Title: "Inner Flashbacks"
Author: Marie Barthelsson
Staged photography involves the deliberate arrangement of individuals and objects within a specific setting. It transcends mere photographic documentation by transforming the photographer into both a director and, at times, an actor or performance artist. Within this genre, images are meticulously orchestrated, existing solely for the purpose of being captured on film.
Staged photography pervades our daily lives, whether on social media, in advertising, or within our personal albums. These compositions invariably convey messages to viewers, often evoking emotional responses. Regardless of whether one is a professional or an amateur photographer, there is a shared desire to rewind time and capture that perfect moment—an elusive "Kodak moment."
However, staged photography offers the unique ability to create these moments deliberately, without being limited to recreating joyful memories. It grants the freedom to select the memories or ideas one wishes to reconstruct or explore, all while maintaining a sense of control.
A staged photograph is a meticulously constructed scenario, purposefully designed to yield a novel image. Even when the photographer strives for a spontaneous appearance, the conscious act of staging remains, with the photographer making careful choices to manipulate the scene. The awareness that an image is staged distinguishes it from traditional documentary photography, serving as the photographer's representation of a memory, idea, thought, or event.
Annika Elisabeth von Hausswolff, a highly influential artist in Sweden during the early 1990s, frequently incorporates stagings and associative imagery in her work. Von Hausswolff's exhibitions merge photographs with everyday objects that also appear within her images.
In an interview with von Hausswolff, I inquired about her creative process in staged photography and her inclination to explore realistic situations, such as crime scenes. I sought to understand why she found this approach significant and how it impacted her identity as an artist when she chose to stage an event instead of documenting it.
Regarding the significance of staging photographs based on realistic situations, von Hausswolff explained, "Utilizing a genre's visual codes and preconceptions represents a rhetorical approach for me. When my staged photographs 'resemble' reality, it introduces a creative gap in the interpretation of the image. I leverage documentary imagery to suggest to the viewer that it could be real. The power lies in the revelation that it is, in fact, staged, bridging the conceptual intention with the documentary experience."
Furthermore, I asked von Hausswolff about her personal experiences as an artist when staging events rather than documenting them. She expressed, "I draw inspiration from other images in combination with my own human experiences. Staging images offers a more credible representation, as I only need to consider my own ideas, emotions, and perspectives. Documenting 'reality' entails an overwhelming number of choices and a burden of responsibility I am unprepared to bear. As an artist, I am free from the obligations that documentary photographers must uphold."
I can personally relate to the liberating sensation of working with staged photography, where one only needs to focus on personal ideas and visual objectives. This fusion of freedom and control motivates me as a photographer, a sensation seldom experienced in everyday life.
Diana Markosan, a Magnum Photos nominee, has delved into the power of staged documentary photography in her series "Santa Barbara." Collaborating with the scriptwriter of the eponymous soap opera, Markosan cast actors to portray her family and reenacted her arrival in America with her brother and mother. Her staged photographs in this series, rooted in her memories, exude authenticity and candor, akin to opening a diary and delving into someone's innermost thoughts.
Markosan openly acknowledges the staged nature of her photographs in "Santa Barbara," with the scriptwriter playing a pivotal role. She exercises full control over the staging to capture moments from her past, much like the examples discussed in this article. Markosan also employs traditional documentary photography but maintains a convincing storytelling approach. Her photography serves as a conduit for processing memories and understanding her absent father and her mother.
As an artist specializing in staged photography, I too engage in a process of revisiting memories to comprehend their impact on the present and possibly the future. Staged photography offers the unique ability to traverse time, incorporating memories, experiences, and the subconscious into the artistic process.
In an artist talk at the Stedelijk Museum in Amsterdam, Jeff Wall elucidates his approach to the photographic image "Boy falls from tree" (2010). He reveals that the photograph stems from a childhood memory of falling from a tree and breaking his arm. What intrigues me about this interview is Wall's acknowledgment that the memory does not exclusively belong to him; many have experienced childhood falls from trees. This prompts consideration: can this image convey a more genuine, collective childhood memory than other documentary photographs of birthdays or holidays? Does it possess a heightened realism despite being meticulously arranged?
Wall's process in staged photography mirrors that of a cinematographer, requiring meticulous consideration of visual elements, including lighting, composition, lens selection, depth of field, and color. These choices align his methodology more with that of a film director than a traditional photographer.
Wall's approach to memories and experiences offers valuable insights into visually representing reality. His photograph of a falling boy could be seen as a recreation of the feeling associated with a genuine event, tapping into universal memories of childhood mishaps. Orchestrated photographs like this often evoke deeper emotional responses and trigger personal memories.
I posit that it is essential for viewers to be aware that a photograph is conceptual and staged, as seen in Markosan's "Santa Barbara" series. Knowledge of this fact allows viewers to penetrate beyond the surface, discerning the artist's voice in the images and grasping their truth about memories. Staged photography can convey the same "truth" about the human experience as documentary photography if it resonates with authenticity and honesty.
The authenticity of staged photography hinges on whether the design aligns convincingly with its narrative, immersing the viewer within its fictional world. For instance, in Jeff Wall's "Boy falls from tree," the use of a familiar backyard setting, complete with everyday objects, lends credibility to the narrative. The photograph's frame story is relatable, anchoring the falling boy within a believable context. When photographers communicate their perceived truth, they can equally persuade through staged photography, convincing viewers of their commitment to their "truth."
In my work with staged photography, I engage in the deliberate arrangement of people and objects within specific environments. I assume the roles of director and actor to recreate scenes from my memories. My aim is to retell experiences, using the rituals of staging, lighting, and photography to regain control over these moments. My objective has been to avoid casting myself as a victim in a sequence of events, instead offering insight into the world I emerged from—a world I no longer wish to inhabit. This process has been a form of healing for me.
The story's frame often mirrors the familiar aspects of everyday life recognizable to external observers. Yet, it remains an illusion, concealing a more obscure and enigmatic narrative. Understanding this narrative necessitates the keys to unlock hidden chambers—keys that may manifest as titles, props, lighting, sets, and arrangements. Together, these elements reawaken memories and flashbacks in the viewer.
Throughout my project, I grappled with the question of how much I should reveal and how personal I could comfortably be. I sought to safeguard the identities of individuals within the story. Opting for staged photography over documentary projects allowed me to exercise control over omissions and the portrayal of individuals featured in the photo project.
Image: "Suddenly, through an opening, the spring light fell into the room," Marie Barthelsson, 2020.
Bibliography:
- Garcia, Erin. "Photography as Fiction." J. Paul Getty Museum, Los Angeles, 2010.
- Goysdotter, Moa. "Impure Visions: American Staged Art Photography of the 1970s." Nordic Academic Press, 2013.
- Köhler, Michael. "Constructed Realities: The Art of Staged Photography." Kunstverein München, 1995.
- Markosan, Diana. "Santa Barbara." [Accessed December 6, 2020] https://www.dianamarkosian.com/santa-barbara.
- von Hausswolff, Annika. "Grand Theory Hotel." Hasselblad Center, February 27 - May 15, 2016.
- Wall, Jeff. "Tableaux Pictures Photographs, 1996 – 2013." Kunsthaus Bregenz, Stedelijk Museum Amsterdam, and authors Yilmaz Dziewior, Hripsimé Visser, and Camiel van Winkel, 2014.
- Wall, Jeff. "North & West." Audain Art Museum, 2016.