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Allan Sekula Allan Sekula Polonia and Other Fables The Renaissance Society September 20 – December 13, 2009 at The University of Chicago 5 T a C P 8 t h h h 1 o i e T c 1 n h a R S e g The e : o e o ( u U n 7 , t a 7 n I h l l 3 i i i s E n v ) s 7 o l Renaissance e l i 0 a i r s s 2 s n A 6 - i c t 8 v 0 e y 6 e 6 7 n 3 S Society o 0 u 7 f o e c C i h Mòwimy po Polsku at The University of Chicago e i t c 5811 South Ellis Avenue y a 4th floor g o In 1950, Hans Namuth documented Jackson variety of photographic tropes ranging from means of thinking through rather than excluding Nothing could be further from the pit’s Chicago, IL 60637 Pollock in what are now iconic photographs. clandestine snapshots to formal portraiture, from the self, beginning with the most basic social testosterone-fueled mania than Sekula’s portrait unit, the family. Autobiography recurs in varying of an extremely slight female trader. She stands, Museum Hours One features a pensive Pollock crouched serial to aerial photography, and from street Tuesday - Friday: 10am - 5pm amongst abraded weeds in front of a weathered photography to ethnography in the vein of degrees of subtlety throughout his work. It is arms at her side, in front of a confetti-strewn Saturday, Sunday: 12- 5pm Model T Ford. The jalopy suggests the photo Walker Evans’ FSA work. particularly evident in Polonia and Other Fables background, an announcement that the party is Closed Mondays was taken by the likes of Dorothea Lange. At One of the grander themes is Poland’s current as Sekula is of Polish heritage. The autobio- over. Printed at a scale larger than usual for http://www.renaissancesociety.org the same time, his demeanor and nearness to geopolitical situation, which Sekula depicts graphical works in Polonia and Other Fables Sekula, this image was of particular interest to the earth make Pollock a poster boy for rugged through a trio of images featuring training consist of four photographs: a portrait of his him since it turns out the woman is also an individualism. One would think the photo was activities at a Polish airforce base. Poland’s mother; a portrait of the priest who delivered his artist. Her dual profession recalls School is a taken in Pollock’s native hometown of Cody, militarization is directly connected to its father’s last rites; an image of Sekula’s father, Factory (1979/1980), a project in which Sekula Wyoming rather than at his East Hampton inclusion in NATO, an event further marking the brother and nephew; and the photograph on the addressed the confluences and discrepancies studio. Through the image of Pollock, end of the Cold War. Poland, however, was all other side of this poster, which features a 1979 between higher education and the demand abstraction is celebrated as native to the soil. too eager to prove itself an ally to the U.S. when photo of the artist’s father reading a list of four for workforce training. Although artist and Indeed, its emphasis on freedom and the it aided and abetted the highly controversial other Sekulas, two of whom are rabbis. Although commodities trader might seem antithetical primacy of the individual make abstraction an practice of extraordinary rendition, generally raised catholic, Sekula’s religious heritage, like professions, one need only think of Jeff Koons expression of America’s post-WWII triumphalism referred to as “torture by proxy.” Two of Sekula’s that of many Poles is up for question. This is for a reappraisal of that idea. and by extension the values of neo-liberalism. images are of alleged “black sites,” where hardly surprising given that Poland was home to The larger question raised by Sekula’s photo- Proclaimed as the art of the modern era, prisoners from the wars in Iraq and Afghanistan Europe’s most significant Jewish population graph of the trader is how does one illustrate abstraction’s preeminence casts ours as an age were illegally transferred to states outside U.S. before the outbreak of World War II. a master narrative such as capitalism. A master beyond conventional forms of representation. jurisdiction for the purpose of being tortured. Nationalism certainly played no small part in narrative is a totalizing and global framework Nothing could be more antithetical to abstract Poland’s efforts to distance itself from its what many debate as Poland’s complicity in the for explaining forces shaping aspects of self, painting than documentary photography. Given communist past by embracing free enterprise Holocaust. This strain of nationalism, however, society and history. A master narrative does not that photographs of people, places, things, has resulted in its susceptibility to the high has its roots in the rise and fall of Poland as a simply explain the social fabric; it is the social Allan Sekula and events qualify as documents, documentary crimes and misdemeanors of multinational once powerful kingdom subsequently conquered fabric, inextricably woven into reality at every photography has been part of the medium corporations such as Smithfield Foods and partitioned amongst the surrounding powers level. All-encompassing, it becomes ideology, since its inception. There are, however, different Company. Sekula photographed a Smithfield of Austria, Prussia, and Russia. Poles became a which by its very nature is invisible, making Polonia and Other Fables kinds of reality to document—visual, social, plant in the southeastern province of Lubelski. regional diaspora harboring a centuries-long a return to traditional documentary all but psychological—making documentary photo- As the biggest producer of pork in Poland, their desire to become a nation state. Arguably, impossible. However noble and necessary the September 20 – December 13, 2009 graphy a highly heterogeneous genre. This method of industrial hog-raising is cited by Polonia define national identity more than the task of exposing various injustices, traditional heterogeneity, combined with the ebb and flow activists and governmental agencies as amongst country itself, which was not founded until after documentary sidesteps the larger question as to of progressive politics, accounts for para- the most cruel and inhumane in the world. In World War I, only to be invaded and occupied by how, and if, capitalism as a master narrative Opening Reception: Sunday, September 20, 4:00–7:00pm digmatic shifts in documentary photography’s addition to the animals’ deplorable living Nazi Germany, and after World War II incorpor- can achieve representation through “what used Featuring a talk with the artist from 5:00- 6:00pm journey from muckraking to museum. A tren- conditions, gross environmental hazards are ated into the Eastern Bloc. As home to the to be called documentary,” to quote Sekula. F P P C P largest Polish population in the U.S., Chicago In his work, such a master narrative can only be i A chant example is the pendulum swing from created through the storage of vast amounts of r e h r e s r I i c - m D t is an historic repository of Polish nationalist grasped in the form of traces, which paradox- s social documentary’s golden era during the manure. This creates toxic gases and pathogens a C i o g t r l o sentiments whose connection with contem- ically belie a narrative’s ability to achieve a N t Great Depression to its vilification during that seep into natural water basins. e , s o d I s . L the Cold War. (The Photo League, the leading Sekula photographed Smithfield both aerially porary Poland is partly real and partly romantic, “mythic” status. M 2 3 a champion of social documentary, had to disband and on the ground. What looks like a beautiful as recent immigrants find themselves amongst Yet, the basis of claims to grasp directly 3 i 6 l in 1951 after being blacklisted due to one of wheat field was planted as a barrier to the an older wave of immigrants and their children, (rather than abstractly) an era spanning from the its founders’ documentation of labor unions.) Smithfield grounds. In addition to the factory two or three generations removed from the Old industrial revolution to a latter-day globalization Another example is the demarcation of fine art environs, Sekula also photographed a young World. This is the subject of two of the Chicago remains the province of social documentary— photography from a social documentary practice boy from a nearby town reporting their childrens’ photographs both taken at different Polish this, despite its marginalization from a history of wed to the moral purpose of social change. illnesses are directly related to Smithfield’s festivals. photography as narrated through the fine arts. This was facilitated through the success of presence. Notably, Smithfield’s pigsties are As an examination of the links between Rather than being accountable to a history exhibitions such as New Documents, mounted hidden from view, negating photography’s ability Chicago and Poland, Polonia and Other Fables of styles, social documentary is accountable to at The Museum of Modern Art in 1967. It in- to furnish proof. In its stead, Sekula photo- doubles as a reflection on the historic inter- history itself. Needless to say, modernity’s global cluded Diane Arbus, Lee Friedlander, and Gary graphed the three hogs belonging to a family twining of labor struggles and immigration. This evolution continues to furnish documentary Winogrand. Their subjective approach gained farmer.
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