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Figuring the Photographic Portrait Studio As a Psychic Apparatus. J

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Figuring the Photographic Portrait Studio As a Psychic Apparatus. J Figuring the photographic portrait studio as a psychic apparatus. J o n a t h a n B a g g a l e y A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy September 2015 Abstract: 'Figuring the photographic portrait studio as a psychic apparatus.' This research project makes use of photographic art practice as an investigative tool, through which a variety of strategies have been employed in order to picture the traditional photographic portrait studio. The thesis provides both a context within which to understand this art practice and expands upon and develops the themes proposed by it.The history of the photographic studio is presented in traditional narrative form and as a discursive formation; being analysed at two specific junctures within this narrative. This historical and cultural contextualisation allows the studio to be viewed in terms of a space and apparatus that embody particular characteristics. It is suggested that whilst these characteristics are explicitly located within discourses relating to class and aesthetics they also incorporate an implicit psychical dimension. The studio as an apparatus is analysed as constituting particular subject positions. These are discussed in relation to ideas drawn from film theory that utilise Lacanian psychoanalytic concepts. The studio is considered as a space in which the presence of the Lacanian Gaze becomes suggested with particular prominence. As an architecture that embodies the presence of the gaze, the studio is discussed in relation to a number of theories around the nature of space and modernity. The possibility of transference as an element of the studio encounter is also posited. Four artists (Helmut Newton, Jemima Stehli, Broomberg and Chanarin and Christopher Williams) are identified as producing work that critically engages the space of the studio. Analysis of this work serves to develop the arguments made so far and provides an extended consideration of the particular subject object relationships that become played out in the studio. This becomes developed further in relation to commercial portrait practices and is demonstrated through analysis of portraits by Mike Disfarmer and Suresh Punjabi both of whom have been the subject of significant theoretical discussion. The thesis concludes with a reflection on how the practice produced for this research has both been conceived and executed in relation to theory but also on how it can be thought of as providing, in itself, a unique and valuable contribution to knowledge. It is argued that the practice not only makes visible a coercive discourse and psychic economy implicit within the studio but that it also promotes a particularly compelling and pertinent consideration of how the two might be related. Keywords: studio, apparatus, Lacan, Gaze, portrait, backdrop, l’objet petit a, commercial photography, subject, transference. I: P H O T O G R A P H S II: T H E S I S PART I PHOTOGRAPHS PART II THESIS Contents List of Illustrations 3 Declaration 11 Preface 13 Introduction and Methodology 17 Chapter One Historical and Cultural Contexts 31 Chapter Two A Psychic Space 77 Chapter Three The Studio Photographed 117 Chapter Four Reflections on Practice 189 Conclusion 249 Bibliography 257 2 Illustrations Chapter One Figure 1: Honore Daumier, Reputedly The Most Commodius Position for a Good Daguerreotype Portrait from Le Charivari (July 24, 1847) http://www.luminous- lint.com/app/image/78458467346827895530241/ (Accessed 20th September 2012) Figure 2: O.H. Willard Séance de pose chez un photographe 1855 (ca) Daguerreotype Musée d'Orsay http://www.luminous-lint.com/app/image/9695558349682426532768517326/ (Accessed 20th September 2012) Figure 3: Unidentified photographer Display of Photographic Studio Equipment 1865 (ca) Tintype, 1/4 plate, hand-coloured Cornell University Library http://www.luminous-lint.com/app/image/048543973040447515165307857/ (Accessed 24th September 2012) Figure 4: M.B Brady’s New Photographic Gallery, Corner of Broadway and Tenth Street, New York. Engraving from Frank Leslie’s Illustrated Newspaper Jan 5th 1861 p. 108 http://www.loc.gov/pictures/item/95508946/ (Accessed 10th October 2012) Figure 5: Mr. E.J. Foss (Boston) 1887 (Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.115, fig.127 3 http://www.luminouslint.com/app/vexhibit/_THEME_People_taking_photographs_ill ustrations_01/6/23/7235653348721726923617/ (Accessed 12th February 2014) Figure 6: Unidentified photographer/creator Fig. 86. - Coupe de l'atelier vitré 1863 showing the construction of a rooftop glasshouse studio. http://www.luminous- lint.com/app/image/045548450348324155637669/ (Accessed 12th February 2014) Figure 7: Interior of Stafhell & Kleingrothe photographic studio in Medan, Holland 1898. From the collection of Tropenmuse, Amsterdam. http://collectie.tropenmuseum.nl/default.aspx?idx=ALL&field=*&search=60001724 (Accessed 12th February 2014) Figure 8: Behind the scenes at a busy carte de visite studio showing how the production process for cartes was divided into discreet tasks. Bibliotheque nationale de France, Paris. BAJAC, Q. 2002. The invention of photography: the first fifty years, London, Thames & Hudson. Figure 9: Lady Victoria Doris Rachel Haig by Lenare bromide print, circa 1930 National Portrait gallery http://www.npg.org.uk/collections/search/portraitLarge/mw252694/Lady-Victoria- Doris-Rachel-Haig?LinkID=mp147941&role=sit&rNo=2 (Accessed 2nd October 2014) 4 Figure 10: Ruth Harriet Louise Greta Garbo, publicity still for The Mysterious Lady 1928 REISFELD, S. & DANCE, R. 2005. Garbo - Portraits from her Private Collection, New York, Rizolli Figure 11: Ted Allen Cary Grant bromide print, 1936 National Portrait Gallery http://www.npg.org.uk/collections/search/portrait/mw165251/Cary- Grant?LinkID=mp07835&role=art&rNo=1 (Accessed 2nd October 2012) Figure 12: Frank Pease Child Portrait c.1950. BITNER, J. (Ed.) 2006 La Porte, Indiana, New York, Princeton Architectural Press Figures 13 & 14: Anonymous carte de visite portrait and B.C. Paice carte de visite). EDWARDS, S. 2006. The Making of English Photography: allegories, Pennsylvania, Pennsylvania State University Press Figure 15: Family Studio Portrait from 1995. LEE, A. 1995. Pretty as a picture. British Journal of Photography, 142/7029, 10-11. Figure 16: Winner of the 1998 Agfa European Portrait Awards. BERGER, W. 1998. Shot from the heart. British Journal of Photography, 145/7180, 22-3. Figures 17 - 20: Examples of the Venture Portrait style. LANSDOWN, T. 2001. Portraiture a la mode. British Journal of Photography, 148/7311, 11-13. 5 Chapter Two Figure 1: Diagram illustrating the concept of the gaze. LACAN, J. 1998. The Four Fundamental Concepts of Psycho-analysis, London, Vintage. Figure 2: Hans Holbein theYounger Jean de Dinteville and Georges de Selve (The Ambassadors) 1533 http://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the- ambassadors (Accessed 18th May 2013) Chapter Three Figure 1: Helmet Newton Self Portrait with Wife June and Models 1981 BURGIN, V. 1996. In/Different Spaces: Place and Memory in Visual Culture, California, University of California Press. Figure 2: Jemima Stehli Self Portrait with Karen 2000 STEHLI, J. & BURROWS, D. 2003. Jemima Stehli, [Birmingham], Article Press. Figure 3: Jemima Stehli Self Portrait with Grace 2000 STEHLI, J. & BURROWS, D. 2003. Jemima Stehli, [Birmingham], Article Press. Figure 4: Jemima Stehli Red Turning 2000 STEHLI, J. & BURROWS, D. 2003. Jemima Stehli, [Birmingham], Article Press. 6 Figure 5: Adam Broomberg and Oliver Chanarin America’s Next Top Model from the series American Landscapes 2009 http://www.choppedliver.info/american-landscapes/ (Accessed 10th July 2014) Figure 6: Adam Broomberg and Oliver Chanarin Beyonce from the series American Landscapes 2009 http://www.choppedliver.info/american-landscapes/ (Accessed 10th July 2014) Figure 7: Christopher Williams Three Point Reflection Guide, © 1968 Eastman Kodak Company, 1968. (Meiko smiling), Vancouver, B.C. April 6, 2005. 2005 http://www.lumiere- editions.com/lumiere-editons.com/Gallery/Pages/Christopher_WIlliams.html#0 (Accessed 14th August 2012) Figure 8: Mike Disfarmer ca. 1940 DISFARMER, M. 2005 Mike Disfarmer: Original Disfarmer Photographs. New York and Gottingen, Germany: Steidl/Stephen Kasher Gallery. Figure 9: Mike Disfarmer ca. 1940 DISFARMER, M. 2005 Mike Disfarmer: Original Disfarmer Photographs. New York and Gottingen, Germany: Steidl/Stephen Kasher Gallery. Figure 10: Suresh Punjabi ca.1980 PINNEY, C. 2014a. Artisan Camera Studio Photography from Central India, South Chennai, India, Tara Books. 7 Chapter Four Figure1: Jonathan Baggaley, Untitled from the series Cachet 2011 Figure 2: Jonathan Baggaley, Untitled from the series Cachet 2011 Figure 3: Jonathan Baggaley, Untitled from the unused series Likeness 2012 Figure 4: Jonathan Baggaley, Untitled from the unused series Likeness 2012 Figure 5: Jonathan Baggaley, appropriated portrait with subject removed 2011 Figure 6: Jonathan Baggaley, Untitled two framed pigment prints 14”x11” 2012 Figures 7-9: Jonathan Baggaley, unused images from documented portrait session 2012 Figure 10: Jonathan Baggaley, Untitled framed pigment print 20”x16” 2012 Figure 11: Jonathan Baggaley, Untitled framed pigment print 24”x16” 2012 Figure 12: Jonathan Baggaley, Untitled two framed pigment
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