Word Count: 3612 BANALOGRAPHY UNRECOGNIZED GENRE OF PHOTOGRAPHY by Tom Kondrat MA Photography Critical Studies 7FTC1027 Tutor: Alessandra Campoli University of Hertfordshire
“The work I will be examining here reflects a more prosaic approach to photographic seeing a fascination with the everyday, a preoccupation with the vernacular, an "ordinary," rather than an "extraordinary" vision. Rather than simply dismissing this as "bad photography," however, I would like to examine the banal
IntroductionTheaim of this critical enquiry is to investigate about the existence of an unrecognized genre of photography that has its beginnings in 1970s. I will present the precursors of this style and talk about the recent revival reinforced by the pandemic. This thesis will include different points of view and various approaches within the movement, as well as a discussion of the general purpose of adding ‘yet another genre’, together with an analysis of its existence within other photography styles. Banalography is only one of the proposed names for it, and although it is not really that important how it is called, I will discuss different names that are used within the photography community. There are also certain traits about this process that might provide therapeutic qualities for photographers which is something I will investigate as well. At last, I would like to answer the question if it is worth it to focus on the ordinary, as there are so many other ‘more interesting’ things to Banalographyphotograph.,in its essence, is a genre of photography that features candid pictures of unarranged, everyday objects. The definition is quite broad on purpose to include various approaches presented by different photographers, but also to define it in a more straightforward way. We will dive into details later when discussing different approaches to banalities.
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3 as an aesthetic category, as a motif and a mode of reception, and to look critically at the embodiment of the ordinary that lies at its heart.” (Shinkle, 2004, p. 166)
DevelopmentWilliam Eggleston is broadly recognized as the precursor of this style. Although he is known for his colour photographs, his interest in the banal started earlier in the late 1950s with black and white photographs taken around his home in Memphis (Fig. 1).
Fig. 1 Sans titre, 1965 1970 © William Eggleston
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“Eventually Eggleston developed his own style which later shaped his seminal work in color an original vision of the American everyday with its icons of banality: supermarkets, diners, service stations, automobiles and ghostly figures lost in space.” (Weski, 2014) His meeting with John Szarkowski led to the “most hated show of the year” (Thorton, 1976, p. 29) as one critic described Eggleston’s exhibition at New York’s Museum of Modern Art in 1976. The exhibition was accompanied by the hard cover book called William Eggleston's Guide which was the museum’s first ever publication of colour photography. Hilton Kramer, another critic of The New York Times called the images “perfectly banal” (Kramer, 1976, p. 62) not knowing at that time, that he has just coined a phrase that will be used to describe not only Eggleston’s work, but also the whole movement that will follow. Perhaps the most significant contribution to banalography was Eggleston’s Democratic Forest published in 1989 (Fig. 2), where he is “at war with the obvious” (Eggleston, 1989, Afterword) and treats the most mundane subjects with the same significance as the most elevated. “I had this notion of what I called a democratic way of looking around: that nothing was more important or less important.” (William Eggleston)
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Fig. 2
The cover of the first edition of The Democratic Forest by William Eggleston At the similar time, in Japan, Takuma Nakahira burnt all his negatives from the ‘Provoke’ era to mark the change to his new photography style. In 1973 Nakahira published Why an Illustrated Botanical Dictionary? where he moved towards a type of photography catalog focused on realism and seeking an objective truth. Year later, his installation exhibited at National Museum of Modern Art in Tokyo Overflow (Fig. 3) included colour photographs featuring details of urban spaces presented in a collage way to show that no one photograph is more significant than others, which was very similar to Eggleston’s approach.
Overflow installation by Takuma Nakahira Stephen Shore is a contemporary of William Eggleston. He is known for his images of banal scenes and objects in the Unites States. He co founded a new movement by participating in the influential group exhibition New Topographics: Photographs of a Man Altered Landscape which could be described as banal landscapes. There are many photographs of the mundane in his book Uncommon Places (published in 1982) and particularly in American Surfaces (published in 1999).
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Fig. 3
Peter Fraser is a British photographer whose “photographs illuminate the ordinary” (O’Hagan, 2017). When he was 15, he watched the movie Power of Ten at school. Fraser has said that “The idea that there is no hierarchical relationship between large and small, as everything in the Universe is made of small things, has influenced much of his work and came directly from seeing this film”. Inspired by Eggleston's work after seeing his exhibition, he went to live with him for few months in 1984. Fraser's most famous book is Two Blue Buckets (published in 1988) where he turns the banal into “everyday revelations” (O’Hagan, 2017).
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Fig. 4 Stephen Shore, West Third Street, Parkersburg, West Virginia, May 16, 1974, 1974.
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Fig. 5 Peter Fraser Lacuna, 2019 Wolfgang Tillmans is a German photographer who lives between Berlin and London. His book that coincided with his solo exhibition at Tate Britain called If One Thing Matters, Everything Matters published in 2003 presents 2,300 works mainly from 1990s that focus on the overlooked details of life. Tillmans finds a “miracle in the backyard, the everyday sublime”. (Millar, 2003) Similar to Nakahira and Eggleston he also doesn’t treat certain things in a more favourable way The Guardian described his work in this way: “If everything matters, then perhaps nothing matters more than anything else. Does it mean that everything has the same
Other photographers worth mentioning include John RJ Taylor and his book titled Ideal Home: A Detached Look at Modern Living (1989) which “is an almost forensic photographic record of his sister’s north London suburban house” (Dewi Lewis Publishing, 2022), Lynne Cohen and her monograph Occupied Territory (1987) which is “ an exploration of space as simulated experience” (Aperture, 2022) and Nigel Shafran with his projects Dad's Office (1999) and Washing Up (2000) where he documented the everyday change of ordinary objects.
Fig. 6 John R. J. Taylor Ideal Home: A Detached Look at Modern Living 1989
9 value both as an image, and as an event? We might find ourselves asking what means more: an image of drying socks or a man's cock or the sun's eclipse? A plate of asparagus, a ripped seat or a pile of gold; a young man wanking or clouds in the tropics or the crowd at the Stop the War demo? Are they all the same? To which the answer, of course, is neither yes nor no. It is both yes and no.” (Searle, 2003)
Genres of photography I found over 130 genres of photography during my online research. There was no mention of banal photography on any of the websites that I looked through. I did find genres like 'Dog Shaming’, 'Lolcat’ and ‘Cloudscape’ though. Photography Genres
There has been a renewed interest in banalography in the recent years. Many artists like Alec Soth (Sleeping by the Mississippi, 2004), Mark Power (Terre à l’Amende, 2021) and David Bate (Zone, 2012) included banalities as part of their projects. Others, like Elena Subach (Chairs 2022) and Teju Cole (Blind Spot 2017) completed whole projects featuring only banalography. Some up and coming photographers include Wendy Morgan, Natalie Christensen (Suspended Animation) and Enoch Ku (Ordinary Sacramento).
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Fig. 7
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Thanks to the recognition of those genres, there is a community connected to all of them, which creates a feeling of belonging among practitioners. It is also easier to search for images and photographers connected to all those categories.
Banalography related groups on Flickr
The community for banalography already exists. There are at least 20 large groups related to this genre on Flickr and the online presence is strong. There is however an issue of recognizing this movement in a more official way. The reason for that is mainly the various understanding among photographers of what banal photography is.
Fig. 8
It is very similar to Wolfgang Tillmans: “When we see a person, we don’t think ‘portrait’; when I look at my window sill I see fruit in a bowl and light and respond to them, I don’t first see ‘still life’. That’s how I want to convey my subject matter to the viewer, not through the recognition of predetermined art
There are also different ways of how artists approach and view photographs of ordinary objects. The first group think of banalities in terms of documenting what is there and showing the realism of everyday life. “As a photographic aesthetic or style, banality could be described as a kind of postindustrial realism, a turn away from the spectacular and an often pitiless focus on its antithesis. It pans out in images as an obsession with the mundane facts of life under Western capitalism and the bland, omnipresent world of commodity culture.” (Shinkle, 2004, p. Takuma167)
In my definition of banalography, I excluded everyday photographs of people on purpose, as it would overlap with other genres like documentary or street photography. A lot of photographers include pictures featuring people in everyday situations as part of banal photography though. I tend to lean toward Teju Cole’s opinion: “The human presence has a way of activating and foreclosing the possibilities so I tended to avoid it. I also think that objects and scenarios and landscapes speak to us, they remind us of things, they create a kind of tension that opens up interpretation of various things.” (Louisiana Channel, 2019)
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Nakahira in Why an Illustrated Botanical Dictionary introduces the quest to portray the objects in a true and real way without the “ideas of those objects” and without “distorting and staining the world by projecting onto it human attributes that are at odds with plain reality” (Charrier, 2020, p. 60)
13 historical/image categories but through enabling them to see with the immediacy that I felt in that situation.” (Searle, 2003) At the same time, Nakahira is trying to convince viewers to “learn to see the world differently” by “connection of individual consciousness directly to the external world”. His point of view takes an almost a spiritual angle. “By short circuiting the self referential ‘I’, consciousness not only becomes part of the world, or ‘filled’ with it, it also impels individuals to ‘overcome’ themselves to become creatively engaged with social and environmental problems. Indeed, Nakahira’s inspiration for the term ‘plant’ or ‘botanical’ (shokubutsu) in his proposed botanical dictionary is a passage from Le proces verbal in which Adam Pollo, in emerging from a prolonged suspension of consciousness, describes himself as having ‘entered the plant stage’ (‘arrive au vegetal’) (BD, pp. 32 33). To Nakahira, the notion of plantness is akin to a sensation of oneness with the world. He states accordingly that Adam ‘became a piece of the world’ (‘ikko no sekai’) so as to gain the ability to regard himself as a ‘reflection’ (‘han’ei’) of the consciousness of others (BD, p. 33).” (Charrier, 2020, p. 63) Peter Fraser approach is slightly different as he tends to get “completely involved with the idea of working ‘poetically’ with a camera rather than as a documentary photographer' (Company, 2017). “Fraser’s work sits uncomfortably in the space between art photography, documentary and conceptualism. He does not quite fit in.” (O’Hagan, 2017) Others see banalography as a byproduct of capitalism. “As a cultural condition, banality is bound up with the material processes of commodity production. Home appliances, commuting, frozen dinners: necessities of modern life, these things also embody a kind of vacancy in the phenomenological register.
Name As I was considering various names for this genre, I was trying to find something that would have certain historical value but at the same time describe it well and sound more modern. I started my search with ‘ordinary photography’. It has by far the highest number of results on Google nearly 160 million (Fig. 9). At the same time though, those results do not fit well with the banalography definition as most of them belong to still life photography category.
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Banal objects lack anima. Most of the time, we do not even register them; they hold our attention only when their presence or absence becomes vexatious. These sorts of mundane objects show up again and again in recent photography and our relation to them is one of habit.” (Shinkle, 2004, p. 169)
Mundane photography has become more ‘popular’ during the covid lockdowns. The number of online articles, as well as mundane photographs increased during the pandemic. Same as ordinary photography, the results did not represent well the movement.
Fig. 9 The number Google search results for ‘ordinary photography’
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Banal photography felt like a good direction, but the name is too long and perhaps not very practical. I asked fellow photographers on photo.net forum what they think about the subject and the names with the hope that together we would be able to come up with something we could agree on. Inoneeye suggested that there is “No shortage of great examples for #banalography on twitter, facebook, tumblr...etc.” (photo.net, 2022). As banalography is being increasingly popular on social media (Fig. 11), it connects with the history, and I believe sounds catchier and fresher than other names, I feel it represents this genre the best.
Banal photography has the most accurate image results on Google (Fig. 10)
The name is also a nod towards William Eggleston, as his first exhibition was described as “perfectly banal” by a New York Times critic. It also directly connects with the works of Eggleston and Shore. Fig. 10 The Google image results for ‘banal photography’
The number posts tagged #banalography on Instagram
Therapeutic prospects I would like to investigate some potential therapeutic aspects of banalography. Countless scientific studies proved that mindfulness “ can significantly reduce the symptoms of anxiety and depression”. (Mental Health Foundation, 2021) When photographing, people often enter a meditative state of heightened awareness which brings the photographer’s attention to the present moment which mindfulness is about. In banalography photographers benefit a lot by entering in this state by being able to notice something interesting in the usually overlooked ordinary things around them. For Peter Fraser it is like a “meditation on things” (Dillon, 2022) He states that he “had always been intensely preoccupied in the now, in the experience of making a picture to the exclusion of the past and the future.”
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Stephen Shore described this state of heightened awareness while going through his day: “I felt more awake when I didn't turn my mind off when I was in a taxi or having dinner, but was actually paying attention to what I was doing at all
Fig. 11
17 kinds of moments during the day. So what happens if I try to maintain that kind of awareness in the midst of life. There's so much to be experienced just in average moments.” (NOWNESS, 2019) For Teju Cole “it really became about the moment that was being held in one’s attention” (Louisiana, 2019). Takuma Nakahira wrote about “entering the plant state” in which he was able to reduce the preconceived conceptions about the world and notice “plain reality” (Charrier, 2020, p. 60). Being present and entering a meditative like state, compared to mindfulness, is not uncommon for banalography photographers.
Fig. 12 Screenshot from the YouTube video Photographers in Focus: Stephen Shore on NOWNESS channel Banalography unlike a lot of other genres of photography has a very low entry level. There is no need for expensive equipment all you need is any kind of camera or a phone. The subject for banalography can be literally found anywhere, including the person’s own home as it has been proven during the lockdowns.
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Unlike with other genres, the weather is not important as pictures can also be taken inside, like in shopping malls, museums or offices. There is no need for any interaction with people like in street or documentary photography which can be helpful for people with social anxiety. That extra motivation to get outside and focus on something different than the person’s negative thoughts, especially while trying to notice and appreciate the little things in life, can be truly helpful during depression. It can definitely help to increase the person’s feeling of gratitude towards the world. The other aspect of banalography is the exercise. Walking, sometimes, for hours is great for improving the mental state, as well as the satisfaction of being proactive and creative.
When I talked to Bryce Evans from The One Project, a community that focuses on therapeutic photography, he expressed a concern about the negative side of posting photographs on social media. In some ways banalography is in its nature immune to some negative comments. If a picture is called ‘banal’, ‘boring’ or ‘ugly’ those are just epithets describing this genre after all and nothing to be concerned about. It could potentially ease the pressure from negative feedback or not getting enough likes.
The ordinary subject Why focus on the ordinary though? After all, there are so many other ‘more interesting’ things to photograph. One could ask what is so special about the banal? People tend to focus their lives on the extraordinary as an escape from
19 their ‘everyday, boring lives’. They dream of beautiful places and things. But doesn’t our life consist mainly of the mundane and even the most wonderful places and objects become ordinary after some time? “'...people underestimate the value of documenting the present, especially the mundane. We hire photographers for special occasions, but don’t really capture the rich day to day experiences that make up so much of our life.” (Ting Zhang, Tami Kim, Alison Wood Brooks, Francesca Gino and Michael I. Norton, 2014) So, wouldn’t the ability to notice and appreciate the beauty in the ordinary moments and things surrounding us all the time enrich our lives? After all, “everything has beauty, but not everyone sees it” (Confucius). And “if each precise object or condition or combination or process exhibits a beauty, it becomes superficial to single out some things as beautiful and others as not. If all that a person does or thinks is of consequence, it becomes arbitrary to treat some moments in life as important and most as trivial.” (Sontag, 1977) So does treating things around us democratically as William Eggleston suggests, isn’t actually a more wholesome way of living? Everything we see in our lives is built from the same chemical elements so if we give merit to some things, we automatically appreciate everything. As Wolfgang Tillmans put it “if one thing matters, everything matters” (Tillmans, 2003) “The real world is physical and immediate and nothing is ordinary, or trivial, other than the mindset that does not know how to see what is really there. We come into the world and we grow up being told what matters, and to what we must offer up our regard; every time that conventionalised way of seeing is contradicted is a liberation of sorts, a first step on the path to discovering what is
as a style has a long history, it consists of various movements within itself, it is represented by renowned artists and supported by a huge community. This is definitely enough for a genre to be officially accepted and recognized. There seemed to be some stigma surrounding banalography due to its mundane subject. I am convinced that it is mainly due to the ignorance. When banalography enters the mainstream of photography that view will disappear, same as it happened with street photography.
20 actual, within ourselves and without, as opposed to what we were instructed to find. Once taken, that first step sets us on the road to a place where everything is different time, space, presence, light, all physical bodies. suddenly, everything is erotic. suddenly, the mere noticing of some formerly overlooked presence is a revolutionary piece of cartography, in which the world is remapped for dwelling, as opposed to the mere existence of the preordained. suddenly, things are as they always were. Real.” (Burnsid, 2013) There is much to be learned from the mundane. “The extraordinary, compelling, honest, beautiful and unsparing photographs all have to do with the quality of our lives in the ongoing world: they succeed in showing us the grain of the present, like the cross section of a tree. The photographs have cut it straight through the center. They focus on the mundane world. But no subject is fuller of implications than the mundane world!” (Eggleston, W. and Welty, E., 1989)
ConclusionBanalography
Fig. 14 Banalography group on Flickr “What's "ordinary" subject matter, anyway? Eggleston's pictures ask. Doesn't life consist largely of everyday rooms, basic objects, and familiar people? And can't those be made mysterious and wonderful and ominous and funny in their own right by a certain way of looking at them?” (Eggleston, W. and Howell J., 2001, p. 14)
It is not important what name people use to call this genre, whether it will be banalography, mundane, ordinary, banal photography or perhaps something else. The definition of banalography might include pictures of people or not, it might focus on the real, show the poetic or spiritual side, treat ordinary as it is or in a special way. At the end of the day, it is not that important. The most crucial thing is that photographers could form a community within which all those discussions and support could happen.
Post about banalography on photography forum photo.net
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Fig. 13
● O'Hagan, S. (2017) Two Blue Buckets by Peter Fraser review everyday revelations. The Guardian. Available at: https://www.theguardian.com/books/2017/apr/04/two blue buckets peter fraser photography book review everyday revelations sean ohagan (Accessed: 25 June 2022).
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● Figure 7 Kondrat, T. (2022), Photography Genres, [image]
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26 Images: ● Figure 1 Eggleston, W. (1965 1970), Sans titre, [image] Available at: https://www.henricartierbresson.org/en/expositions/william eggleston/ [Accessed 10 August 2022] ● Figure 2 Nakahira, T. (1974), Overflow, [image] Available at: https://moom.cat/en/item/the democratic forest 1989 [Accessed 10 August 2022] ● Figure 3 Eggleston, W. (1989), The Democratic Forest, [image] Available at: https://case publishing.jp/en/exhibition/takuma nakahira overflow 1 [Accessed 10 August 2022] ● Figure 4 Shore, S. (1974), West Third Street, Parkersburg, West Virginia, May 16, 1974, [image] Available https://garage.vice.com/en_us/article/ne3gvd/stephenat: shore moma [Accessed 10 August 2022] ● Figure 5 – Fraser, P., (2019), Lacuna, [image] Available at: https://www.peterfraser.net/projects/lacuna 2019/ [Accessed 10 August 2022]
● Figure 8 Kondrat, T. (2022), Banalography related groups on Flickr, [image] Available at: https://www.flickr.com/groups [Accessed 29 May 2022]
2022]
27 ● Figure 9 Google (2022), Google image search results for banal photography, [image] Available https://www.google.com/search?q=banal+photography&client=firefoxat: b AXoECAEQAw&biw=1536&bih=711&dpr=1.25nms&tbm=isch&sa=X&ved=2ahUKEwj3ieTu1sD5AhWvgVYBHStAADkQ_AUod&sxsrf=ALiCzsZIc9YBAD1EnkS9aKc61kcXFBFy_g:1660285875727&source=l[Accessed09August2022] ● Figure 10 Google (2022), Ordinary photography search results, [image] Available at: https://www.google.com/search?q=ordinary+photography [Accessed 09 August 2022] ● Figure 11 Instagram (2022), The number posts tagged #banalography on Instagram, [image] Available https://www.instagram.com/explore/tags/banalography/at: [Accessed 29 May 2022] ● Figure 12 NOWNESS (2019), Photographers in Focus: Stephen Shore, 13 May 2019, [image] Available https://www.youtube.com/watch?v=S1RJ9tVYS_Uat: [Accessed 20 June 2022] ● Figure 13 Photo.net (2022), Banal Photography New Genre of Photography? A Debate., [image] Available https://www.photo.net/discuss/threads/banalat: photography new genre of photography a debate.5529179/page 4#post 5966204 [Accessed 10 August 2022] ● Figure 14 Flickr (2022), banalography group, [image] Available at: https://www.flickr.com/groups/banalphotography/ [Accessed 10 August 2022]