

The point is not that art should expect to reproduce mechanically the appearance of the real, merely to reveal it, but that in the
anyway synthetic organization of its forms it should seek to reflect and enact a similar complexity, one which nevertheless
offers an intelligible experience of what may not be immediately apparent. But this relies on a conception of a real that is both
multifaceted and integrated, rather than broken down and compartmentalised into so many marketable fragments. The irony
of much contemporary photography is not that it presents an excess of reality, but rather that in fetishising the substance of its
many discrete aspects, it hardly ever gets near [2].

How has contemporary photography started to overcome fetishizing the subject, and instead, to create art that reveals the real, as
Chalresworth puts it? I would argue that digital techniques have been a central tool in this movement. By allowing photographers to
manipulate signs and symbols, to repeat elements in ways that do not appear indexical in nature, the outcome has been photographs
that exude a profound reality effect. The images invokes a reality that may not exist in nature by bringing together multiple exposures
into one image, or by layering elements such as people or objects inside the image. How is this done? Artists like Gursky and Funch
employ basic themes of visual grammar: harmony, unity, contrast, repetition [3]. The work is a blend of technology and a classic
understanding of how we read photographs.

The following case studies are photographs that exemplify basic themes in visual grammar: harmony, unity, contrast and repetition. As a
result, they are subjectively pleasing and profoundly ‘real.’ The data will be images from Andreas Gursky and Peter Funch, two
contemporary photographers working with digital techniques in strikingly different ways.

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Andreas Gursky: Case Study

[Andreas Gursky] is widely recognized for his large scale, digitally stitched together
prints of “macro and micro; individual and mass; photographic documentation and
abstract formalism (Lippiatt, 132).” Other critics have even labeled his work bland,
but with an air of optimism, even adulation. Subject matter is central to Gursky’s
work. From North Korean festivals, to garbage dumps in Mexico, to Toys ‘R’ Us
stores in America, the mundane transforms into enormous prints that mimic the
tension between order and chaos, self and the selfless.

His unique placement of the camera, high atop cranes, pulled far back and wide
angled, or floating on a helicopter, “often entail multiple views of the same subject,
different subjects seamlessly spliced together, and digital manipulation. Gursky loves
ordered spaces and repeating grids. As he puts it, “My preference for clear structures
is the result of my desire—perhaps illusory—to keep track of things and maintain my
grip on the world.” He’s especially maniacal when he portrays people. “I am never
interested in the individual,” he coolly says, “but in the human species and its
environment (Saltz)."

His style is literal, the wide angle macro shots make no judgments on the subject, but
rather give the viewer a sweeping view inside forbidden or hidden places. To return
to Charlesworth’s claim, the work of Gursky ‘reveals the real’ in an unexpected way
— from a collective, rather than individual perspective. The image taken inside the
Kuwaiti stock exchange is a prime example. Dressed in identical turbans, the Kuwaiti
traders huddle around computer terminals and speak with one another in a flurry of
activity.

Bright red chairs contrast with the white clothing, punctuating the dark floor. An electronic stock ticker and world map circles the top of
the frame. This is the market — a nameless, chaotic room. But from Gursky’s print it appears balanced, an invisible order holding it all
together.

In contrast to the Kuwaiti stock market, Gursky photographed the Arirang festival in North Korea, a spectacle in which 80,000
performers choreographed routines for a crowd of 50,000. Dressed in red and white the performers morph into a cohesive group, devoid
of individuality from afar The images look as if they were a computer image comprised of color pixels. But to achieve the 4m length
digital print, Gursky stitched together two images with little digital manipulation.

“At first it looks like a piece of computer art,” he said, “but once you study it closely there is real human interaction. They are supposed
to be doing the same movements, but because they are people it will never be exact, it will never be computer art (McCann, 98).

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Repetition: Enhancing the Reality Effect

By photographing subjects that feature repetition as an inherent visual element, the

Kuwaiti stock market and Arirang festival, Gursky constructs a narrative that convinces
the viewer of a reality beyond the mere conventional. His images are art objects, they are
more than just indexical representations of world environments. The repetition is
hypnotic — almost dream like. A wide field-of-view and the hyper perspective achieved
through the digital stitching create images that go beyond our visual expectations.

We shift, from looking closely at the people within the frame to back out again, at the
broad macro views. What we see depends on the punctum (to borrow Barthe’s term), and
the code we expect to read. Are the images abstract or hyper real? A blend of both? “The
images never entirely make the shift from simulacrum (a picture of a picture) to
simulation (in which the image has no origins in the real), writes Alberro in Artforum,
“and thus do not entirely cross the threshold into pure virtuality since the final results are
composites of photographic documents." Gursky’s genius lies in the tension between the
two.

In Bordieu’s terms, the images are about an identity we rarely confront — the collective,
mass impact we as humans exert on this world. However, not all critics agree that
Gursky’s latest work is as critical as his earlier career. Jerry Saltz from New York
Magazine wrote, “Gursky has digitally pieced together numerous shots from various locations, including his studio, making F1 less a
photograph than an invention, and what’s tedious about it is how coyly self-referential it is.” He continues, “Is Gursky implying that
men are drones and women are merely saints, sluts, sirens, or fodder for fashion photography, cheesecake, and pornography? Or maybe
he’s admitting that he’s out of ideas (Saltz). Perhaps Gursky is, in Chalresworth’s terms, fetishizing his subject. The lurid crowd peering
down on the crew, a beautiful woman standing guard in stilettos and short shorts.

What exactly is Gursky asking of us? Perhaps the answers are less profound than the one’s raised by the Kuwati Stock exchange or the
Airirang festival, but the reality that emerges from this series are no less valid than his weightier subjects, and they do not slip into the
realm of fetishism. The frenetic activity and bold colors of the car racing event are worthy of Gursky’s treatment. People view the
spectacle as it unfolds right before them. There is a deep connection between man and machine in F1 Boxentopp III, both a physical
union between man and car, as well as the onlookers’ gaze. The race becomes a symbol for speed, power, like the Italian futurists in the
1910s pushing the world forward without regard for the destruction in their paths.

In the same show he exhibits "Bahrain I." Even without human subjects in the frame, the race track
slices through the white sand desert signifying the impact we have on our landscape and the values
and priorities we ascribe to our collective decisions. We place great value on entertainment and
showmanship. Here Gursky critiques and at the same moment reveals the beauty in the choices we
collectively make, often times at the expense of the natural world. The track drips like black paint
onto a pure canvas, baking hotly in the sun, waiting to serve as the hot asphalt for supercharged
cars.

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Gursky as Visionary

Andreas Gursky is a world-famous and revolutionary artist. His subjects vary from stock exchanges
to race tracks, but the truths behind each image are universal — behind the chaotic world rests an
order, made visible by the camera and digital techniques. Repetition and harmony emerge from this
dichotomy, and as a result, Gursky’s work is both aesthetically pleasing and laden with symbolism
and social critique. While Andreas Gursky portrays a world en mass through the use of large scale
prints and digital composites, Peter Funch focuses his work on the subtle commonalities we share. As trained documentary
photographer, Funch seeks out the stories within us, combining street photography with digital montage to produce striking urban
scenes set in New York City. Babel Tales is his latest series.

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Peter Funch and Babel Tales

[Peter Funch] is an emerging artist born in Denmark, trained at the Danish School of Journalism, who now lives in New York City [4].
His style blend traditional documentary photography with digital montage. In “Babel Tales” Funch took images on street corners and in
Photoshop transformed the multiple exposures into single narratives. Funch focuses his eye on the individuals, or the small collective
that emerges from a busy corner in New York City. In “Screaming Dreamers” the figures yawn, or look as if they are screaming in
unison out onto the world. Men and women of all ethnicity are pinned down by the lifestyle in New York, exhausted from work or
family, perhaps both.

The light suggests late afternoon, a time when the city departs from its high-rise office spaces and returns home, to another space in
which solace awaits. But together in the streets, the commute is a place to dream of another existence, a moment to escape the mundane
path from point A to B. And yet it is strange, a group of people yawning together on the same street corner. The image exudes an air of
unreality. Each figure blends seamlessly into the frame, the close perspective of the camera suggests to the viewer a ‘having-been-there,’
the photographic code of realism. However, a tension emerges, an ironic amusement. Did this really happen?

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Barthe's Influence

In the “Photographic Message” Roland Barthes discusses how an

image like “Screaming Dreamers” may play with our senses. He
writes, “The photographic paradox can then be seen as the co-existence
of two messages, the one without a code (the photographic analgoue),
the other with a code (the ‘art’, or the treatment, or the ‘writing’, or the
rhetoric, of the photograph) (Barthes, 19). Barthes suggests that the
analgoue leaves little room for other connotations, meaning a taxi-cab
is a taxi-cab, or a yawn a yawn. But the second code, the artistic decisions made by the photographer connote a deeper, second order
meaning. It is this code that resonates and provokes us. In “Screaming Dreamers” the yawning figures in one frame are made possible
by digital techniques, the second code, a montage that allows the photographer to construct a narrative that does not exist in the
analogue. By titling his image, “the text comes to sublimate or patheticize or rationalize the image (Barthes, 25).”

In other words, the text heightens the connotation — the yawn — and “loads the image, burdening it with a culture, a moral, an
imagination (Barthes, 26).” “Screaming Dreamers” takes on a meaning based on its title. Without the text, the viewer would construct a
different interpretation. Barthes writes that the text can invent a connotation, one that goes against the denoted image, bringing on a
dissonance between the two (Barthes,27).” “Screaming Dreamers” is a figurative telling of the scene, far removed from the denotion of
people yawning in the street. As a result the ironic tension peeks our interest and we construct a second order meaning based on what
we read and see.

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Repetition: Enhancing the Reality Effect

Throughout “Babel Tales” Funch uses the same techniques — multiple exposures, digital montage, titling — to create a world that is a
“babel” or a confusing place; but like in Gursky’s large prints it is laden with order and rhythm. In “Juvenile Bliss” the children
populate a street corner, walking dogs, carrying backpacks, taking notes. Like their adult counterparts, each child is isolated in his or her
world, but without supervision they roam freely on the street, happy to coexist in bliss. Unlike “Screaming Dreamers” the punctum is
not overt.

Perhaps it is the young girl dressed as a woman in the frame’s center

that draws the eye, or the young boy reading the bus schedule. Slowly
it becomes obvious — this world is full of children. The title amplifies
Funch’s connotation, the young people are living in bliss without
parental oversight. It makes the viewer wonder: at what point do we
lose our state of bliss? Even in face of these questions, there is a
harmony in this image made possible by careful composition in the
shooting and editing process. It is a narrative about youth and
identity, the transition from growing up as a child in New York City to
adulthood, a movement that may be less dramatic than one believes or
remembers.

In “Mass Transit” the location is once again a street corner somewhere in New York City. But unlike “Screaming Dreamers” or “Juvenile
Bliss” the people are obscured by carts and mats and overflowing bags. The people push their possessions, head down, dressed in warm
clothing, navigating the streets anonymously. The image suggests that another world exists inside New York City, both the homeless
and those in transit. An entire street is occupied by things, as if the object is master and human is slave. The homeless, like those
transporting goods, are connected by a sense of motion, tied to their possessions an anxious to move on and on.

Funch calls into question this world we choose not to see or

overlook. In “Mass Transit” the viewer is asked to think about
this other world, a place devoid of fashion and excess, where one
literally carries the world on his back. With the use of digital
techniques, Funch is able to transform a fragmented world into a
seamless alternate reality, one that ends up looking a lot like our
own.

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Conclusion
Contemporary photography, as exhibited by Andreas Gursky and Peter Funch, can reveal the complex interplay between people and the
environments in which we live. Their work challenges the viewer and asks for more than aesthetic approval. The photographs they
produce can “contribute something to the order of natural creation instead of providing a substitute for it,” writes Andre Bazin. Despite
the world as subject, the images become worlds unto themselves. With the use of digital techniques such as montage and stitching, the
images reveal a side of reality made visible by artist and camera, laden with symbols and repetition. The viewer experiences a sense of
harmony in spite of the underlying chaos denoted by their images. A narrative then emerges and the viewer is swept up by the
excitement of an F1 race or the stock floor, or a mythical street in New York City . Together Andreas Gursky and Peter Funch discover
beauty and self not by accident or artifice, but through artistic visions that blends the traditions of old with the tools of today.

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Works Cited
Alberro, Alex. “Blind Ambition.” Artforum (January 2001): 104-114.

Barthes, Roland "The Photographic Message" Image, Music, Text, 1964.

Bazin, André. "The Ontology of the Photographic Image," Film Quarterly, 1960.

Chalresworth, JJ. "Reality Check," Art Montlhy, June 2001 [5]

Krauss, Rosalind. "A Note on Photography and the Simulacral," October 31 (1984).

Kuspit, Donald. "The Matrix of Sensations," Artnet 2005 [6]

Lippiatt, Matt. “Andreas Gursky: Pyongyang.” Flash Art (May-June 2007): 132.

Millar, Jeremy. “In Praise of Blandness.” Modern Painters (April 2007): cover & 66-73.

McCann, Paul. “Jong Love.” Wallpaper (March 2007): 98-107.

Mattick, Paul. “Andreas Gursky at Matthew Marks.” Art in America (January 2005): 121.

Saltz, Jerry. “It’s Boring at the Top.” New York Magazine May 13, 2007.

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