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Photography is widely associated with truthfulness yet it has also been employed throughout its history as a means of telling stories and evoking the imaginary. This display includes photographs by some of the most influential contemporary artists working in this vein, such as Gregory Crewdson, Duane Michals and Cindy Sherman, alongside examples by 19th-century practitioners including Julia Margaret Cameron, Clementina Lady Hawarden and Oscar Gustav Rejlander.
V&A has selected from its vast archives some 30 images that denies the assumption that photography captures ‘the truth’. Since the early days of its history indeed, the medium has also been used to stimulate viewer’s imagination or simply to deceive.
The exhibition is small but dense with narratives that entertain, betray, trouble or convey extra layers of information. Some of the stratagems used in these images are subtle, others are downright theatrical.
Nothing in Oliver Boberg‘s images is what it seems. He selects a location, takes a snap of it then goes back to his studio where he builds a model of the place, carefully lights it and then photographs the scene from predetermined vantage points.
Oliver Boberg Garteneingang
photo mingshizhao88.wordpress.com
He calls the result “generic modernism”. His ‘locations’ are banal and familiar urban scenes, yet they are alien, stripped of any human or non human life. A reality so controlled and constructed, it becomes almost abstract.
Bridget Smith´s image depict sets purposely built for an activity that the photographer does not represent as such. The bathroom below is an empty stage set used in the porn industry. The photo is part of the series “Glamour Studios” which catalogues architectures of desire.
Bridget Smith, Glamour Studio
photo frithstreetgallery.com
Gregory Crewdson works on a Hollywood movie scale with actors and a large crew but it is only after an elaborate process of digital editing that an effect of “hyper-visuality” arises in both the details and the ensemble of these American suburb scenes. More than film stills, Crewdson’s images are ‘frozen moments’, they allude to mysterious, disturbing events usually taking place at twilight. The puzzling scenes leave viewers wondering what has just taken place or what is going to happen.
Gregory Crewdson -Untitled (The Father)
photo artblart.files.wordpress.com
Gragory Crewdson, Untitled (Temple Street)
photo artblart.files.wordpress.com
Gregory Crewdson
photo theamericanreader.com
Cindy Sherman-Untitled (#74)
photo art21.org
Wang Qinsong, Night Revels of Lao Li, 2000
photo mingshizhao88.files.wordpress.com
via we-make-money-not-art.com and vam.ac.uk
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