Screen shot 13 02 08 at 01 59
Wii uam Klein: LtiTle Italy. New York. «9J4
Ccrtain dctails may "prick" mc. If thcy do not, it is doubtless because chc photographer ha$ put them thcre intcntionally. In William Klcins "ShinóTucra, highter Painter" (1961), the charac-tcr’s monstrous head has noching to say to mc bccausc I can see so clearly that it is an arcifice of the camera angle. Somc soldiers with nuns bchind them scrvcd as an cxam-plc to cxplain what the punctum was for mc (here, quite clementary); but when Bruce Gildcn photographs a nun and some drag quccns together (New Orleans, 1973), che deliberate (not to say, rhctorical) contrast produccs no cffcct on mc, cxccpt perhaps one of irritation. Hence the detail which interests me is not, or at least is not strictly, intcntional, and probably must not be so; it occurs in the field of the photographcd thing likc ajsupplcmcnt^hat is at oncc incyitablc and dclightful; ir docs not_ncccssarily at-test to the photograt>her!s_acf. it says onlv that che nhotog-rapher was there, or clse, still morę simply. that he could not not photograph the parciał objea at the same timc as the tocal~o5]ccti(how could Kercesz have "separated” the dirt road from the violinist walking on it?). The Photog-rapher s "sccond sighc" does not consist in "sccing” but in being tliere. And above all, imitating Otphcus, he must not turn back to look at what he is lcading—what he is givmg to mc!
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