Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.

The War at Home

The reform of cities spaces and housing has been a key issue with campaigners on the left for more than a century. These campaigns have found allies in the work of socially committed photographers from Jacob Riis at the turn of the twentieth century to Margaret Morton and Camilo Jose Vergara today. Globally the current phase of neo-liberalism has brought its own issues to the city as ‘regeneration’ strategies dispossess the urban poor in areas that are potentially lucrative to real estate development. In this process known as ‘accumulation by dispossession’ large profits are accumulated in the process of dispossessing people of their land, rights and homes. Central to the theoretical component of this paper, is an interrogation of contemporary ideas on the production and photographic representation of urban space. The research hence questions photography’s ability to make ‘legible’ the key drivers of today’s emergent terrains and to visualize their connections to the networks of power and capital that articulate the current political economy (Sassen 2011:36). One strand here will be the ‘fleshing out’ of the cultural practices behind photographers mediating urban development (Jones 2013: 1.2). Alongside current corporate depictions historical precedents will be discussed. Photographers as far back as Charles Marville in Paris of the 1850’s have documented urban reconstruction (Kennel 2013). Often employed by those undertaking the demolition, these photographic images frequently suppress certain narratives of the unbuilding process. Acting as a propaganda tool they eliminate the impact on the lives of inhabitants or the economic realities driving the valorization of reconstruction schemes (James 2004). Reformist documentary images have also played their part in justifying large-scale urban reconstruction that involved the eventual displacement of existing communities (Rose 1997: Blaikie 2006). Focusing on the gentrification of social housing in Pendleton, Salford (Greater Manchester) the presentation will explore the artists’ own work through a critical discussion, photographic images and excerpts from site writing they’ve undertaken in the area since 2004. It asks can an alternative photographic and visual strategy provide a meaningful political counter narrative to combat persuasive corporate discourses on ‘urban revitalization’? The paper will explore strategies and techniques of witnessing and ask whether these types of record can counter neo-liberal visualizations that mediate the material transformation of city areas. Can such representations begin a critical conversation about the nature of urban change and who benefits from these transformations (Wyly 2010)? Can we develop this critical photography into a type of practice that moves beyond generalisations and talks about social relations though an ‘explicit analysis of society’ (Rosler 2004:195).

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.