{"id":2678,"date":"2017-03-14T14:27:34","date_gmt":"2017-03-14T07:27:34","guid":{"rendered":"https:\/\/matca.vn\/?p=2678"},"modified":"2020-03-24T13:59:15","modified_gmt":"2020-03-24T06:59:15","slug":"ban-ve-hinh-thuc-va-noi-dung-cua-anh-xau","status":"publish","type":"post","link":"https:\/\/matca.vn\/en\/ban-ve-hinh-thuc-va-noi-dung-cua-anh-xau\/","title":{"rendered":"The Case For Ugly Photographs"},"content":{"rendered":"
[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]The ugly photograph: Form vs Content.<\/strong>
\nA couple dances and a woman laughs. That\u2019s what a quick glance at Winogrand\u2019s photograph below conveys. But linger a while longer, and the smiling woman transforms. She laughs hysterically, braying. Her ravenous grin opens to a void. Her fingernails, claw-like, grasp her partner. The ebullience of a shared dance takes on a bizarre violence framed by darkness.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/6″][\/vc_column][vc_column width=”4\/6″][vc_single_image image=”2660″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Garry Winogrand, an American street photographer (who hated the term street photographer and simply saw himself as just a photographer), claimed that “every photograph is a battle of form versus content.” Form is the photograph\u2019s structure \u2013 its framing, layers, contours, and the way that it plays with light. Form comprises the visual elements that when combined make the image whole. Content refers to the meaning from the picture\u2019s subjects or objects.<\/p>\n

Intentionally bad form, or ugliness, raises this battle\u2019s stakes. The tension created between form and content in the ugly photograph cracks open norms regarding visual reality, challenging the quotidian and the status quo.<\/p>\n

In an age of omnipresent ‘nice’ images on Instagram, Facebook, and advertisements of all kinds, we are oversaturated by beautiful photographs. Yet, the postmodern world has become increasingly disordered, messy, and opaque. Enter the ugly photograph. Below, I explore the power of the ugly photograph to explore, to compel, and to transform reality in a chaotic world.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Bad form says to break the rules.<\/strong>
\nWRONG. That bold word anchors Baldisseri\u2019s iconic image. If this photograph is so wrong, what is right? Therein lies the tension that Baldisseri\u2019s photograph forces us to confront. Old-school conventions may dictate that this composition is all ‘wrong’ \u2013 Baldessari placed a man in front of a palm tree dead center in the photograph, as if the tree sprung from the man\u2019s head. But if that\u2019s so wrong, Baldesseri doesn\u2019t want to be right. Wrong challenges us to transcend the notion of a right or wrong way to make art. Rather, every piece has its own merit depending on the photographer\u2019s intention. Unshackled from right and wrong, the photographer moves from recorder to creater, and the viewer breaks free of judging photographs based on rigid, antiquated rules.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/4″][\/vc_column][vc_column width=”2\/4″][vc_single_image image=”2662″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Bad form visualizes the nonvisual.<\/strong>
\nPhotography, like painting, speaks a visual language. Yet the photograph, owing to the camera\u2019s ability to harness light, seemingly captures \u201creality\u201d with a higher fidelity than painting. Historically, capturing \u201creality\u201d through photography required adherence to strict rules of how composition, lighting, the use of color, and aesthetics recreated a visual image.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/3″][vc_single_image image=”2663″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”2\/3″][vc_single_image image=”2664″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Yet what if that reality is inherently nonvisual? Or if the reality is so perverse that it remains hidden from the public eye? In the works of Armstrong and Yoshiyuki, bad form creates new visual realities. Both photographs above have traditionally bad technical form \u2013 they are out of focus, poorly lit, and aslant. While neither photograph is within the context of its series, both use bad form and ugliness to take on the nonvisual themes blindness and voyeurism. Through bad form, Armstrong and Yoshiyuki consciously create the otherworldly and typically nonvisual into images. Ugliness, a deviation from traditional photography\u2019s realism, makes visualizing the nonvisual possible.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Bad form makes us raw.<\/strong>
\nWinogrand, speaking to the transience of capturing a moving photographic image, wrote that \u201cgreat photography is always on the edge of failure.\u201d The works of Richard Billingham and Sohrab Hura reveal how by exploring that edge through the ugly photograph, photographers can cast traditional norms in new light.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”2\/4″][vc_single_image image=”2665″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/4″][vc_single_image image=”2666″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/4″][vc_single_image image=”2667″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Billingham and Hura\u2019s photo series have cheap looks \u2013 grainy, blurry, sometimes too bright, sometimes too dark. Much is intentionally wrong, blaringly so like Baldessari\u2019s Wrong. Bad form pushes these photographs to Winogrand\u2019s edge. Billingham\u2019s Ray\u2019s A Laugh<\/em> uses intentional bad form to depict a lower-class British family with levity, joy, and humanity. Hura\u2019s The Coast<\/em>, a series exploring youth in contemporary India, imbues mystery, wonder, and violence into portraits of adventure and young love.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/3″][vc_single_image image=”2668″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2669″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2670″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Bad form fractures traditional notions of love and family in our postmodern world. Rather than romanticizes and beautifying these ideals, Billingham and Hura aim for a more honest depiction of lived reality.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Bad form creates new meaning.<\/strong>
\nThe ugly photograph need not overwhelm or visually disturb to create new meanings. Rudensky, Uibopuu, and Sassen employ another aesthetic approach \u2013 the uncanny. The uncanny photographs often contain strange, mysterious and unsettling atmospheres, like \u201cthe calm before the storm\u201d feel. They possess bad forms that are subtly poetic in details, colors and lighting.<\/p>\n

For example, Rudensky’s pair of images use abandoned places to depict voids, whose centers are anchored with red color (the red curtains and a splash of watermelon). These red moments provide a reference point around which the viewers might infer the images’ meaning.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”2671″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”2672″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Uibopuu and Sassen use diffuse flash lighting to turn seemingly nondescript places into abstract forms that come alive visually. Their colors and details are highlighted and emphasized to the point that make them appear bizarre, as though they were no longer what they represented.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”2\/3″][vc_single_image image=”2675″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2676″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”2673″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”2674″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Upon closer examination, one can tell that these photographs’ bad forms are actually well-meditated. The form in each picture is intentional in order to create a sense of disquiet that makes us linger and question its meaning. Such is the uncanny quality that touches on our subconsciousness and inclination towards the unsettling aspects of our life.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]A new reality.<\/strong>
\nTo borrow from Tolstoy\u2019s Anna Karenina<\/em>, all beautiful photographs are alike; “each ugly photograph is ugly in its own way”. By creating a dissonance between form and content, the ugly photograph creates not records, makes us question rather than offers us answers. Perhaps this paradigm makes more sense in our disordered world. As the pretty photographs becomes more ubiquitous and thus more meaningless, perhaps we need more ugly photographs to help us make sense of it all.<\/p>\n

*Article written by Dorothy Lutz & Dat Vu.<\/em>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”20px”][vc_column_text]Dorothy Lutz is an American based in Da Nang, Vietnam working in foreign policy and can be reached at lutz.dorothy@gmail.com<\/u>.<\/em><\/p>\n

Dat Vu<\/a><\/u> is a Vietnamese born photographer. He received his BA from Wesleyan University in 2015. Currently he is living and working in Cambodia, Laos and Vietnam for a year as a Mortimer Hays-Brandeis Traveling Fellow.
\nFollow him on Facebook<\/u><\/a> and Instagram<\/u><\/a>.<\/em>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]The ugly photograph: Form vs Content. A couple dances and a woman laughs. That\u2019s what a quick glance at Winogrand\u2019s photograph below conveys. But linger a while longer, and the smiling woman transforms. She laughs hysterically, braying. Her ravenous grin opens to a void. Her fingernails, claw-like, grasp her partner. The ebullience of a shared dance takes on a bizarre violence framed by darkness.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/6″][\/vc_column][vc_column width=”4\/6″][vc_single_image image=”2660″ img_size=”full” […]<\/p>\n","protected":false},"author":10,"featured_media":2664,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[36,108],"tags":[901,813,898],"class_list":["post-2678","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-journal","tag-conceptual-en","tag-must-read-en","tag-opinion-en"],"yoast_head":"\nThe Case For Ugly Photographs - Matca<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/matca.vn\/en\/ban-ve-hinh-thuc-va-noi-dung-cua-anh-xau\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Case For Ugly Photographs - Matca\" \/>\n<meta property=\"og:description\" content=\"[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]The ugly photograph: Form vs Content. A couple dances and a woman laughs. That\u2019s what a quick glance at Winogrand\u2019s photograph below conveys. But linger a while longer, and the smiling woman transforms. She laughs hysterically, braying. Her ravenous grin opens to a void. Her fingernails, claw-like, grasp her partner. 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Matca","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/matca.vn\/en\/ban-ve-hinh-thuc-va-noi-dung-cua-anh-xau\/","og_locale":"en_US","og_type":"article","og_title":"The Case For Ugly Photographs - Matca","og_description":"[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]The ugly photograph: Form vs Content. 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