subjective city

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Introduction-Urban Image Now: Photographic and Filmic Manifestationsof a Subjective City ExperienceMiriam Paeslack

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Visual Resources, Volume 26, Number 1, March 2010ISSN 0197–3762 © 2010 Taylor & Francis

Introduction–Urban Image Now: Photographic and Filmic Manifestations of a Subjective City Experience

Miriam Paeslack

Taylor and FrancisGVIR_A_454246.sgm10.1080/01973760903537827Visual Resources0197-3762 (print)/1477-2809 (online)Original Article2010Taylor & Francis261000000March [email protected]; [email protected] special issue of Visual Resources investigates the forms and outcomes of contemporaryartists’ dialogues with the city. While photographers have historically approached the cityfrom both a documentary and journalistic perspective, the photographers presented heretackle the subject as conceptual endeavor, often blurring the line between photography andfilm, the documentary photograph and fine art print, and the historical account andinstantaneous description. Which routes do artists take to depict the city and how have theyshifted in recent years? What are the languages employed to capture individual and, at times,highly subjective views of the city? How do the uses of analog and digital media, of still image,video, and film, respectively, influence the assessment and construction of urban space? Theauthors in this special issue ask these questions highlighting the subjective angle of thephotographer, while he or she uses a medium, which, despite the recognition of itspostdocumentary loss of the claim for truth, still triggers expectation of objectivity andveracity. It is this tension between the attribution of photography, as subjective and objectivemedium respectively, and the blurring of these categories that constitutes the core concern ofthis special issue.

Keywords: Photography; Film; City; Urban Imagery; Visual Culture; Human Geography;Subjectivity

The postmodern condition, perhaps, is that every city will begin, as far as thephotograph is concerned, to look the same. Every image will be untitled: thepostmodern city will not so much be a place as a condition; and to capturethat condition will be the challenge for the camera.

–Graham Clarke1

This special issue of Visual Resources is an outgrowth of a juried session selected forthe 2008 annual conference of the College Art Association in Dallas, Texas, in whichthe participants represented different fields and nations: an American curator, anAmerican art historian and film scholar living in France, a German photographer, andan American architect and architectural historian. Their papers are offered here ascontributions to ongoing debates about the relationship between artist and urbanspace, about new conceptions of urbanity that images can convey, and the role theindividual subject plays in shaping these images.

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If we assume with Clarke that the postmodern city will “not so much be a place asa condition,” one question becomes particularly pressing: how do we deal with that“condition”? Does a “place”—defined by human geographer Yi-Fu Tuan as cominginto existence when humans give meaning to a part of the larger, undifferentiatedspace2—trigger different visual representations than a “condition,” a “mode ofbeing”? Do images reveal different concerns when the image maker addresses a site ina city with a culturally determined geographical destination in mind or when theyexperience the city rather as a condition, something that by definition suggests aprocess, even a dialogue (the term condition originates in the Latin con ‘together’ anddicere ‘speak’)?

One way to address this question is to investigate the visual languages andsubjective claims of diverse photographers in the city. A principal theme of thisspecial issue is the interplay between subjectivity and objectivity in representationsof the city. Addressing these two rather slippery categories and their fluctuatinginterplay might come closest to a way to address the city as condition or mode ofbeing.

The authors of this special issue, in examining representations of the city, focus onthe relationship between photographer, photographic approach, and the urban condi-tion. German photographer Elisabeth Neudörfl explores two different sites: Bangkok’ssex tourism quarter and Manila’s main traffic artery, the Epifanio Delos SantosAvenue (E.D.S.A.). American curator Robin Clark discusses three multimedia projectsby British and American artists Matthew Ritchie, Matthew Buckingham, and IsaacJulien. American film scholar Stephen Monteiro focuses on French photographerDominique Gonzalez-Foerster’s films and photographs of city fringes and abandonedinner city places, and American architectural historian Nana Last assesses differentinterpretations of urbanity by German photographer Thomas Struth and Dutch archi-tect and planner Rem Koolhaas. They all underscore the importance of discussingsubjective urban experience across disciplines.

Although nowadays firmly integrated into a visual studies discourse, photohistory and theory, as a distinct field of inquiry, has never gained the same indepen-dence as, for example, film studies. But photographic works—the single image, theseries, the appropriation, or mixed-media project—have their own distinct languagethat this special issue offers for critical discussion. While the range of urban imag-ery—photographic and nonphotographic—is vast, this collection of articles focuseson the artistic photographic image.3 This discussion of visual representation isnourished by a unique application of spatial theories to urban representation,which derives from the burgeoning field of human or cultural geography as well asphilosophy.

The relationship between the perceiving (artistic) subject and the volatile postin-dustrial city is a prominent theme in all of the articles. While postmodern theoryrejected the notion of a determining, stable, rational subject, more recent scholar-ship—and artistic practice—has reclaimed subjective perception and its transforma-tive power over things perceived.4 However, we are today critically aware of thecultural and historical limitations of “the ways in which we embody and act outthe practices of our culture.”5 We are skeptics, at times cynics, or at least sensitized to


Introduction 5

the relative point our perspective comes from. This more skeptical subject is theauthor of the works discussed here.

An old dichotomy exists between the emphasis on subjectivity as the driving forcebehind urban imagery and the notion of objective “documentary” city photography.Examples for the former are street photography and individual, touristic photogra-phy; examples for the latter are panoramic cityscapes displaying the entirety of a cityor street views and architectural images taken to document and archive the progresson construction sites or of building demolitions. This dichotomy, or rather the vari-ous claims of the city image, prevails today. What complicates this polarity between“objective” and “subjective” perception is the fact that the object (the city) and thesubject (the city’s observer) have changed. The city, as already mentioned, cannot begrasped anymore as a clearly defined spatial entity, but must be understood as acondition in flux; and the photographer’s perspective is accordingly also a differentone. While the nineteenth-century photographer felt an awe and fascination for thecity, his or her contemporary counterpart often seems detached and removed fromcity life.6 The late nineteenth-century photogrammetric image enabled the photogra-pher to record a building or street view with a drawing-like exactitude underlining bymeans of this formal language its claim for objectivity. Today’s documentary imageryin the city does not operate with such a claim. It often serves to convey a conceptual—potentially subjective—message rather than to give a supposedly objective account.So, the reclaimed role of the subject coincides with an increasingly inhomogeneousand destabilized subject in the city manifested in contemporary urban imagery.7

Berlin-based photographer Elisabeth Neudörfl’s image series Super Pussy Bangkokand “E.D.S.A.” are both products of the cultural detachment of their creator. In herarticle “Photography vs. Visibility: Seeing Unseen Aspects of a City,” Neudörflapproaches both Bangkok’s and Manila’s streets as a foreigner and fully embraces herremoved position. She addresses questions of social inequality around the globe—thedivide within a society and between the first and third worlds—but her photographsnever aspire to be journalistic in the sense of engaged critical photo journalism as prac-ticed by others, like James Nachtwey (b. 1948) and Sebastiao Salgado (b. 1944). Ratherthey are conceptual, analytical, and formally restrained; sometimes focusing on thestilled black-and-white image alone (Bangkok); and sometimes filmic as they redrawfragmented motion in color (Manila). Neudörfl directly addresses the role of thephotographer when she raises the old question of whether the photograph is a “merereflection” (according to Walter Benjamin) of what is there, an image that gives usunbiased information about the object depicted, or a construction that heavilydepends on the author, her knowledge, assumptions, and desires. As a contemporaryphotographer, she is thus aware not only of her privileged position of being able tochoose her site freely, but also about the limitations and capacities of her medium. Herreflections about a city are always reflections about the city image as well, which isunderlined by the careful choreography of her projects, which she always presents inbook form.

In his essay “Understanding a Photograph,”8 John Berger points out that “[t]hetrue content of a photograph is invisible, for it derives from a play, not with form, butwith time. …The objects recorded in any photograph (from the most effective to the


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most commonplace) carry approximately the same weight, the same conviction. Whatvaries is the intensity with which we are made aware of the poles of absence and pres-ence. Between those two poles photography finds its proper meaning.”9 The negotia-tion between the seen and the unseen, the suggestion of the unseen in what is seen ina photograph, is a central feature, if not a tool, for most of the work discussed in thisissue. Each photograph by Neudörfl treats photography in urban space with theknowledge and sophistication of what Berger identifies as photography’s little under-stood paradox: “The photograph is an automatic record through the mediation oflight of a given event: yet it uses the given event to explain its recording. Photographyis the process of rendering observation self-conscious.”10 The acknowledgment of thisprocess is key to understanding the intimate relationship between the image, itscreator, the moment it was created, and the subject matter it depicts. For urban imag-ery, this means that photography automatically “renders” the artist’s “observationself-conscious.” It is never only a manifestation of something that the artist deemedworthy to record, but it always reflects the fact that it is a feeling, interpreting, andjudging subject making them.

Stephen Monteiro, an American film scholar based in Paris, presents in his article“Outside and In-Between: Representation and Spatial Production in DominiqueGonzalez-Foerster’s Urban Imagery” the same sense of alienation and distance thatNeudörfl addresses. The artist Gonzalez-Foerster is a chameleon in the city; she simul-taneously acts like a tourist, researcher, artist, and activist. While Neudörfl chooses hersites for their very particular cultural and social relevance and approaches them asanthropological or social case studies, Gonzalez-Foerster focuses rather on patterns ofrepetition and difference that recur and become visible only after there are enoughimages to compare to one another. For Gonzalez-Foerster, Monteiro points out, asspace and image overlap more and more, spaces become interchangeable with oneanother. In Gonzalez-Foerster’s work, Graham Clarke’s prediction that every city willlook the same has become true. While Neudörfl attempts depicting the invisible (verymuch along the lines of Berger’s observations), Gonzalez-Foerster thinks about thestasis created by her pictures as well as the vacancy often characterized by contempo-rary urban spaces. She acknowledges that the city is primarily a physical, social, andpsychological construction and does not concern herself with the characteristics of aparticular city. Gonzalez-Foerster also experiments with still and moving images andemploys them for very different purposes. Monteiro distinguishes the artist’s filmsfrom her photographs: The films “often highlight monuments and landmarks asestranged, overdetermined places of expectation and transition, her photographsemphasize peripheral spaces as interchangeable signs in the visual lexicon of urbandevelopment.” Both film and photograph are used to negotiate the subject’s relation-ship to the city. “What determines meaning and what demarcates a site of belongingin the postindustrial city?” seem to be Gonzalez-Foerster’s questions. Instead of givingus the answer, she leaves it to us and to her images to give or deny meaning to theurban site in the photograph or video.

Time is a crucial element of photography. Its natural ally, space, however, hasgained special prominence in recent years, with the emergence of what has been titledvariously as the spatial, topographical, or topological turn.11 The German historian


Introduction 7

Karl Schlögel points out the centrality of space in a historical discourse that has tradi-tionally evolved around temporal coordinates. In his book Im Raume lesen wir die Zeit(In Space We Read Time), he writes about the intricate interconnectedness of history,time, and space. For him, space proves to be the most important coordinate, thecentral point of reference, when thinking about a historical era. For the historian,place “preserved the context and quasi demanded the mental reproduction of theside-by-side, of the contemporaneity of the non-contemporaneous.”12 Schlögel’sbook is based on the idea of the centrality of space in historical discourse in order to“try out historiographic possibilities” to enable us to write from the perspective of the“twentieth century with all its horrors, discontinuities, fragmentations, and cata-clysms.”13 This new angle, which Schlögel adopts for history writing by relating a siteto the events that evolve around it over the course of time, proves useful also forunderstanding the complexities of urban life and existence.

Some very powerful tropes for discussing urban images and thinking about spacein photographs and film are, besides Schlögel’s understanding of the profound inter-connection between history and space, memory, individual attachment, and the identitysearch process with which many urban dwellers struggle today. The mobility that artistslike Neudörfl and Gonzalez-Foerster benefit from has also created a sense of insecurityamong those who have lost a sense of belonging because of frequent travel or beingforced into mobility by emigration. Yet this begs the question of how “home” isdefined. Is it a particular, material place as some suggest? Or is it a notion that growsas long as one is surrounded by friends or family?14

The three artists that curator Robin Clark analyzes in her article “Urban Archae-ologies: Embodied Viewership in Recent Media Art” are all on a quest to find theiridentity or their cultural communities’ identity through the appropriation or adapta-tion of historic sites, old film material, and film plots in the city. Clark detects an“archival impulse” in all of their projects since each of the artists “uses found andfabricated documentation concerning the histories of particular cities as their pointsof departure.” Isaac Julien, Mathew Ritchie, and Matthew Buckingham use sound andmoving images in conjunction with found and fabricated material to create an“embodied viewer.” By this Clark means that “rather than constructing a passiveviewer in the mode of traditional cinema, their works posit and facilitate embodiedviewers whose physical presence in the installation completes the work.” This embod-iment is further nourished by the particular narrative structure of each project: IsaacJulien’s Baltimore is made up of intermingling layers of meaning connecting the city’spast and present. It takes place at historically and culturally significant sites for whiteAmerican and African American identity, at Baltimore’s Walters Art Museum, theGeorge Peabody Library at Johns Hopkins University, and the Great Blacks in WaxMuseum, making reference to the language and iconography of “blaxploitation”cinema. Matthew Buckingham’s Traffic Report is the slide projection of a taxi ridethrough St. Louis, Missouri’s neglected Mill Creek Valley neighborhood that recon-structs the slow motion of a pedestrian of the era before the neighborhood fell victimto freeway construction in the 1960s. Matthew Ritchie’s The Iron City uses motiontracking software and is accompanied by a “lulling narrative” that transports theaudience into an unspecified urban territory.


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Both personal/physical and historical/archival involvement of the subject in thecity, as outlined by Schlögel, serve to empower the viewer, to let him or her “embody”the city. Among Neudörfl, Gonzalez-Foerster, Ritchie, Buckingham, and Julien, it ishard to tell who actually gets the closest, creates the least distance between the viewerand the space under consideration. The physical distance with which each image wasrecorded does not serve as a meaningful point of reference as the conceptual layers arecomplex in all these works. However, Julien, Buckingham, and Ritchie, unlikeNeudörfl and Gonzalez-Foerster, create interactive environments, spaces that areenhanced by moving or projected images—or images that are enhanced by space.Thus, they achieve an experiential immediacy that neither a film nor a photograph (ina series or published in a book) can accomplish.

This interactive approach is particularly well suited to address an aspect ofmemory and the identity search process that is closely linked to the history and devel-opment of a city. Baltimore, St. Louis, New York, and London (the latter two are thecities that Matthew Ritchie indirectly addresses in The Iron City) are altogether citiescharacterized and scarred by deteriorating neighborhoods and efforts at reconstruc-tion and reform. They all fit Andreas Huyssen’s description of an urban palimpsest.15

A “palimpsest” in its original meaning is a manuscript page from a scroll or book thathas been scraped off and used again. Julien, Buckingham, and Ritchie, by emphasizingthe need for interactivity, tap into these palimpsestic layers of a city. They seem to tryto excavate history in order to create meaning for the present.

An artist who has systematically explored different layers of intimacy to andbetween his subject matter is Thomas Struth. In “Reimag(in)ing the Urban,” architectand architectural historian Nana Last examines thematic interrelations between fourof Struth’s photographic series: family portraits, cityscapes of often deserted streets,interior images of museums and other buildings, and landscapes. Last describes theintricate relationship between these as a kind of visual matrix, but also as an act ofdeconstruction, which Struth effects by separating these genres from each other. Lastcontrasts this attempt to structure and archive with the narrative and visual annota-tions of Dutch architect, planner, and theorist Rem Koolhaas. Many of the photo-graphs Koolhaas uses to make his point in his book Mutations (none of which are hisown) are aerial photographs. They create the greatest thinkable physical distancebetween the viewer and the urban subject. This makes perfect sense given the fact thatKoolhaas’s vision of the city is—very unlike Struth’s—defined by flow, determined byspeed and invisibility. Struth’s streetscapes are empty, devoid of people, baring anapparent kinship with Neudörfl’s work. The difference between each artist’s inten-tions, however, demonstrates the wide spectrum of creative approaches to the city.Neudörfl is interested in the political and social implications of her urban subject,while Struth seems to use the city as a kind of matrix for commenting upon the alien-ation of urban life. The human figure, though not always physically present, is centralin Neudörfl’s work. Struth by contrast carefully separates the depiction of people (inthe portraits) and the city (in the streetscapes).

But do the visual strategies presented in this special issue’s articles help us cometo terms with the contemporary city—what it might be and what the urban imageactually is? Perhaps these can be read together as a sort of confession that the image is


Introduction 9

not static, a mere representation, but rather, as Henri Lefebvre acknowledged forurban space, a social construct. In these cases we are variously reminded of how theimages of such a construct are not static either. They depict the city as a floating worldbetween absence and presence. They hark back to the archive and generate new mean-ings through the serial approach and through image projections. Urban images,understood as subject to change, can be pictured as a membrane, as a responsivemedium, that gets shaped by the subject that creates, perceives, and comments on it.

The city, as the images discussed here confirm, is even more flexible than Clarke’s“condition.” Concerned with the issue of the city’s representability, Clarke himselfoffers an expanded model, that of the city as process, which provides a framework toaddress these varied works. His words beautifully summarize the concerns discussedhere when he suggests, that

there is a continuing dialectic between the local and the general in what isincreasingly acknowledged as a process (my emphasis) rather than a place.Cities, thus, advertise themselves as part of a larger signifying condition; acondition which becomes increasingly problematic as we look at images,not of London, Paris, or New York, but of Bombay and Calcutta, of Beijing,Shanghai, and Hong Kong, and of Tokyo. These are not only ‘new’ kindsof cities, they demand new kinds of images and a new approach by thephotographer.16

MIRIAM PAESLACK teaches both in the Visual Studies Department and the ArtsManagement Program at the University at Buffalo (SUNY), New York. Prior to that, shewas visiting assistant professor in visual studies at the California College of the Arts inOakland, California, and assistant professor of photo history and theory at the Academy ofVisual Arts in Leipzig, Germany. Her courses focus on modern and contemporary art, thehistory and theory of photography, the urban image in film and photography, and ques-tions of representation, individual and collective memory, and identity. She dedicates herresearch to different aspects of the relationships between the photographic image andurban space. She has delivered talks and has chaired panels on her interdisciplinary workat international conferences, such as the College Art Association and Modernist StudiesAssociation, and at universities in the United States and Europe. Paeslack studied arthistory and the history of law in Germany, Italy, and the United States, and received herPhD at Freiburg University. She has written numerous articles in German and Englishpublications focusing on contemporary as well as nineteenth- and twentieth-centuryurban imagery. Her first book, on Berlin photography of the Second Empire, Imaging aNation: Berlin Photography in the Wilhelmine Era, is forthcoming in German in 2010.

1 Graham Clarke, The Photograph, Oxford History of Art (Oxford and New York:Oxford University Press), 98.

2 Yi-Fu Tuan, Space and Place: The Perspective of Experience (Minneapolis: Universityof Minnesota Press, 1977), 136.

3 By artistic photographic image I mean images that were created as part of an artist’soeuvre and not as the result of a photojournalistic assignment or amateur photo activity.

4 See, for example, Judith Butler’s ethical reflections on individual responsibility in herGiving an Account of Oneself (New York: Fordham University Press, 2005) and two


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very different publications both dealing with perceiving the subject in the city:Vittoria di Palma, Diana Periton, and Marina Lathouri, eds., Intimate Metropolis:Urban Subjects in the Modern City (London: Routledge, 2009) and the controversialGerman publication by Elke Krasny and Irene Nierhaus, eds., Urbanografien.Stadtforschung in Kunst, Architektur und Theorie (Berlin: Dietrich Reimer, 2008).

5 Derrick Price and Liz Wells, “Thinking about Photography: Debates, Historicallyand Now,” in Liz Wells, ed., Photography: A Critical Introduction, 3rd ed. (London:Routledge, 2004), 21.

6 This detachment is a notion analysts of the modern urban condition such as GeorgSimmel (1858–1918) began to point out and describe eloquently in the early twentiethcentury. See particularly Simmel’s 1903 essay “The Metropolis and Mental Life,” trans.and ed. Kurt H. Wolff, in The Sociology of Georg Simmel (New York: Free Press, 1950).

7 This special issue does not address the work of contemporary photographers who stageand construct images in urban environments such as Jeff Wall (b. 1946), Philip-LorcadiCorcia (b. 1951), and Gregory Crewdson (b. 1962); their work, in different ways,talks about alienation.

8 John Berger, “Understanding a Photograph,” in Alan Trachtenberg, ed., Classic Essayson Photography (New Haven, CT: Leete’s Island Books, 1980), 291–95.

9 Berger, “Understanding,” 293.10 Berger, “Understanding,” 292.11 The topographical or spatial turn has been identified by human geographers such as

Edward Soja during the last fifteen or so years and has found its expression in recentAnglo-American and European publications and conferences such as the BerlinAcademy of the Art’s “Topos Raum” conference in 2005 and in publications includingEdward Soja, “Thirdspace: Expanding the Scope of the Geographical Imagination,” inDoreen Massey, John Allen, and Philip Sarre, eds., Human Geography Today(Cambridge: Polity Press, 1999), 260–78; Marc Auge, Non-Places: Introduction to anAnthropology of Supermodernity (London and New York: Verso Books, 1995) trans.John Howe (original title, Non-Lieux, Introduction à une anthropologie de la surmoder-nité, 1992); and Gillian Rose, “Performing Space,” in Massey, Allen, and Sarre,Human Geography Today, 247–59.

12 Karl Schlögel, Im Raume lessen wir die Zeit. Über Zivilisationsgeschichte und Geopolitik(Frankfurt am Main: Fischer Taschenbuch, 2006), 10. Another excellent source forthe time–space relationship in cultural and media studies is Stephan Günzel, ed.,Topologie. Zur Raumbeschreibung in den Kultur- und Medienwissenschaften (Bielefeld:Transkript Verlag, 2007). “Der Ort hielt den Zusammenhang aufrecht und verlangtegeradezu die gedankliche Reproduktion des Nebeneinander, der Gleichzeitigkeit derUngleichzeitigkeit.” (My translation).

13 Schlögel, Im Raume, 11. “Auf der Höhe des 20. Jahrhunderts mit all seinen Schrecken,Diskontinuitäten, Brüchen und Kataklysmen.” (My translation).

14 See the outpouring of literature on the topic in the last ten or so years, for example,the German publications triggered by the German unification process: BernhardSchlink, Heimat als Utopie (Frankfurt am Main: Edition Suhrkamp [Sonderdruck],2000); Christoph Türcke, Heimat. Eine Rehabilitierung (Springe: zu Klampen, 2006);Roland Koberg, Bernd Stegemann, and Henrike Thomsen, eds., Ost/West–EinDeutscher Stoff. Plötzliche Erinnerung an einen Unterschied. Das Deutsche Theater unddie Debatte eines wiedervereinigten Landes (Berlin: Henschel, 2005); also Lucy Lippard’s1997 book The Lure of the Local: Sense of Place in a Multicentered Society (New York:The New Press); and bell hooks’ recent book Belonging: A Culture of Place (London:


Introduction 11

Routledge, 2009). A tremendously influential figure for some of these thoughts iscertainly the human geographer Yi-Fu Tuan and his publications Topophilia: A Studyof Environmental Perceptions, Attitudes, and Values (Englewood Cliffs, NJ: PrenticeHall, 1974) and Space and Place (see note 2).

15 Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory (Stanford:Stanford University Press, 2003).

16 Clarke, The Photograph, 99.


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