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PHOTOGRAPHY BETWEEN LABOUR and CAPITAL by Allan Sekula 193

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PHOTOGRAPHY BETWEEN LABOUR and CAPITAL by Allan Sekula 193 MINING PHOTOGRAPHS AND OTHER PICTURES 1948-1968 A Selection from the Negative Archives of Shedden Studio, Glace Bay, Cape Breton PHOTOGRAPHS BY LESLIE SHEDDEN Essays by Don Macgillivray and Allan Sekula Introduction by Robert Wilkie fHOTOG . Edited by Benjamin H. D. Buchloh and Robert Wilkie 1)-< .:.. 2.., SSL!\ 1 I I ~ The Press of the Nova Scotia College of Art and Design . l~3 and The University College of Cape Breton Press Published by The Press of the Nova Scotia College of Art and Design 5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6 Tel. (902) 422-7381 Co-published by The University College of Cape Breton Press P.O . Box 5300, Sydney, Cape Breton, Nova Scotia, Canada B1 P 6L2 Tel. (902) 539-5300 Canadian Cataloguing in Publication Data Shedden, Leslie Mining Photographs and Other Pictures, 1948-1968 (The Nova Scotia series; v. 13) ISBN 0-919616-25-9 1. Coal mines and mining - Nova Scotia - Glace Bay - History - 20th century. 2. Miners - Nova Scotia - Glace Bay. 3. Photography of coal mines. 4 . Shedden, Leslie . I. Buchloh, Benjamin H. D. II. Wilkie, Robert. Ill. Title. IV. Series: The Nova Scotia series: source materials of the contemporary arts; V. 13. HD9554.C23G55 338.2'724'0971695C83-094174-6 Copyright 1983 Shedden Studio, Glace Bay, The Press of the Nova Scotia College of Art and Design, Halifax All rights reserved Design and production by Benjamin H. D. Buchloh, Allan Scarth Published 1983 and Bob Wilkie Printed and bound in Halifax, Nova Scotia, Canada Pressman : Guy Harrison M J. PAUL GETTY CENTER LIBRARY CONTENTS EDITORIAL NOTE VI INTRODUCTION by Robert Wilkie IX THE PLATES Photographs by Leslie Shedden 1 GLACE BAY: IMAGES AND IMPRESSIONS by Don Macgillivray 170 PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL by Allan Sekula 193 APPENDIX I Glossary of Mining Terms 269 APPENDIX II Map of Nova Scotia 272 APPENDIX Ill Colour Plates 273 CREDITS 277 3rth Photography Between Labour and Capital By Allan Sekula I Introduction: Reading an Archive Every image of the past that is not recognized by the present as one of its own threatens to disappear irretrievably. Walter Benjamin 1 The invention of photography. For whom? against whom? jean-Luc Godard and jean-Pierre Gorin 2 Here is yet another book of photographs. All were made if to flaunt the '·crude thinking" often called for by Ber­ in the industrial and coal-mining regions of Cape Breton tolt Brecht? Surely our understandings of these photographs in the two decades between 1948 and 1968. All were made cannot be reduced to a knowledge of economic conditions. by one man, a commercial photographer named Leslie Shed­ This latter knowledge is necessary but insufficient; we also den. At first glance, the economics of this work seem sim­ need to grasp the way in which photography constructs an ple and common enough: proprietor of the biggest and only imaginary world and passes it off as reality. The aim of this successful photographic studio in the town of Glace Bay, essay, then, is to try to understand something of the rela­ Shedden produced pictures on demand for a variety of tionship between photographic culture and economic life. clients. Thus in the range of his commissions we discover How does photography serve to legitimate and normalize the limits of economic relations in a coal town. His largest existing power relationships? How does it serve as the voice single customer was the coal company. And prominent of authority, while simultaneously claiming to constitute among the less official customers who walked in the door a token of exchange between equal partners? What havens of Shedden Studios were the coal miners and their families . and temporary escapes from the realm of necessity are pro­ Somewhere in between the company and the workers were vided by photographic means? What resistances are en­ local shopkeepers who, like Shedden himself, depended on couraged and strengthened? How is historical and social the miners' income for their own livelihood and who saw memory preserved, transformed, restricted and obliterated photography as a sensible means of local promotion. by photographs? What futures are promised; what futures Why stress these economic realities at the outset, as are forgotten? In the broadest sense, these questions con- 193 cern the ways in which photography constructs an im­ small entrepeneur. He contributed to company and f . aginary economy. From a materialist perspective, these are arc h1ves. w h1"l e retammg. h.1s own f"li e of negatives A · amily . · sis com- reasonable questions, well worth pursuing. Certainly they mon with commercial photographers, he included h would seem to be unavoidable for an archive such as this negatives· mt· h e sa l e o f h1s. stu ct·io to a younger photograt hese one, assembled in answer to commercial and industrial upon retiring in 1977. P er demands in a region persistently suffering from ec­ Archives, then, constitute a territory of images· th . , e uni- onomic troubles. -' ty of an archive 1s first and foremost that imposed by owner- Nonetheless, such questions are easily eclipsed, or sim­ ship. Whether or not the photographs in a particular archive ply left unasked. To understand this denial of politics, this are offered for sale, the general condition of archives in­ depoliticization of photographic meaning, we need to ex­ volves the subordination of use to the logic of exchange . amine some of the underlying problems of photographic Thus not only are the pictures in archives often literally culture. Before we can answer the questions just posed, we for sale, but their meanings are up for grabs. New owners need to briefly consider what a photographic archive is , and are invited, new interpretations are promised. The purchase how it might be interpreted, sampled or reconstructed in of reproduction rights under copyright law is also the pur­ a book. The model of the archive, of the quantitative ensem­ chase of a certain semantic license. This semantic ble of images, is a powerful one in photographic discourse. az 1ailability of pictures in archives exhibits the same This model exerts a basic influence on the character of the abstract logic as that which characterizes goods on the truths and pleasures experienced in looking at photographs, marketplace. especially today, when photographic books and exhibitions In an archive, the possibility of meaning is " liberated" are being assembled from archives at an unprecedented rate. from the actual contingencies of use. But this liberation is We might even argue that archival ambitions and procedures also a loss, an abstraction from the complexity and richness are intrinsic to photographic practice. of use, a loss of context. Thus the specificity of " original" There are all sorts of photographic archives: commer­ uses and meanings can be avoided, and even made invisi­ cial archives like Shedden's, corporate archives, government ble, when photographs are selected from an archive and archives, museum archives, historical society archives, reproduced in a book. (In reverse fashion, photographs can amateur archives, family archives, artists' archives, private be removed from books and entered into archives, with a collectors' archives, and so on. Archives are property, either similar loss of specificity.) So new meanings come to sup­ of individuals or institutions, and their ownership may or plant old ones, with the archive serving as a kind of " clear­ may not coincide with authorship. One characteristic of ing house" of meaning. photography is that authorship of individual images and the Consider this example: some of the photographs in this control and ownership of archives do not commonly reside book were originally reproduced in the annual reports of in the same individual. Photographers are detail workers the Dominion Steel and Coal Company, others were car­ when they are not artists or leisure-time amateurs, and thus ried in miners' wallets or framed on the mantlepieces of it is not unreasonable for the legal theorist Bernard Edelman working-class homes. Imagine two different gazes. Imagine to label photographers the " proletarians of creation." 4 the gaze of a stockholder (who may or may not have ever 194 Leslie Shedden, for his part, was a combination artisan and visited a coal mine) thumbing his way to the table of earn- ings and lingering for a moment on the picture of a mining machine, presumably the concrete source of the abstract ANNUAL REPORT wealth being accounted for in those pages. Imagine the gaze 1956 of a miner, or of a miner's spouse, child, parent, sibling, lover, or friend drifting to a portrait during breaks or odd moments during the working day. Most mine workers would agree that the investments behind these looks - financial on the one hand, emotional on the other - are not compatible. But in an archive, the difference, the radical antagonism between these looks is eclipsed. Instead we have two carefully made negatives, available for reproduc­ tion in a book in which all their similarities and differences could easily be reduced to " purely visual" concerns. (And even visual differences can be homogenized out of existence when negatives first printed as industrial glossies and others printed on flat paper and tinted by hand are subjected to a uniform standard of printing for reproduction in a book. Thus the difference between a mode of pictorial address which is primarily " informational" and one which is " sen­ timental" is obscured.) In this sense, archives establish a relation of abstract visual equivalence between pictures. Within this regime of the sovereign image, the underlying currents of power are hard to detect, except through the shock of montage, when pictures from antagon1st1c categories are juxtaposed in a polemical and disori­ enting way. Conventional wisdom would have it that photographs transmit immutable truths.
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