30.12.2023
General Information:
https://www.npg.org.uk/whatson/exhibitions/2023/taylor-wessing-photo-portrait-prize-2023/prize-winners
Some of the Photographs:
https://www.npg.org.uk/whatson/exhibitions/2023/taylor-wessing-photo-portrait-prize-2023/exhibitors
In this short piece of writing (I write such pieces to share art and culture and to keep in practice), I want to focus on some of the photographs I found interesting in the exhibition. Why the photographic portrait? I did my doctoral thesis on the relationship between the law and the photographic portrait in Victorian fiction. I have spent years thinking about photography and because my thesis was published as an academically successful book, I guess that makes me an expert. So, onto the list, in no particular order. And the reasons why I thought the images were interesting and worth talking about.
The Wrestlers by Prarthna Singh (from the series Champion)
A female wrestler holding up another wrestler across her shoulders so we see buttocks next to her face. It is like one of those old hunting photographs displaying the prize. Formally, there is the repetition of red between the two women on their clothing, so we are looking at similarities and patterning. The woman wrestler stares into the camera intensely. The earth is barren, like a traditional Indian wrestling site. But the woman wrestler’s face is between the trees in the background, suggesting a connection with nature and growth or even that nature and womanhood can flourish despite adversity.
The context is that these women wrestlers are fighting in Indian states known for high rates of crimes against women, female infanticide and child-marriage. As the curator label says, they are becoming what we call ‘strong women’ in traditionally male dominated spaces and challenging accepted representations of femininity with their powerful bodies.
My comment: What the curator label doesn’t mention is the Hindi smash hit film ‘Dangal’ which preceded these images. This was about how a man who had to give up wrestling to make money trained his two daughters to become wrestling champions with a pro-feminist message thrown in. However, Dangal was about the Father and patriarchy – it was the father’s wish that his daughters became wrestling champions and like men (traditional male wrestlers). Here, although the photograph is powerful as the representation of a woman fighter, can we really see these images as resistance against the patriarchy? Such photographs are probably inspired by the ethos of Dangal and, actually, the patriarchal Indian state is hell-bent on destroying the traditional, rural Indian way of life so that women join the economy as earners and India can compete on the global economic stage. When you forget the money situation, you forget everything. Interesting merely as an exposure of the fictions of ‘independence’ and ‘feminism’ in the Western mindset and which pander to the Western lip-service of these themes without looking at the actual reality behind what is being portrayed here and why.
Mum’s Engagement Dress by Cara Price from the series Her Possessions
A woman lies face down on a bed in a blue dress. Her face is angled into the corner of the room, her back is exposed, we can only see one eye. A bedside drawer frames the head. Light falls across her arm.
The context is that the woman lost her mother to breast cancer as a fifteen year old and wears her mother’s clothes so that she can explore the feelings of ‘absence and longing, revisiting memories and seeking closure’.
My comment: F-ing weird. Wearing a dress so that, in some sense, you become the woman that your father proposed to. Oedipal. And why is half of the face hidden? What is there to hide? Is it the Oedipal side of things? If sexuality isn’t the theme, why is the woman on a bed? That’s where the act happens. As Freud observed, the Oedipal aspects of the self are everywhere in Western culture in a very obvious kind of way. Could you get more obvious than this? And yet, no one is going to notice it. The beautiful observations of the people in this culture that can never see anything, know anything, recognise anything, analyse anything, say anything…
Ibu by Byron Mohammad Hamzah from the series Yang Tinggal Hanya Kita (All That Is Left Is Us)
A woman with an enigmatic, serious face stands in a full figure shot, encased in a cream gown with a cream head covering in a proud assertion of Muslim identity and womanhood. The arms seem to be – underneath the clothes, folded across the chest in a classic posture of rejection, defence.
The context is that the photographer abandoned his mother to move into a Western country despite her wishes. She knew that his values would change, that he would abandon his culture, that he would no longer be her real son.
My comment: Pretty shameless and exploitative shot of this mother by the son that betrayed her love and abandoned his culture (for what? Money? ‘Independence’?). However, in the shot, despite the photographer, the mother becomes iconic, powerful, beautiful. The figure of resistance against everything that Western modernity and its seduction of the power-hungry becomes. The more you look at her, the more you are impressed by her. It reminds me of the story of Sri Devi and Jurassic Park. Sri Devi was the Queen of Indian cinema. Steven Spielberg – the top director at the time – the most famous – approached her to be in the movie. He offered her a piddling little role. She refused. Because why would the Queen condescend to have a little bit part in a Western movie when at home in India, she ruled? She had self-respect. This is what the Queen is chosen for – self-respect and honour. The photographer’s mother in this photograph has self-respect and honour. And so much of it that she is an inspiration for difference against power. Jai Mata Di! (Praise the Mother [Goddess]!)
Grandad Sups his Tea by Thomas Duffield
An old man whose eyes we can’t see is against a dark background drinking tea from which steam curls up. There is a subtle power in the way that he is represented, something kingly about him. Perhaps it is the perfect ease, the perfect repose.
The context is that the photographer was raised by his grandfather, like I was raised by my grandfather too, as he was at home.
My comment: It was my grandfather that I looked up to and that I wanted to be like more than anything, the wise man, the community man, the pioneer, the athlete. Something of that emotion of looking up is caught here by the photographer.
Roy and Josef with their daughter Jude by Rona Bar and Ofek Avshalom from the series Us
A beautiful shot of a cute baby amongst a homosexual couple in Israel. They are heavily tatooed, so the appearance of the unmarked child’s body forms a strong contrast with the suggestion of being ‘a blank slate’. Black and white dominate the colour scheme, the black of the man-made and the white of the natural body.
The context is that the photographer photographed couples in their homes that had been overlooked by the mainstream media.
My comment: If you come from my culture and background, a blank slate is precisely what you see children as. Someone to begin with afresh, someone full of potential, someone who is going to learn and become filled with writing and images. Without those blank slates, there would no longer be any reason to live. They are the future. The most beautiful thing about the photograph is those eyes of the baby Jude, full of life and the keenness of curiosity, the wish to learn…
A moment’s pause by Frankie Mills from the series Good Evening We Are From Ukraine
A child in the liminal space between water and land – almost in a swimming pool. An air of uncertainty, the body caught between two differing spaces and states. He is on the stairs (Freud says this would suggest something about sex – but he often says that…) The stairs introduce the idea of up and down: will he go down into the water? Or will he stay up (does this suggest something about the trajectory of life and success?) The boy is framed by beautiful flowers in the background, a big bush of them. He appears against the beauty of nature, a reminder that the apparently serene state and stillness of of nature is contrasting with his uncertain stillness in this moment trapped in time and hesitation…
The context is that the photographer photographed the people of Ukraine that had fled the country for refuge after the Russian invasion. He writes: ‘Artem’s hesitation made me think of every other moment his family had stopped to make impossible decisions during their journey from Ukraine’.
My comment: Swimming is my favourite activity in the whole world (aside from one other…) One of the most beautiful experiences imaginable. However, every time, just before I would get into the pool, I would hesitate. Because I hate cold water. Here, when this teenager looks unusually apprehensive, it becomes about the plight of refugees across the whole world. However, what if he is just apprehensive about getting cold and wet in the water? The photograph makes me think of the difference between an internal state of mind that we experience and what the world understands about it, how it makes it into the Symbolic (Jacques Lacan – the symbolic and the real, etc.) This is not to say that the apprehension does not have a link to the refugee status of the teenager – it is merely to suggest the gulf between inner experience and its expression in the world, a world with its own rules of meaning and politics…