Cultural Cohesion (82 page)

It is a small book but makes a substantial supplement to his indispensable
Diary of a Century
, which chronicles his work in black and white and proves him to have been the first great lyrical celebrator of human beings at play. In black and white the relatively short exposure time enabled him to capture movement. In autochrome he couldn't do that, but his joyous personality still comes bubbling through. He had an inexhaustible supply of pretty girl acquaintances trying out new scooters, dashing brothers who built flying machines, etc. Perhaps other photographers were similarly blessed, but Lartigue knew exactly what to include in the frame and when to press the button or squeeze the bulb. Highly endowed with a knack for what Cartier-Bresson was later to call the guess, Lartigue could see a
punctum
a mile off. He could see
puncta
in clusters. In other words, he had a self to express.

As time increases the total number of photographers and it becomes increasingly obvious that there is no room for all of them to express themselves, it may become permissible to suggest that documentary interest is a sufficiently respectable interest for a photographer's work to have, and that if a photographer can go on getting good documentary results for a long time then he is artist enough. To have such a point conceded would make it easier to save some of the masterly but less than outstanding photographers of the past from an otherwise inevitable public revulsion against the indigestibly strident claims made for their seriousness.

The Photography of Max Yavno
, for example, is a book well worth having. Yavno has been taking thoughtful photographs since the 1930s. Not all of them are as striking as his famous 1947 picture of the San Francisco cable car being swung on the turntable by its balletically swaying attendants. The picture adorns the jacket of this book, is superbly reproduced in a plate within and features in just about every anthology of photographs published in the last thirty years. It should be possible to allow a man a few such happily sought-out and taken chances without trying to find the same significance in the rest of his work, which the law of averages dictates will be more
studium
than
punctum
. Luckily, the mandatory prose-poem captions (once again it is hard to suppress a blasphemous twinge of regret that James Agee and Walker Evans ever got together) are largely offset by an appended interview with Yavno in which he reveals himself to be admirably, indeed monosyllabically, unpretentious. Except when generously reminiscing about his fellow veteran practitioners, he keeps things on the yep-nope level, Gary Cooper style.

Much the same applies to
Feininger's Chicago 1941
, in which Andreas Feininger, in a lively introduction written forty years later, keeps his ego perhaps excessively within bounds. Forgetting to inform us that he was a Bauhaus-trained intellectual who personally invented the super-telephoto camera, Feininger gives humble thanks that he was obliged to view Chicago with the fresh eye of the displaced European. Here are parking elevators at a time when cars were just about to lose their running boards, Union and Dearborn Stations when the silver trains still ran, Lake Shore Drive before Mies van der Rohe built his apartments and the kind of skyscraper that Stalin copied and that now exists nowhere except in the Soviet Union. Feininger presents his lost city without any accompanying verbal elegies.

The Weston family tends to be less taciturn.
Cole Weston: Eighteen Photographs
enshrines the colour work of one of Edward Weston's sons. Like Brett Weston, another son, Cole seems to have inherited from his father a deep sense of mission. As is recounted in Charis Wilson's introduction to this volume, Edward Weston had Parkinson's disease and young Cole had to help him work the camera. It's like reading about Renoir
père et fils
—an apostolic succession. On the other hand it is not like that, since the painter and the filmmaker each had a separate, fully developed artistic vision which makes their blood kinship remarkable, whereas one suspects that for photography to run in the family is no more startling than for carpentry to run in the family, as a craft to be learned rather than an inner impulse to be bodied forth. Nonetheless, here are sumptuous colour prints of California surf, Nova Scotia fishing coves, Utah aspens and similar Americana. A close-up of rust on a water tank looks like abstract expressionism, showing that painting still has its pull despite all the disclaimers. Also a nude lady seen from the same angle as the Rokeby Venus reclines on an old stone staircase in Arizona. She looks exactly like a confession that the staircase would not be very interesting without her.

Cole and Brett Weston take you back to Edward Weston, to Paul Strand, to Minor White, to Ansel Adams—to every master photographer, in fact, who has ever gone out into the American landscape and tried to isolate a clean piece of nature within his metal frame. Some of the results are collected in
American Photographers and the National Parks
, edited by Robert Cahn and Robert Glenn Ketchum. The pictures are arranged chronologically, starting with a William Henry Jackson study of Yosemite Falls in 1898. Jackson got a terrific action shot, in colour, of the Yellowstone Great Geyser in 1902. Edward Weston's Zabriskie Point picture of 1938 reminds you of just how good the old man was at waiting for the right shadows. The Ansel Adams pictures will be familiar to most readers but still stand out. They don't stand out so far, though, as to convince you that subject matter is anything less than very important. Even for Adams, to pursue too closely the light patterns on a cactus was to court inanity. In Barthes's terms, the referent adheres. If it doesn't, you've got nothing.

Adams deserves our lasting respect for the reverent skill with which he photographed a mountain, even though a modern amateur with up-to-date equipment might fluke a picture not entirely risible by comparison. After all, Adams knew what he was doing, and could do it again. So could Paul Strand when taking pictures of clapboard houses. Nevertheless
New England Reflections, 1882–1907
features, among other things, enough clapboard houses, photographed with more than enough verve, to set you wondering whether that particular form of architecture ever needed Paul Strand to bring out its full beauty. All the pictures were taken by the three Howes brothers, who formed themselves into a commercial outfit and toted their tripods around New England persuading people, obviously with profitable results, that great moments in life should be permanently recorded. The glass-plate negatives having miraculously survived to our own day, here is the permanent record. It is a fascinating little book which Richard Wilbur honours with a foreword that you might wish were longer, since Wilbur's distinguished, visually fastidious sensibility is exactly what such material requires to give it a proper context. But Gerald McFarland provides a useful historical introduction and anyway the pictures are so rich themselves that you would be drowning in
puncta
even if you didn't know where and when they came from.

All seems in order, even the home for the handicapped, whose inmates have formed up for a serene group shot as if Diane Arbus did not exist—which, of course, she as yet didn't. Here is the irrecoverable past only a few inches away. Some of the buildings are still intact, so that inhabitants of New England who buy this book will be able to stand in the right spot and look through time. Paradoxically, the Howes brothers were just going about their everyday business, with not much thought of preserving a threatened heritage, whereas Atget, who had a Balzacian urge to register his epoch, saw much of what he photographed destroyed within his lifetime, and if he were to come back now would find almost nothing left.

If a photographer wants to express himself but fears that his personal view might be short on originality, originality of subject matter is one way out of the trap. The only drawback to this escape route is that the number of subjects, if not finite, is certainly coterminous with the known universe. Already most topics are starting to look used up. In
Man as Art: New Guinea
, Malcolm Kirk has persuaded an impressive number of New Guinea natives to pose in full warlike and/or ceremonial make-up and drag. Thus we are able to observe, in plate 74, that a Western Highlands warrior male called Nigel resembles, when fully attired for battle, Allen Ginsberg in blackface with a Las Vegas hotel sign on his head.

Some of the pictures are stunning, or at least startling, but there is no denying that the natives have shown at least as much invention as the photographer, whose skill in lighting them and pressing the button can scarcely be compared to theirs in caking their skins with clay, inserting bones in their noses, and pulling on their grass skirts. Nor, more damagingly, is there any denying that we have already seen most of this in the
National Geographic
, albeit on a smaller scale. Much of the justification for these big picture books is that they give you big pictures, but there is also the consideration that what looks appropriately dramatic when bled to the edges of a full page in a magazine starts looking emptily pretentious when pumped up to folio size. Not only is it bigger than the negative, it's bigger than the reality. In real life you would learn all you need to know about Nigel without going quite so close.

Still on the
National Geographic
beat,
Rajasthan: India's Enchanted Land
comprises pictures by Raghubir Singh which suggest that its title might not be a complete misnomer, although for at least this viewer the
puncta
which are obviously meant to be bursting out of such a picture as “A Gujar Villager, Pushkar” remain defiantly quiescent. Far from being amazed that a man with a turban is wearing a watch and smoking a cigarette, I'd be amazed if he were not. More exciting, or less unexciting, is another shot in which all the village males, after a hard day's work supervising the women, are rewarding themselves by sucking popsicles. There is a foreword by Satyajit Ray to remind us that for Indian artists of all kinds Rajasthan is a fairly resonant part of the subcontinent, but you can see how a foreign photographer with a reputation to make might want a more jazzy angle.

In
Falkland Road: Prostitutes of Bombay
, Mary Ellen Mark shows how this can be done. She moved in with the eponymous hookers, became part of the scenery and ended up by reaching such a level of acceptance that the girls and their clients allowed her to photograph them
in flagrante
. The results are unlikely to put you off sex, with which the activities in Falkland Road seem to have only a parodic connection, but they might well put you off India. The girls work in cubicles the size of packing crates and perform their ablutions in a bucket. Hepatitis hangs in the air like aerosol spray. For the alert customer the whole deal would be a bit of a downer even if Ms. Mark were not poised in the rafters busily snapping the action. The intrepid photographer contributes her own introduction, in which she spends a lot of time conveying her deep affection for the girls without ever raising the topic of whether she, too, might not be said to be drawing sustenance from the sad traffic, and in a much safer way. Still, Cartier-Bresson photographed whores in Mexico in 1934.

Already responsible for nine books, Ms. Mark was born in 1940 and graduated from the University of Pennsylvania. Susan Meiselas, author of
Nicaragua
, is a Sarah Lawrence graduate who does not give her age but can safely be adjudged even younger than Ms. Mark. Both women are getting well known fast, not because either of them is Gisèle Freund or Lotte Jacobi reborn but because they both know how to get in and get the story. Ms. Meiselas's story is the Nicaraguan version of with-Fidel-in-the-Sierra, down to and including the berets, Che moustaches and .45 automatics triumphantly raised in adolescent fists. “Yet unlike most photographs of such material,” says an accompanying note from John Berger, “these refuse all the rhetoric normally associated with such pictures.” Not for the first time one wonders how Berger, inventor of the purportedly illuminating concept “ways of seeing,” actually does see. His eyes certainly work differently from mine, which find Ms. Meiselas's every second picture laden with rhetoric. But despite more recent reports from Nicaragua, one concedes that the rhetoric might be, in this case, on the side of the angels. Nor can it be gainsaid that people calling on themselves to be courageous often behave rhetorically. Who looks natural when nerving himself for battle?

Photographs, according to Barthes, never entirely leave the world of words. In
Visions of China
Marc Riboud's photographs taken between 1957 and 1980 constitute, even more than Eve Arnold's recent volume on the same subject, a reminder that if we know nothing about the background we might well make a hash of interpreting the foreground. Orville Schell's introduction makes much of Riboud's supposed ability to see past the rhetoric to the reality beneath. Certainly Riboud got off the beaten track and managed to hint that not all was harmony, but it should not need saying—and yet it does—that he got nowhere near recording the full impact of the Cultural Revolution, which we were allowed to see nothing of in the form of pictures and have since had to hear about in the form of words. Most of these words were emitted between sobs, since those victims who survived are often unable to recall their sufferings with equanimity.

This fact should lend additional significance to such a photograph as plate 89, “Student Dancer, Shanghai, 1971.” It shows a radiantly happy girl being inspired by the mere presence of Mao's little red book. But in this case the
punctum
, instead of crossing from the photograph to the viewer's mind, travels in the other direction. Today's viewer will have heard that the Chinese ballerinas were sent by Mrs. Mao to have their muscles ruined in the fields. The dancers were already suffering at the time when Shirley MacLaine, a dancer herself, was wondering, in her television documentary about China, why the Chinese looked so happy. The viewer haunted by these considerations is unlikely to look on Riboud's photograph of a Chinese dancer as being anything more edifying than a pretty picture.