Gill, Dijkstra and Gotts.
As part of his feedback for assignment 2 my tutor suggested I should look at ’some portrait photographers who work in different ways. Each produces a typology of ‘heads’ (and shoulders!) that you may find interesting. What links these photographers and yourself is the idea of linking the portraits through a common theme.’
I found this very interesting, and could have ended up spending the next several weeks just on this part of an assignment review.
Stephen Gill (born 1971) is widely exhibited, but also produces a series of handmade photobooks on his latest series of images. Field Studies is one of these and is described on the publishing website as ‘serial studies of mundane British scenes and objects including cash points, lost people, the back of advertising billboards and people traveling on the London to Southend train. His visual approach is unique, combining conceptual rigour with enormous sympathy for his human subjects’ (Gill, 2004). This book includes his ‘Audio Portraits’ of people wearing headphones. In these images the people seem totally bound up in their music, looking far away at times, and not always aware of the photographer. The images show a range of ages and races, the only apparent link is the headphones, and the place – a city street. A further series focuses on the shopping trolleys people use, apparently secondary to his use of a trolley after an injury (Gentle Author, 2011). I found these portraits fascinating as they focused on the everyday lives of people you see in the street, not the famous, the great or the good, but the people you meet and probably normally just walk past. He clearly engaged with them and enabled them to relax, or even to ‘chill out’ while taking a portrait that is sympathetic but not full of pathos, and which includes the often drear surroundings.
Rineke Dijkstra (born1959) has just won the 2017 Hasselblad Foundation International Award in Photography. She concentrates on portraiture, often works with series, either of the same person over a prolonged time period or of a specific event in peoples lives. She has photographed bullfighters just out of the ring, adolescents on the cusp of adulthood and a series of images of women just after childbirth, which is one of the most vulnerable points in any woman’s life. Her work is described as deadpan by Cotton ‘The unsentimental approach that Dijkstra makes in her representation of maternity…… visualised the profound shift in the women’s changing relationships to their bodies…… something we might never have observed without such a systematic and detached photographic style’. (Cotton,2014).
Smyth says in the BJP ‘Rineke Dijkstra’s photographs and films speak brilliantly to the intricacy of the portrait image: its embodiment in time; its capacity to reveal history; the contingency of the act of exchange between sitter, photographer and spectator; and, ultimately, photography’s revelation of the self.’ (Smyth, 2017)
On describing her 2012 retrospective Time Magazine says ‘Hoping to catch people with their defences down, Dijkstra started to photograph them in the aftermath of some exhausting event. She got women to pose soon after giving birth, usually standing naked while they cradled their new-borns. By 1994 she was also making portraits of Portuguese forcados—amateur bullfighters who enter the ring in unarmed groups to subdue the bulls bare-handed. She photographed them right after they returned from the fight, bloody, scuffed and dented.’ (Lacayo, 2012).
I find her work poignant, it may well be systematic, but it is not detached. She shows life in all its variable glory, ups and downs as well as the spectacular moments.
I also found Andy Gotts who, amongst other images, has produced a series of portraits of BAFTA award winners that was exhibited under the title ‘Behind the Mask’ in 2014. The images are show the great and good of the acting world who have either won or been nominated for a BAFTA. Gotts says, ‘I have always been a movie buff and getting the opportunity to meet my matinée idols is beyond a dream come true’ (Bafta.org,2013). Janette Dalley, who worked with him on the exhibition describes ‘a masterclass in minimalist photography’ (Gotts, 2014) and Anna Allalouf, the curator, says ‘it feels profoundly vulnerable to go under the camera’s gaze when you don’t have a ‘role’ …. perhaps the camera has stolen (heaven forbid!) a little piece of one’s soul’ (Gotts, 2014) but goes on to describe how his simple and quiet process does not actually feel invasive.
The images are a mixture of colour and monochrome, chosen, I feel, to reflect the person. Some are contemplative, some brash and some, such as the portrait of Ralph Fiennes, made me initially smile, and then laugh out loud. The two that I found most entrancing were Sir Ian McKellen (Gandalf, among other roles) and Christopher Walken – to me an unfamiliar face, but the portrait makes me feel I might know him. It is this quality of intimacy that drew me to his images. The people are famous and must have been photographed many, many times, but there is a feeling of Gotts reaching out to who, not just what, they are. This is a quality I would like to be able to emulate.
- Observation not invasion
- Both colour and monochrome are valuable – but give a different feeling
- Know and understand your subjects
- Be gentle (not quite the correct word – but neither is kind).
Bafta.org. (2013). BAFTA and Andy Gotts MBE to Exhibit ‘Behind The Mask’ Photography. [online] Available at: http://www.bafta.org/media-centre/press-releases/bafta-and-andy-gotts-mbe-to-exhibit-behind-the-mask-photography [Accessed 21 Jul. 2017].
Cotton, C. (2014). The photograph as contemporary art. London: Thames & Hudson.
Gentle Author (2011). Stephen Gill’s Trolley Portraits | Spitalfields Life. [online] Spitalfieldslife.com. Available at: http://spitalfieldslife.com/2011/10/03/stephen-gills-trolley-portraits/ [Accessed 25 Jun. 2017].
Gill, S. (2004). Hackney Kisses. [online] Stephen Gill. Available at: https://www.nobodybooks.com/product/hackney-kisses-print-edition [Accessed 25 Jun. 2017].
Gotts, A. (2014). Behind the mask. London: British Academy of Film and Television Arts.
Lacayo, R. (2012). Rineke Dijkstra Makes the Awkward Sublime. [online] Time.com. Available at: http://time.com/16182/rineke-dijkstra/ [Accessed 25 Jun. 2017].
Smyth, D. (2017). Rineke Dijkstra wins the 2017 Hasselblad Award. [online] British Journal of Photography. Available at: http://www.bjp-online.com/2017/03/rineke-dijkstra-wins-the-2017-hasselblad-award/ [Accessed 25 Jun. 2017].