4): Choose two artists that address identity. Discuss a single work by each artist. Explain the ideas each artist is trying to represent and how they are expressed.
Jessica Spraggs
This essay will explain how and why the works of Andreas Feininger and Tatiana Parcero explore and express the theme of identity. I will analyse one piece of each artist’s work, discussing in detail what each piece represents and how they link the theme of identity.
The first piece of work by photographer Feininger, I have explored is entitled “Dennis Stock, New York City,1951” The photo portrays the acclaimed photographer Dennis Stock who won the LIFE Magazine amateur competition in 1951. Feininger took this now iconic photograph of stock as a result.[1]
For me this photograph represents identity; Feininger has taken away Stock’s identity by obscuring his eyes and making the photo all about the camera. Almost symbolising that the most important feature in Stock’s life was being a photographer; I feel this because Stocks eyes are framed by the shadow but hidden by the camera. Although the camera lens has been placed to symbolise Stock’s eyes giving the effect of one eye magnified to see almost beyond the mind’s eye into his imagination and thoughts, this draws you into the photo but takes away Stock’s identity. Stock spent his life looking through the lens of a camera hiding his true identity and persona. Feininger says “realism and super realism are what I am after. This world is full of things the eye doesn’t see. The camera can see more, and often ten times better”[2]
The infamous Leica camera used in this shot has become the spotlight of the photograph; This iconic piece of equipment helped shape and mould the development of photojournalism
“The Leica camera is turned to one side so that the lens and viewfinder act as the subject’s eyes. Both lenses have specula highlights which mimic the catch lights seen in portraits. In addition, the image is beautifully printed with rich blacks and whites with detail. The eye is skilfully guided to the focal points (lens and viewfinder) in this image, likely through selective dodging and burning (selective darkening and lightening of specific parts of the image). It’s the combination of technical skill and well thought out composition that makes this image superb.”[3]
‘Vintage photograph’ have summed up all the points I have made with our opinions agreeing with one another it seems. Overall I feel that the image portrays Stock to be almost anti-human, becoming “part man, part machine”[4]. The iconic Leica camera which matched up with Stock’s character and ambition in being regarded as a distinguished journalistic photographer was staged in such a ingenious way by Feininger that you can see identity runs through the image with so much hidden meaning behind it, making me as the viewer intrigued.
My second artist choice is photographer Tatiana Parcero and her piece which is included in her collection entitled ‘Interior Cartography’. I have chosen an image which portrays a clenched fist and wrist with a pitch black background and upon which she has overlaid an old map relating to her culture and upbringing thus giving the image identity, memory and territory.
Parcero’s body is her canvas; she reinvents her life history by combining pictures of her body parts with diagrams, almost creating a map of her mind using all her body parts telling the story of her life, thus creating a new in depth identity for herself, redefining who she is as a woman. “ I explore inner and outer spaces such as maps as a starting point. With these images, I try to see through the memory of my body that which goes beyond the boundaries of the skin”[5]
For me this piece is trying to show the life of the artist through the use of maps; the maps show and highlight the up points and low points of her life. Communicating to the viewer, her identity, which has been shaped throughout her life with the places she has visited and lived. This has moulded Parcero into who she is now as a person. Also through looking at her images, I have seen that she has used busy maps on different body parts; using a heavily detailed map which has been overlaid upon her hands seems to signify aging and her life history. I believe that the clenched fist signifies that Parcero is a private person who finds it hard to let people in and struggles to tell them her story; therefore she bares her soul to the world through her art. She does this by overlaying her life upon herself through the maps, showing everyone her identity and culture. Parcero obviously made these images for a symbolic reason to show life is more than skin deep and that it covers our bodies from inside to outside. Her anonymous persona stands out, making herself vulnerable, which is not in her nature.
In conclusion, both Andreas Feininger and Tatiana Parcero have tried to portray through their work how to signify identity through the use of media of photography. They have both succeeded in very different ways; one more obvious than the other. With Feininger, he is hiding the identity of Stock behind the camera which has so much meaning to Stock’s profession. Feininger’s use of the Leica camera was iconic statement and although this was not his usual style of photography, it has become his most famous shot.
Parcero on the other hand, portrays the identity of her life upon herself using maps and imagery, but never opens her eyes; this portrays herself as a very guarded and private individual. It appears that she is almost scared to show herself as a whole person to the world, only showing sections of her body and life at different stages and never allowing you to see the whole story and her true identity.
Word count:- 1002
Bibliography:- The Great Life Photographers by John Loengard ; pages 170-171
[1] Gallerym.com
[2] The Great Life Photographers; Introduction by John Loengard; page 170
[3] http://www.photography.ca/blog/tag/vintage-photography/
[4] http://www.helium.com/items/1428436-andreas-feininger-photograph-photojournalism-the-photojournalist
Andreas Feininger
“Dennis Stock, New York City,1951”
Tatiana Parcero
‘Interior Cartography’
