Overall, I believe my personal study was successful in what I was aiming to achieve through ‘snapshot aesthetic’ photographs of my friends and different locations. I displayed my photos within my photobook as a combination of similar photos and juxtapositions- telling a story through monochrome photos which gradually become a more colourful array with a warm tone and the occasional contrasting cooler toned image. Something I could have done to improve my project was to be more organised before the exam, as I still had unedited photographs and was not able to finish my photobook layout during the exam, this I will take into account during the exam project.
Identifying colours within each photoshoot – In my photobook I would like a distinct colour scheme either at different parts or a combination of recurring colour schemes to juxtapose and define one photograph from another. The majority of my photos have a warm/neutral tone to them, with the exception of a few cooler tones. At the beginning of my photobook there are a majority of black and white photos, and then the rest of the photos are in colour.
Photobook Layout – Drafts
Photobook Layout – Final
With the layout of my photos in this photobook, I wished to shift from solely monochrome photos into colour photos, to juxtapose two different parts of the photobook.
How is sexuality and gender identity explored and represented in photography?
‘This binarism, which is but one of a series that underpins much photography theory and criticism, characterizes – in a manner that appears virtually self-evident – two possible positions for the photographer. The insider position – in this particular context, the “good” position – is thus understood to imply a position of engagement, participation, and privileged knowledge, whereas the second, the outsider’s position is taken to produce an alienated and voyeuristic relationship that heightens the distance between subject and object.’ (Abigail Solomon-Godeau, Inside/Out, 1995)
Introduction
Exploring sexuality and gender identity within photographs are usually captured and addressed from an outsider perspective, a viewpoint that is commonly objectifying and misleading. Instead, this intimate proximity, seen through Nan Goldin’s insider delineation of her close community, enables her to portray an extremely personal, and at times, voyeuristic perspective of her lived experiences. This narrative showcases a tableaux and uncompromising representation of Goldin’s and her found family’s feelings and familiarity within the queer community. Being in the same artistic circle as other photographers who predominantly photographed on film New York’s queer subculture, Goldin dedicated these portraits to preserving and capturing the essence of relationships, sexuality, gender exploration, and addiction during the 1970s and 1980s. As photography serves as an archive, there are many photographs exploring sexuality and gender identity which are immortalised, especially within the 19th and 20th century as photography began to become a popular and accessible medium of art and documentation. Situated within the fluidity and ambiguous notion of sexuality during these important and representative eras, these relaxed and fluid forms of identity captured within art and photography avoids distinct labelling, imposing a flexible identity of the individual.
Historical and theoretical context
Representation within art, photography and visual culture is to accept responsibility for the portrayal of the subject, and to deepen the understanding of the shared adjacent bond between the subject and the artist or photographer. The dichotomy between a subject’s essence being captured by someone outside their own community compared to inside their community showcases the epitome of “good” and “bad” representation of that person or group.
In circa 1882, the photographer Napoleon Sarony photographed portraits of Oscar Wilde, a poet and playwright in Victorian London, which positioned Wilde in the frame with his usual flamboyant and dandy personality, characteristics of the art movement of aestheticism which valued appearance of art over functions. The society of this time explicitly expressed disdain against sexual debauchery, which included the outlawing of all homosexual acts for ‘gross indecency’ under the 1885 Criminal Law Amendment Act, which Wilde was one of the first and highest importance figures prosecuted and put on trial for. This opens the discussion whether photography not only serves as an art form, but also archival material and an account of history.
Fig. 1Fig. 2
Fig. 1 – Napoleon Sarony, Oscar Wilde, 1882
Fig. 2 – Napoleon Sarony, Oscar Wilde, 1882
In Abigail Solomon-Godeau’s ‘Inside/Out’, she highlights and contrasts whether a photograph appears as an insider or outsider perspective. She states, ‘Are the terms of reception- or, for that matter, presentation- in any way determined by the position- inside or out- of the photographer making the exposure? … for not only are the photographs themselves exterior views, but they model themselves directly on the impersonality, anonymity, and banality of the purely instrumental image.’ (Solomon-Godeau, Inside/Out, 1995) This solidifies Napoleon Sarony’s portraits of Oscar Wilde as solely photographed originating from an outsider’s perspective.
Nan Goldin
The photographer beholding a position of intimate proximity is vastly evident throughout Nan Goldin’s wide photography portfolio. Goldin was born 12th September, 1953 in Washington, D.C. and has relished in photography since she was fifteen, and in downtown Boston until she was nineteen. Ultimately driven by her need to remember herself and those she loves, Goldin solidified her innate passion of documenting scenes of her subcultural communities she made a home within for herself once moving from Boston to New York in 1978.
‘[Journalists] talk about the work I did on drag queens and prostitution, on “marginalised” people. We were never marginalised. We were the world. We were our own world, and we could have cared less about what “straight” people thought of us.’ (Goldin, 1986)
Utilising a narrative within photographs which conveys a deeply personal bond between Goldin and her subjects, she is often notably recognised for this inner representation of the communities and subcultures she shares space with. In her book The Ballad of Sexual Dependency, she initially shared the photographs within with those photographed in frequently visited clubs and venues, and an immediate reaction from these peers contributed to its growth and ultimately its final presentation. ‘I look at Ballad and see the dynamics of both love and hate, tenderness and violence, as well as all kinds of ambivalence in relationships.’ (Goldin, 2012) Whether her subjects were portrayed in these harshly juxtaposing settings; an extremely domestic house or party setting, or at the funeral of her close friend, in a deadpan approach, Goldin addressed her subjects by their first name and most commonly added context on what was happening within the photograph, allowing the viewer to look inside the scene and realise much more of the situation and the lives of these people. Goldin personally engages her subjects with the creation of her art, and although this could have swayed the reception, especially the involvement of queer people from the 1970s, 80s and 90s, she does not leave this up for discussion. Her subjects are presented as the artwork, identifying visceral and ambivalent reactions towards her work and deepening the sense of these photographs being deemed as a voyeuristic gaze.
Fig. 3Fig. 4
Fig. 3 – Nan Goldin, Cookie and Sharon Dancing at the Back Room, 1976
Fig. 4 – Nan Goldin, Warren and Jerry fighting, 1978
‘People in the pictures say my camera is as much a part of being with me as any other aspect of knowing me. It’s as if my hand were a camera. If it were possible, I’d want no mechanism between me and the moment of photographing. The camera is as much a part of my everyday life as talking or eating or sex. The instant of photographing, instead of creating distance, is a moment of clarity and emotional connection for me. There is a popular notion that the photographer is by nature a voyeur; the last one invited to the party. But I’m not crashing; this is my party. This is my family, my history’ (Goldin, 1986)
In Abigail Solomon-Godeau’s ‘Inside/Out’, she highlights and contrasts the representation of a photograph and how it shifts from being an insider or outsider portrayal of an individual, group, or community. She states, ‘The Ballad of Sexual Dependency can be considered as exemplary of the insider position … by way of examining the terms by which insiderness comes into play, the viewer can readily assume from the content of the images that the photographer is in a position of intimate proximity with her subjects. This is suggested by the depiction of the conventionally private activities of dressing and undressing, bathing, putting on makeup, the apparent physical closeness of the camera itself to its subjects in many of the pictures, and lastly, toward the end of the book, three images of one of the transvestites and a lover in bed together.’ (Solomon-Godeau, Inside/Out, 1995) This interpretation of Goldin’s work highlights the shared bond between herself and the subject of each individual photograph presented, and furthermore how these photographs involving vastly personal and intimate moments within the subject’s life would not have been documented without Goldin and her innate passion to document her community. This identifies how important an insider perspective is to accurately portray the life of an individual, and how aspects can be missed, hidden, or left out; whether purposely or not.
Fig. 5Fig. 6
Fig. 5 – Nan Goldin, Misty and Jimmy Paulette in a taxi, 1991
Fig. 6 – Nan Goldin, Jimmy Paulette and Taboo! in the bathroom, 1991
Nan Goldin’s The Ballad of Sexual Dependency features a wide plethora of subjects she acknowledges holding an emotional and romantic investment for, and the photographs within this reflect this insider perspective of the queer community captured in a passionately close way by Goldin. As Nan Goldin has stated, ‘As children, we’re programmed into the limitations of gender distinction … But as we grow older, there’s a self-awareness that sees gender as a decision, as something malleable … Rather than accept gender distinction, the point is to redefine it … there is the decision to live out the alternatives, even to change one’s sex, which to me is the ultimate act of autonomy.’ (Goldin, 1986) In figures 5 and 6, Goldin has provided an insider representation of the queer community, a recurring subject in these two photos is Jimmy Paulette, who is depicted in a taxi with Misty, and then confidingly sharing the space in a bathroom with Taboo. Goldin’s photographs are usually personally close to the subjects and properly engage with the scene at hand, displaying the deeply held connection between the subject and photographer.
Conclusion
In conclusion, the representation of sexuality and gender identity within photography and visual culture ultimately depends on who is photographing the subjects, and how that individual personally wishes to portray a group or community. An insider delineation of people inside of a community, which is captured throughout Nan Goldin’s work opens up the possibility of an extremely intimate and personal perspective of her and her found family’s lived experiences and familiarity within the queer community. The essence of these connections and relationships inside communities throughout history are intricately preserved through photographers and artists like Nan Goldin, and the many photographs exploring sexuality and gender identity have been immortalised since the 19th century with the popularisation of photography not only as an art medium, but also a documentation of history.
Bibliography
Sontag, S. (1977) ‘In Plato’s cave’ in On Photography. London: Penguin Books.
Goldin, Nan (1985) ‘The Ballad of Sexual Dependency’
Solomon-Godeau, A. (1994), ‘Inside/ Out’in Photography At The Dock: Essays on Photographic History, Institutions, and Practices. Minnesota: University of Minnesota Press.
How is sexuality and gender identity explored and represented in photography?
‘This binarism, which is but one of a series that underpins much photography theory and criticism, characterizes – in a manner that appears virtually self-evident – two possible positions for the photographer. The insider position – in this particular context, the “good” position – is thus understood to imply a position of engagement, participation, and privileged knowledge, whereas the second, the outsider’s position is taken to produce an alienated and voyeuristic relationship that heightens the distance between subject and object.’ Abigail Solomon-Godeau, Inside/ Outside 1995
Introduction
Exploring sexuality and gender identity within photographs are usually captured and addressed from an outsider perspective, a viewpoint that is commonly objectifying and misleading. Instead, this intimate proximity, seen through Nan Goldin’s insider delineation of her close community, enables her to portray an extremely personal, and at times, voyeuristic perspective of her lived experiences. This narrative showcases a tableaux and uncompromising representation of Goldin’s and her found family’s feelings and familiarity within the queer community. Being in the same artistic circle as other photographers who predominantly photographed on film New York’s queer subculture, Goldin dedicated these portraits to preserving and capturing the essence of relationships, sexuality, gender exploration, and addiction during the 1970s and 80s. As photography serves as an archive, there are many photographs exploring sexuality and gender identity which are immortalised, especially within the 19th and 20th century as photography began to become a popular and accessible medium of art and documentation. Situated within the fluidity and ambiguous notion of sexuality during these important and representative eras, these relaxed and fluid forms of identity captured within art and photography avoids distinct labelling, imposing a flexible identity of the individual.
Historical and theoretical context
Representation within art, photography and visual culture is to accept responsibility for the portrayal of the subject, and to deepen the understanding of the shared adjacent bond between the subject and the artist or photographer. The dichotomy between a subject’s essence being captured by someone outside their own community compared to inside their community showcases the epitome of “good” and “bad” representation of that person or group.
(You need to show evidence that you have read Solomon-Godeau’s key text Inside/ Outside and incorporate a couple of quotes that you can use to agree/ disagree with to develop a critical argument.) Then use the example below with the portrait of Oscar Wilde. )
In circa 1882, the photographer Napoleon Sarony photographed portraits of Oscar Wilde, a poet and playwright in Victorian London, which positioned Wilde in the frame with his usual flamboyant and dandy personality, characteristics of the art movement of aestheticism which valued appearance of art over functions. The society of this time explicitly expressed disdain against sexual debauchery, which included the outlawing of all homosexual acts for ‘gross indecency’ under the 1885 Criminal Law Amendment Act, which Wilde was one of the first and highest importance figures prosecuted and put on trial for. This opens the discussion whether photography not only serves as an art form, but also archival material and an account of history.
image caption, artist name, title, year
Oscar Wilde, Napoleon Sarony, 1882
Nan Goldin
The photographer beholding a position of intimate proximity is vastly evident throughout Nan Goldin’s wide photography portfolio. Goldin was born 12th September, 1953 in Washington, D.C. and has relished in photography since she was fifteen, and in downtown Boston until she was nineteen. Ultimately driven by her need to remember herself and those she loves, Goldin solidified her innate passion of documenting scenes of her subcultural communities she made a home within for herself once moving from Boston to New York in 1978.
‘[Journalists] talk about the work I did on drag queens and prostitution, on “marginalised” people. We were never marginalised. We were the world. We were our own world, and we could have cared less about what “straight” people thought of us.’ (Goldin 1986: )
Utilising a narrative within photographs which conveys a deeply personal bond between Goldin and her subjects, she is often notably recognised for this inner representation of the communities and subcultures she shares space with. In her book The Ballad of Sexual Dependency, she initially shared the photographs within with those photographed in frequently visited clubs and venues, and an immediate reaction from these peers contributed to its growth and ultimately its final presentation. ‘I look at Ballad and see the dynamics of both love and hate, tenderness and violence, as well as all kinds of ambivalence in relationships.’ (Goldin 2012) Whether her subjects were portrayed in these harshly juxtaposing settings; an extremely domestic house or party setting, or at the funeral of her close friend, in a deadpan approach, Goldin addressed her subjects by their first name and most commonly added context on what was happening within the photograph, allowing the viewer to look inside the scene and realise much more of the situation and the lives of these people. Goldin personally engages her subjects with the creation of her art, and although this could have swayed the reception, especially the involvement of queer people in the 1970s and 80s, she does not leave this up for discussion. Her subjects are presented as the artwork, identifying visceral and ambivalent reactions towards her work and deepening the sense of these photographs being deemed as a voyeuristic gaze.
‘People in the pictures say my camera is as much a part of being with me as any other aspect of knowing me. It’s as if my hand were a camera. If it were possible, I’d want no mechanism between me and the moment of photographing. The camera is as much a part of my everyday life as talking or eating or sex. The instant of photographing, instead of creating distance, is a moment of clarity and emotional connection for me. There is a popular notion that the photographer is by nature a voyeur; the last one invited to the party. But I’m not crashing; this is my party. This is my family, my history’ (Goldin 1986: )
In her portraits of her with a previous lover depicted in bed, occupying the lesser portion of the space is where Goldin has positioned herself in the background, behind him. Goldin in The Ballad of Sexual Dependency features
‘As children, we’re programmed into the limitations of gender distinction … But as we grow older, there’s a self-awareness that sees gender as a decision, as something malleable … Rather than accept gender distinction, the point is to redefine it … there is the decision to live out the alternatives, even to change one’s sex, which to me is the ultimate act of autonomy.’ (Goldin 1986:7)
(For other critical perspectives on Goldin and her seminal book- see this special issue of Aperture Magazine and other texts written about her work and its influence.)
Draft Introduction (250-500 words). Think about an opening that will draw your reader in e.g. you can re-formulate the essay question. You should include in your introduction an outline of your intention of your study, e.g. what area of photography, or subject-matter are you exploring? Which artists/ photographers are you going to investigate/ analyse/ interpret? Why does this subject/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? What historical or theoretical context is the work situated within? Include at least 1 or 2 quotes for or against. What links are there with your previous studies, if any? How has this subject and chosen artists/ photographers inspired your own images/ responses? How will your work develop? What camera skills, photographic techniques or processes have you experimented with, or are you going to experiment with?
Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.
Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Nan Goldin – outside/inside view of queer communities, issue of representation
history of portrayal and representation of the queer community in photography and the exploration of sexuality and gender identity within visual culture
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
History of sexuality and gender identities in photography
aestheticism in art – oscar wilde, napoleon sarony portraits, historical representation
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
Quotes: Nan Goldin
‘[Journalists] talk about the work I did on drag queens and prostitution, on “marginalised” people. We were never marginalised. We were the world. We were our own world, and we could have cared less about what “straight” people thought of us.’
‘People in the pictures say my camera is as much a part of being with me as any other aspect of knowing me. It’s as if my hand were a camera. If it were possible, I’d want no mechanism between me and the moment of photographing. The camera is as much a part of my everyday life as talking or eating or sex. The instant of photographing, instead of creating distance, is a moment of clarity and emotional connection for me. There is a popular notion that the photographer is by nature a voyeur; the last one invited to the party. But I’m not crashing; this is my party. This is my family, my history’
‘As children, we’re programmed into the limitations of gender distinction … But as we grow older, there’s a self-awareness that sees gender as a decision, as something malleable … Rather than accept gender distinction, the point is to redefine it … there is the decision to live out the alternatives, even to change one’s sex, which to me is the ultimate act of autonomy.’ (Goldin 1986:7)
‘I look at Ballad and see the dynamics of both love and hate, tenderness and violence, as well as all kinds of ambivalence in relationships.’
inside/out quotes
‘This binarism, which is but one of a series that underpins much photography theory and criticism, characterizes – in a manner that appears virtually self-evident – two possible positions for the photographer. The insider position – in this particular context, the “good” position – is thus understood to imply a position of engagement, participation, and privileged knowledge, whereas the second, the outsider’s position is taken to produce an alienated and voyeuristic relationship that heightens the distance between subject and object.’ (Solomon-Godeau 1995:49)
Bibliography
Sontag, S. (1977) ‘In Plato’s cave’ in On Photography. London: Penguin Books.
Goldin, Nan (1985) ‘The Ballad of Sexual Dependency’
Solomon-Godeau, A. (1994), ‘Inside/ Out’in Photography At The Dock: Essays on Photographic History, Institutions, and Practices. Minnesota: University of Minnesota Press.
Josh Kern is a photographer who’s currently based in Cologne, Germany. Kern documents his life excessively, leading to a variety of sentimental photographs. His work has a lot of tangibility, as he shoots exclusively with analog film and experiments with an abundance of expressive painting and scrapbooking around his photographs. Many of his photobooks explores the rapture, exhilaration and anguish within the experience and theme of youth.
UNDERSTANDING PHOTOBOOKS: NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION
For my first selection of images, I wanted to keep and enhance the warm ambient lighting from the surrounding lamps. This style of lighting may stay consistent throughout my book, with some breaks and pauses through other juxtaposing photos. Another motif along some of these first photos are bright lights, either from these lamps or the moon.
These two photos I feel link well to each other well because of the lens being out of focus, crafting a distinct look to them.
Some of my other photos may have a more blue tone, or be taken with flash.
For my project, I would like to explore personal identity and the visual elements of abstraction and imperfection within a photograph which is taken spontaneously; as a response to things around me, a collection of portraits, landscapes, and objects as a way of documentary and observational ‘snapshot aesthetic’ photography. I would like to present my images taken of my friends, myself, my family, and various locations and objects with a photobook. In this book, I could possibly present these photos alongside accompanying text or a notebook page, and manipulation or change of my photographs, either by applying paint, ripping/tearing/burning them, cutting a subject or something out, or re-joining the same or a different photograph with thread. Another way I could possibly change the photographs is merging or overlaying these photos digitally to create a blurry effect in certain areas.
To develop my project, I have looked closely at the photographs and books of Nan Goldin, Ed van der Elsken, Cindy Sherman, Francesca Woodman, and Josh Kern, to inspire the way I take and present my own photos. Goldin’s intention especially behind taking her photographs resonates with how I feel about capturing photographs for this project, where for a part of it, not entirely planning who I will photograph and where – instead the people I am with at a certain time and observe where I see a photograph opportunity, or not, and making it appear somewhat randomised, focusing on the disjunctions and juxtapositions of the individual photographs.
These types of candid, documentary photographs can only be genuinely captured through carrying a camera around with me in order to capture unexpected moments, in a variety of different locations, both inside and outside. Because of this, some photographs will be captured on my small digital camera, for times I don’t have my digital film camera. Although, I will have some photographs which are staged, I would like them to still have an almost spontaneous appearance, and these ‘photoshoots’ of a subject in an environment may not initially be planned beforehand. This take of impetuosity on these photographs links back to the ‘abstract’ part of my mind map – for example, a use of abstraction of portraits with parts of the body blurred, obstruction between the subject and the camera, imperfections in the photo, camera movement/slower shutter speed, or flash photography.
I may also sequence frames from videos taken on my small digital camera and present them as a small component of my book, an idea I have is through a film strip layout. By aligning the photographs in this way, I’ll be displaying both the clear and blurry frames side by side as a juxtaposition, along with presenting an object (e.g. film strip, receipts, or any ‘rubbish’ I have collected from when I am out taking these photos) through possibly photocopying them or editing them in digitally to the layout. The layout of my other photographs will be presented differently from image to image, as some might be a double page spread, or one photo on its own, two beside each other, or in a grid sequence showing ‘unused’ photographs (crossed out with pen, depicted as a physical contact sheet), etc. This decision to include multi-media and text into the project I believe will make it more personal to me, as I can directly express more through how my images are presented.
