Prior to watching the video, I had an assumption that conceptual photography was attributed to similar strands of creative ideology as Conceptual Art. The term conceptual in reference to photography holds visions of photographic installations or giving reference to an object, scene or subject in a way that holds significance to the artist by means of transcending into, or from an idea or concept. The notion that all photography is conceptual had not necessarily occurred to me and prompted some deeper thought upon the subject.
Research led me to some of the early pioneers of conceptual photography where the art form had a documentary element by creating performances that suggested a deadpan style of something realistic. The staging of a situation could have led to the more well-known form that depicts a far more experimental approach. The illustration of a specific idea via a visual concept requires the ability to gain transparency of the idea. This is the area that I have been more accomplished in reading rather than providing.
If all photography is conceptual, (I’m not suggesting that this is not the case) then it is fair to surmise that some photographers are more adept at providing clarity to a concept than others. The thought processes that formulate an artist’s visual interpretation are not necessarily readable nor linear in their projection. If the leap that has to be made is significantly wide form visual representation to concept, the argument can be had that the photographer has missed the objective other than to find a dimensional meaning to themselves without the ability to bring an audience with them..
Much of the conceptual photography I have observed depicting people has a documentary style expressive quality that is staged. The forcing of the concept by means of a theatrical element is balances the artists original idea with aesthetics. I find that where the two compliment the overall composition the more symbolic and compelling the overall suggestgion. There is something real being projected which feels less contrived, although this often depends on the subject, body language and the projection in the eye. Cindy Sherman manages to accomplish both in my opinion. In some cases the decision to portray ‘fake drama’ using herself as the model, is deliberate and accepted as a complex, yet imaginary situation Sean OHagan relates this to the post truth age and points out the aesthetic quality and conceptual importance can produce a level of detachment and banality.
Gerard Hilderly Level 3 OCA 