WINDOWS & MIRRORS

What are the differences between photographs that are WINDOWS and MIRRORS?

“The two creative motives that have been contrasted here are not discrete. Ultimately each of the pictures in this book is part of a single, complex, plastic tradition. Since the early days of that tradition, an interior debate has contested issues parallel to those illustrated here. The prejudices and inclinations expressed by the pictures in this book suggest positions that are familiar from older disputes. In terms of the best photography of a half-century ago, one might say that Alfred Stieglitz is the patron of the first half of this book and Eugène Atget of the second. In either case, what artist could want a more distinguished sponsor? The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?”
— John Szarkowski, 1978

Photographs used as “windows” provide an overview into the world, culture, or experience of another person, serving as an open doorway that allows the spectator to learn more about something they are not familiar with. The viewer’s awareness of different lives, habits or locations is broadened by these photographs, which frequently depict situations, people, or settings that are outside of their own world. In this sense, “window” photos provide the audience a chance to see something different and give them an idea of parts of the world that they might not normally see, frequently with a feeling of curiosity or indifference.

On the other hand, “mirror” photos create a feeling of familiarity and connection by reflecting the viewer’s own identity, experiences, or feelings. These pictures create an emotional connection with the audience, frequently bringing out aspects of their own surroundings, culture, or emotions. A snapshot that serves as a mirror strengthens the viewer’s sense of self and helps them comprehend their own identity or experiences on a deeper level. “Mirrors” reflect the familiar, giving the observer a sense of being seen or understood, whereas “windows” provide new perspectives beyond oneself.

Richard long – A Line Made By Walking, England, 1967

A Line Made by Walking downplays the artist’s physical appearance while hinting at Long’s previous involvement in performance art. It demonstrates the duration of time it took for him to develop a visual way to express his enduring concerns about reality, movement, and impermanence.

Bill Brandt – Nude East Sussex, 1968

This picture, following his previous wide-angle nude works, positions the naked figure at the front with her body stretching into the background. The camera is positioned near the model’s face, causing the viewer to feel unsettled as they are aware that the nude is the focal point of the photo and must see the scene from the nude’s perspective. We are observers of the image while also being the focus of it.

Eugene Atget – Street Musician, 1898

This change in how Atget’s work was seen started towards the end of his life, when he became acquainted with Berenice Abbott, a young American photographer working in Paris for Man Ray. Following his passing, Abbott acquired his archive’s remains and started to advocate for his work. She was captivated by the unfamiliarity present in Atget’s photographs, finding within them a Surrealist element along with a steadfast commitment to accuracy and a genuine affection towards the subject itself.

This photograph is included in a collection Abbott printed and released to honour Atget’s centennial birth anniversary. An edition consisting of 100 sets, each numbered, was released.

Robert Rauscheneberg – Windward, Oil And Silkscreen In On Canvas, 1963

Robert Heinecken – Figure Sections (Multiple Solution Puzzle), 1966

Nan Goldin – Nan And Brian In Bed, NYC, 1983, Cibachrome

Goldin’s art is inspired by her personal life, and this image deeply captures the emotional intensity of her own love story. The artist reclines on a bed, looking at Brian – her lover – with a blend of desire and acceptance while he looks away from her. A gentle yellow glow envelops the setting, evoking the fading warmth of a setting sun and a declining bond. “The Ballad of Sexual Dependency, a collection of over seven hundred colour slides accompanied by a soundtrack, features Nan and Brian in Bed, New York City as part of Goldin’s significant work.” The slideshow, lasting forty-five minutes, is named after a song from The Threepenny Opera by Kurt Weill and Bertolt Brecht, providing a close, emotional look at a marginal group in 1980s downtown Manhattan. Goldin has characterized The Ballad as “the diary I share with others”; the casual snapshot approach of her photos gives their personal narratives a strong feeling of being in the moment. Although the work depicts the collective experience of a generation affected by drug abuse and AIDS, its main focus is on the passion and intensity found in romantic relationships – both the peaks and valleys.

Garry Winogrand – Los Angeles, 1969, Gelatin – Silver Print

This photograph, similar to many of Winogrand’s finest pieces, is extremely unsettling. The photographer utilized a wide-angle lens to capture the people and their surroundings in great detail, and added another level of distortion by tilting the camera. The primary focus of the image is three women casting a brief glance at a man seated in a wheelchair with a begging cup in his lap. The bending of light in the middle of the picture highlights the outlines of the women’s legs, creating lengthy shadows. The contrast between the woman’s sexuality, youth, and mobility is juxtaposed with the man’s poverty and lack of mobility. The camera’s placement makes the viewer feel like they are on the street, adding a sense of urgency to the scene.