Jeff Wall is an artist renowned for large-format photographs with diverse subject matter. It encompasses urban environments and tableaux vivant that mimics the complexity and size of nineteenth-century paintings. This aspect of his practise lends itself to his training in art history at London’s Courtauld Institute.
Wall started producing large, backlit photographs after seeing an illuminated advertisement from a bus window. He had recently visited the Prado, Madrid, and combined his knowledge of the Western pictorial tradition with his interest in contemporary media to create one of most influential visions in contemporary art.
Wall calls his photographs, after Charles Baudelaire, ‘prose poems’. This description emphasises how each picture should be experienced as opposed to illustrate a pre-determined idea or a specific narrative. His pictures may depict an instant and a scenario, but the before and after that moment are left completely unknown. This allows the viewer to become involved in the deciphering of the photographs meaning. Naturally, it follows that diverse interpretations would emerge upon different audiences responding to his work.
The prose poem format allows any truth claims of the photograph – the facts we expect from journalistic photography – to remain suspended, and Wall believes that in that suspension the viewer experiences pleasure. In addition to the light-boxes, Wall has made, since 1996, black-and-white prints, and has recently begun to print large-scale colour inkjet photographs.
Below are the 5 images of his that I find the most interesting/relevant to my intended body of work. Following that are evaluations and influences for my practice to consider.
Each image is uniquely composed and loaded with societal issues. What is most interesting is that the majority – if not all of these images, were composed by Jeff Wall to convey a particular issue. Yet, without being told that they were ‘directed’ they are assigned a meaning. For example: ‘racism/racial slurs’, ‘apartheid within the USA where segregation of black individuals was prevalent’, the importance of unpaid workers etc. Each of these images, if put on posterd/ads and ran as campaigns would be successful visually for the clear theme they seem to stand for.
My next concern would be of how ethical it is to direct an image that may stand for a prevalent societal issue. The end result would be similar if not identical to street photography however, a lot more instruction and ‘bias’ was involved in the directed photograph.
For my personal practice I wish to envisage the size and scale of the images I take and not wait until ‘printing/post-production’ to consider those factors. In addition, I would like to pay as much detail as possible to what is inside of my frames when shooting – what adds detail, what enhances and what detracts? This is particularly hard when doing fast paced street photography but, it is not impossible.
Jeff Wall was born in 1946 in Vancouver, Canada, where he lives and works.
He has exhibited widely, including solo shows at ICA, London (1984), Irish Museum of Modern Art, Dublin, Ireland (1993), Whitechapel Gallery, London (2001), Hasselblad Center, Göteborg, Sweden (2002), Astrup Fearnley Museum, Oslo, Norway (2004).
Retrospectives at Tate Modern (2005) and MoMA, New York (2007), Chicago Art Institute (2007), Staatliche Kunstsammlungen, Stedeljik Museum, Amsterdam (2014) and Kunsthaus Bregenz, Austria (2014).
Group shows include ‘Super Vision’, the Institute of Contemporary Art, Boston (2006), Documenta 11, Kassel, Germany (2002), ‘The Age of Moderism: Art in the 20th Century’, Zeitgeist-Gesellschaft zur Förderung der Künste, Berlin (1997).