Fig.1- José Yalenti, Sand, 1950
José Yalenti, Sand, 1950
Yalenti's photograph epitomises the abstract expressionist period, ‘experiments paralleled the ascendancy of the Abstract Expressionist art movement, which similarly looked at the intrinsic quality of painting’ (Vallencourt, 2015:131) the lack of formation in the subject emulates ambiguity and a painterly feel. The ambiguity formulated leaves the viewer questioning the content and manipulating the image with their own interpretation. The tonality and line emphasise the texture generating a 3-dimenisional effect, engaging other sensory elements. However, the photographs from the collection are accompanied with corresponding text titled as ‘sand’. Barthes suggests ‘the structure of the photograph is not an isolated structure; it is in communication with at least one other structure, namely the text - title, caption or article[…]’ (Barthes, 1977, pp.16) The title offers the viewer point of realism, allowing the viewer to compare the painterly image to an object of relatability. The parasitic message of the singular word, quickens the pace of communication in narrative, deflecting the ambiguity created in the image with the non-negotiable and directness in subject. Yalenti's directness of title creating parasitic meaning demonstrates control in fragmenting traditional scientific values of photography and exploring a matter-of-fact subject in a questionable artistic style.
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Reference list:
Barthes, R. and Heath, S., n.d. Image music text (The Photographic Message). Fontana.
Vallencourt, M., 2015. The History of Photography. Encyclopaedia Britannica.
Reflection
To what extent has text been part of your practice up to this point? When have you found it most effective?
Can you think of instances where your use of text – titles or captions perhaps – has ‘intimated’ too much for the viewer? Has text ever undermined your photographs?
Write a reflection on these themes in your critical research journal.