No Comment (almost) - Fondation Henri Cartier-Bresson Enters 21st Century

Untitled. Photograph © Vanessa Winship.

Photographer Vanessa Winship has won the 2011 Henri Cartier-Bresson Award. This is the first time the Fondation HCB has given the award to a woman. Note that this is the 2011 version of the award.

Is Sean O'Hagan a Birther? On the Deutsche Börse Photography Prize

The prize for 2011, according to this release in The Guardian, has gone to self-proclaimed "documentary storyteller" Jim Goldberg of that oh so radical Magnum Agency (here too). Don't get me wrong; this is not a complaint about the judges's decision. The Magnum crowd, Goldberg surely included, are talented and produce lots of provocative work. The point is that the jury this year, like it regularly has done in recent years, has honored a pretty mainstream documentary undertaking. Moreover, they have honored a photographer who works for what arguably is the pre-eminent establishment institution in the field. No news there. I say all this just to remind folks about Sean O'Hagan's plaintive voice which is raised annually asking why, oh why the Deutsche Börse short list is so full of dreaded "conceptual" photography. O'Hagan, of course, is photography critic at The Guardian. You can find his most recent missive on the matter here.

On this topic O'Hagan has begun to remind me of those "birthers" who, despite all evidence to the contrary, insist that Obama was born on some other planet. In other words, his view seems wholly impervious to evidence or argument. And, like the birthers too, O'Hagan is seeking to
police the boundaries of legitimacy. They are obsessed with political legitimacy, he is worried about what is legitimate photography. I've pointed out several times - here and here and here - how far off the mark O'Hagan actually is. In light of this recent decision, we can, I suppose, anticipate a reconsideration in his column any day now?

Prix Pictet 2011

Amos Power Plant, Raymond, West Virginia, 2004 © Mitch Epstein.

Mitch Epstein has won the 2011 Prix Pictet photography prize for his series American Power.

A Question Prompted by The World Press Photo Awards

A man throwing the body of a dead child at the morgue of the
general hospital, Port-au-Prince, Jan. 15, 2010.
(AP Photo/Olivier Laban-Mattei/AFP)

I came across this photograph at "In Focus" over at The Atlantic where it was part of this post showing some of the 2011 World Press Photo winners in various categories. I generally take a pretty permissive stance on what is a justifiable subject for photography - whether art or documentary or photojournalism. There are lots of things that are a waste of time, or simply not to my taste, but so what. I am not too patient with the squeamish.

There are a lot of things about the world that it is hard to imagine. And photography is, as philosopher Patrick Maynard points out, a technology that usefully amplifies our capacity to imagine. Generally, I think this is a necessary task. And it identifies the intersection of politics and photography understood (regardless of genre) as an art. This image takes me right up to - maybe across - the bounds of possibility. I find it excruciating. And, no, I cannot imagine being this child's sibling or parent or neighbor. And I cannot imagine, either, being the worker at the morgue.

On the other hand, this is the reality of an epidemic. I have just shown my undergraduate students films on James Nachtwey and Sebastião Salgado, both of whom photographed the mass deaths from cholera in the refugee camps housing Hutus who had fled following the genocide in Rwanda. Their images depict earth moving equipment being used to scoop up piles of corpses and dumping them in mass graves. Gruesome, but important in keeping the epidemic from getting worse. This photograph nevertheless seems worse - meaning more brutal - to me.

So, my question is whether this image crosses the line. I am undecided. It seems as though various editors are undecided too. You will not find it reproduced among the images in the report of the WPF awards at The Guardian [1] or the BBC [2]; but it is included without comment in the reports at The National Geographic [3] and The New York Times [4]. At The Atlantic you have to click through this message - Warning: This image may contain graphic or objectionable content. Click to view image - before viewing the image.

Does Sean O'Hagan Really Get Photography?

It seems to have become an annual event. The short list for the Deutsche Börse Prize is announced. And then Sean O'Hagan promptly writes a column in The Guardian complaining that the jury seems obsessed with "conceptual" photography at the expense of ... well, of things that O'Hagan seems to like better. And, on that matter, O'Hagan seems remarkably self assured. What he prefers, he tells us, is "straight photography – photography without pretensions." No examples of what he means. No sense of which of the now canonical figures in the history of photography would be drummed out of any possible consideration for the Prize. Just a broad complaint. In any case, here is his column from this week. Here and here are two posts, with relevant links, I wrote in response to last year's installment.

Nothing much has changed in my assessment this year. But instead of simply repeating myself, I'd ask you to consider a hypothetical. According to the Prize web page, the Deutsche Börse Prize is awarded "a contemporary photographer of any nationality, who has made the most significant contribution (exhibition or publication) to the medium of photography in Europe in the previous year." When, as will soon enough be the case, Sebastião Salgado completes his Genesis project (which, by the way, The Guardian has been previewing in installments) and publishes the planned for book and mounts the planned for exhibition, will he be eligible for the Deutsche Börse short list by O'Hagan's lights? It is not just that Salgado's work has "pretensions," but it arguably also calls into question in various ways naïve views of photography and its uses. I am not sure how, given his ongoing complaints, O'Hagan could not object if the jury included Salgado for the shortlist. But I am then not at all sure who he might deem worthy of consideration.

Scientific Images: Prize-Winning Snow Flakes

And the 2010 Lennart Nilsson Award (Recognizing Extraordinary Image Makers in Science) goes to CalTach Physicist Kenneth Libbrecht. He makes pictures of snowflakes. I figured it would be difficult to make any connection between his photographs and politics; then I saw the stamps. Not only are they official postage, but they have the standard distributive politics and familiar foreign policy implications at work - one flake each from Alaska and Michigan with the other two being Canadian. Can you identify which ones?

And, of course, the Europeans had to get on on the act .... These are Austrian stamps:

View from the Day Job

In my 'real' life I am a college professor - hence the unstylish tweed jacket. But here I am introducing a colleague who was winning a well-deserved award for his research.