Photographer’s Gaze: The Subjectivity in Art Documentation
- John Paul Diciembre
- Sep 7, 2024
- 7 min read
Fig. 1. More Than Words exhibition at The Den Coffee Shop. Photo courtesy of the writer.
Introduction
Art exhibitions, often situated in the fleeting spaces of galleries, museums, and alternative venues, pose a challenge in preserving their transient nature. Once an exhibition concludes, the physical and emotional experiences it offered are no longer directly accessible. To counter this impermanence, artists and cultural practitioners rely heavily on photo and video documentation, aiming to immortalize the essence of these exhibitions. However, the act of documenting art is far from neutral.
Photography, as a medium, does more than just capture an image; it reforms, hinders, and disseminates the artwork in ways that reshape how it is perceived. Through the photographer's gaze—comprised of choices in framing, focus, composition, lighting, and timing—the documentation itself becomes an active narrative. The photograph is not merely a record of the artwork but a re-interpretation, filtered through the photographer's personal experiences, cultural context, and artistic intent. This raises critical questions: Does the photograph hinder the viewer's original experience of the artwork, or does it offer a new layer of meaning? How does this entanglement affect the way we perceive art?
By exploring the inherent subjectivity of photography, we can unravel how documentation not only preserves art but also transforms it. This examination encourages a more nuanced understanding of the interplay between the artwork, the photographer’s gaze, and the viewer, ultimately highlighting both the possibilities and limitations that photography imposes on the act of documenting art exhibitions.
The Subjective Nature of Photography
John Berger, in his seminal work Ways of Seeing, argues that visual perception is not objective but rather shaped by an individual’s personal history and cultural
conditioning. (1) This insight is directly applicable to the world of art documentation,
where a photographer’s gaze is not neutral. When a photographer takes a picture of an
exhibition, they make a series of intentional choices—framing the shot, focusing on
certain aspects, and using light to create a specific mood. These decisions are not
mechanical or impartial; they reflect the photographer’s subjective experience and
interpretative lens.
This selection process is central to understanding art documentation. Photographers construct a narrative by emphasizing certain aspects of the artwork while omitting others. For instance, a photograph may highlight the intricate textures of a painting while downplaying its scale within the gallery space. Such decisions affect the viewer's perception of the artwork, as the photograph represents the photographer’s
interpretation, not a direct or unbiased reproduction.
Berger’s insights remind us that, much like our personal ways of seeing, the camera
also has its own 'gaze.' By understanding this, we are encouraged to engage more
critically with art documentation, recognizing that the photographs we see are
influenced by the photographer’s interpretation of the artwork.
Diverse Interpretations Through Photography
Fig. 2. Maliit na Bagay Exhibition Opening, 2023. Photo by Isaiah Omana, courtesy of 98B COLLABoratory’s instagram page.
(Retrieved: https://www.instagram.com/p/CrdnaDzJ-XW/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==)
Photographers bring their unique visions to their work, and this diversity is evident in the varied representations of the same artwork or scene. For example, consider the photo from the 98B COLLABoratory's Maliit na Bagay exhibit, where the photographer focused on capturing a back shot of the building owners of the First United Building, standing intimately close as they look at the artworks. They are framed at the center of the photo, with the artworks from the exhibition surrounding them in the background. This composition can depict a narrative of how the building owners are deeply involved and connected to the art events held in their building.
In contrast, another photographer at the same event might have chosen a different angle or composition of the same scene—perhaps zooming in on the expressions of the owners or focusing on the interaction between the artworks and the viewers in the room. This approach would evoke a different emotional tone or narrative. Such varied interpretations highlight the subjective nature of photography, as each photographer's choices in framing, lighting, and composition shape the viewer's understanding of the scene.
Berger’s insights remind us that, like our personal ways of seeing, the camera’s gaze adds layers of meaning to the documented artwork or event, transforming it into a new interpretative space. The camera is not merely capturing; it is reinterpreting, adding a layer of complexity to how we perceive and understand art exhibitions.
Cultural and Contextual Influences on the Gaze
Fig. 3. Kiri Dalena’s Erased Slogans 2008 at the Ligalig exhibition, Ateneo Art Gallery, 2022. Photo by Meg Genuino, courtesy of Cartellino. (Retrieved: https://cartellino.com/features/2022/04/23/Remembering-and-Retrieving-in-Ateneo-Art-Gallerys-Ligalig)
A photographer's cultural background, personal experiences, and socio-political
environment profoundly shape their gaze and influence how they document art. For
instance, in the article published by Cartellino about the exhibition "Ligalig: Art in a
Time of Turmoil" at the Ateneo Art Gallery, the choice of a photograph by Kiri Dalena,
featuring a group of protesters holding a large, censored sign, reflects this influence.
The photograph, taken by the writer herself, not only showcases Dalena's work but
also reveals the writer's personal connection to the piece and its relevance to her
article. This example highlights how the photographer’s context and perspective can
impact the way art is captured and interpreted.
Moreover, contemporary trends in photography also influence how artworks are documented. In the digital age, photographers are often drawn to create instantly shareable and visually striking images, sometimes prioritizing aesthetic appeal over a more comprehensive or faithful representation of the artwork. This tendency shapes not only the documentation but also the way art is consumed, as the fast-paced nature of online sharing demands a different approach to capturing an artwork’s essence. The photographer’s engagement with these trends can further alter the viewer's understanding of the art, adding another layer of complexity to the documentation process.
Cultural and contextual factors shape the photographer’s decisions, affecting both the documentation of the artwork and its subsequent interpretation. The photographer’s gaze thus becomes an integral part of the narrative, influencing not only what is depicted but also how it is perceived.
Control and Liberation in Photography
Susan Sontag, in her reflections on photography, argues that photographs do more than preserve—they provide a sense of control over unfamiliar environments. (2) This control is particularly relevant in the context of documenting art exhibitions, which are curated and institutionalized spaces designed to shape how artworks are perceived. The photographer steps into this controlled environment and adds another layer of mediation. Does this mediation further constrict our understanding of the exhibition, or does it offer new perspectives that liberate the artwork from its original context?
Fig. 4. Installation shot from Rediscovering: Rod. Paras-Perez for ArtFairPH/Projects 2024, Art Fair Philippines 2024. Photo courtesy of Art Fair Philippines. (Retrieved: https://www.instagram.com/p/C3hvAc8vuCP/?utm_source=ig_web_copy_link)
In the documentation of scenes from Art Fair Philippines 2024, specifically Rod Paras Perez's special exhibition, the photographer had to capture the space with a wide-angle shot to encompass the entire collection. The photograph was taken from an L-shaped angle: a vertical wall on the left filled with artworks and a horizontal wall in the center featuring a desk with exhibition materials, a wall-mounted monitor for visual displays, chairs for guests and potential buyers, and additional paintings mounted on the right. The cluster of the desk, chairs, and monitor positioned near the corner implies that transactions and advertising are central to this special exhibition. The emptiness captured in this composition highlights the spatial organization and the intended focus of the exhibition.
While the absence of human presence in this photograph emphasizes the physical arrangement and the intended functionality of the space, it might also suggest a form of detachment from the audience's experience. In contrast, another photographer might choose to include humans interacting with the space, transforming the composition into a more social angle that emphasizes the dynamic between the artworks, the viewers, and the exhibition environment. This alternative perspective could offer a richer understanding of the social and interactive aspects of the exhibition, showcasing how the artworks engage with their audience and the atmosphere created by the space.
Sontag’s view of photography as a means of control thus highlights how the photographer’s choices—whether to focus on the physical layout or the social interactions—shape our perception and understanding of the exhibition. The photograph becomes not just a document but an active interpretation of the exhibition's environment and its impact on the viewer.
Ethical Considerations in Art Documentation
Photography plays a crucial role in documenting and interpreting art and art events, but it also raises significant ethical issues. As a medium that captures and frames moments, photography can shape how artworks are perceived long after their creation. Addressing these ethical concerns involves a careful examination of consent, contextual integrity, and the impact on viewers.
Photography serves not only as a record but also as an interpretation of art. The choices made in framing, composition, and focus can influence how the artwork is perceived. Ethical documentation requires that photographers align their representations with the artist’s original intent, preserving the work's integrity and avoiding misinterpretations. Given that photography reduces a multi-sensory event to a two-dimensional image, it can distort the original experience. While photography enables artworks to be viewed beyond their physical presence, it often fails to capture the full sensory and spatial dimensions of the art. Ethical documentation involves recognizing these limitations and striving to provide a representation that enhances understanding rather than constraining it.
Photographers must be mindful of the artist’s vision and context for them to accurately document the artwork. They should also consider how their work affects the viewer’s perception of the artwork. By adhering to these principles, photographers can ensure their work supports and enriches the understanding of art in a responsible and respectful manner.
Conclusion
Photography, as a tool for documenting art, is always shaped by the subjective gaze of the photographer. John Berger’s and Susan Sontag’s insights reveal how this gaze transforms documentation into an interpretative act, influenced by personal, cultural, and socio-political factors. In understanding this, we gain a deeper appreciation for the complexities of art documentation and the layered relationships between artist, artwork, photographer, and viewer.
Ethical considerations in art documentation highlight the responsibility that
photographers bear in shaping how artworks are perceived and understood. By adopting practices that respect the integrity of the artwork, photographers can help
preserve the artist’s vision while still offering new perspectives through their
documentation.
July 2024
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