Photos explore perfection, definition and possession

Nan Goldin and others examine aesthetic complexities

Photographs hold the power to change meaning with each different viewer. While the first viewer sees an "academic" study, the second a fantastic time in a strange and exciting place. Every different person will come away with a different impression from the same image. When one looks at a photo, one sees what one desires to see, based on past experiences and current emotions; viewing of photographs is based on memories.

Photography is the subject of a new exhibit at the Allen Memorial Art Museum (AMAM). The exhibit, Subjects of Desire: Issues in Contemporary Photography, examines the role of desire in the photographic medium. Student curator, senior Andrea Mariash is posing the idea that in viewing a photograph, the viewer "seeks to discover modes of perfection, definition and possession unattainable in the real world." Mariash argues her point well, drawing on the impressive collection at the AMAM.

Mariash, an art history major, became interested in a curatorial internship after taking the museum course last year. She worked with Amy Kurlander, curator of Modern and Contemporary Art, on the exhibit. When asked how she came to this topic for the exhibit, Mariash said, "I had never had any classes about photography. I had to do a lot of research. I spent a lot of time looking at the photos and I was caught between what I saw and what I wanted to see." Hence, the idea of desire.

The exhibit is arranged in a manner meant to follow the concepts of definition, perfection and possession, all within the context of the viewer's desire. But as Mariash acknowledges, "the relationship between the viewer and the photograph is a complex, psychological one." It is an interesting exercise to keep these ideas of perfection, definition, possession and the umbrella of desire in mind as one views the photographs in the show.

The idea of perfection is enjoyably presented in William Wegman's A Stormy Night. Wegman uses his dog as a model, and the stark background and clean lines recall fashion photography, truly the ultimate photographic ideal of perfection and the archetype of beauty. Unfortunately, there are no fashion photographs shown in this exhibit - it seems to presume a knowledge of fashion photography. While this is a fairly safe assumption, a fashion photograph presented in a museum context could have been interesting and a tremendous asset to the show. One is hard pressed to think of another instance in which the viewer's desire has so much power to lend an image a sense of perfection.

Mariash touches on the aspects of consumerism culture in Barbara Kruger's Charisma is the perfume of your gods, and her notes to the Wegman photograph discuss the work as a "parody of the conventions of high fashion photography". But these small allusions to fashion only point out the clear absence.

Thomas Weir's beautiful Janis Joplin, a dark photograph of the legendary musician, is a prime example of definition. Using representational techniques reminiscent of classical images of the divine, Weir presents Joplin as a goddess. The viewer immediately recognizes her as such. Her stance and expression betray no doubt and the viewer concedes that Joplin, in this image, is a higher being. Once again, the photograph plays on the viewer's desires; in this instance, the desire to see more than just a woman, but to a legend. It may be tricky to discern between the artist's definitions of the subject and the viewer's definitions of the photograph, but the exhibit handles this subtly, allowing the audience to merely look and decide for themselves.

Sherrie Levine's brilliant After Ernst Kirchner raises the question of possession. The photograph is a shot of a painting by Ernst Kirchner. At first sight, it gives the impression of a museum gift shop item - a large postcard or print. But it is a photograph, and Levine is making a strong statement about the nature of possession in art. To whom does this image belong; Kirchner as the painter or Levine as the photographer?

The exhibit is full of complex and fascinating works of art which could be examined in any one of the contexts presented by the curator. Cindy Sherman's characteristically puzzling Untitled Film Still (Lincoln Tower Girl - Streetwalker) is a prime example. Sherman's work reminds us that what we desire to see in this picture and what we are actually seeing are two very different things. This appears to be a film still, but it is really a self-portrait.

Although the exhibit deals with desire in a more complex manner than the aesthetic appeal of the photographs, these pictures are beautiful and intriguing. The accompanying wall texts are substantial for those with less familiarity with contemporary photography, but are not obtrusive. One does not need to read what the curator has to say about desire in order to enjoy or be affected by the exhibit. Merely keeping the idea of desire in mind as one views these photographs will lead to personal realizations about this thought-provoking exhibit.

Staring down the camera: Joel Peter Sternfeld's Canyon County, CA June 1983 is one of many emotionally piercing photos in Subjects of Desire at the AMAM (photo courtesy of AMAM)