For assignment 4 I have chosen the black and white image ‘Toy Horse’ (1987) by Abelardo Morell. It has similarities to Eggleston’s ‘Untitled, Memphis 1970 or commonly referred to as ‘Memphis (Tricycle)’. The image was used as the front cover image of ‘William Eggleston’s Guide’. The obvious difference being Eggleston’s was ‘colour’ and Morell’s black and white.
The discussion I want to have is around the following questions: Does the reading of the image change depending on black and white or colour? What was the photographer’s intention? Was he influenced by attitudes regarding the quality and seriousness of colour at the time? What other photographic work was being produced in 1987? Where did Morell fit in the art photography world at the time and subsequently? Is it an homage?
I will briefly describe Morell’s image which has become increasingly intimidating the more I have researched it. Particularly when you know his childhood in Cuba was dominated by the revolution and firing squads. My discussion will be around how black and white influences the reading of the image. I will write a little about Morells work before and after the ‘Childhood’ series to put the image in to context. Need to use academic terminology particularly around Roland Barthes and his work on semiotics.
By comparing Morell’s ‘Toy Horse’ to Eggleston’s ‘Memphis (Tricycle)’ I can introduce ideas and opinions regarding b&w and colour from the likes of John Szarkowski who wrote the essay to accompany the book William Eggleston guide. Szarkowski was also responsible for curating the MoMA exhibition ‘Photographs by William Eggleston’ in 1976. A mention of modernism and post-modernism will also be useful here.
I will then be able to discuss the acceptance of black and white in the photography art world with reference to MoMA exhibitions that were displayed around the time of Morell’s image. I will need to find a quote regarding MoMAs influential position in photography. I will back this up by reference to the influential Edward Steichen who was the first director of photography before hand picking Szarkowski as his successor.
‘The most hated show of the year’ is how a critic described Eggleston’s 1976 exhibition [17]. In 2012 ‘Memphis (Tricycle)’ sold for $578,500. [19] Art is not just valued for being aesthetically pleasing but also for it’s importance and place in the history of art photography. The value of ‘Memphis (‘Tricycle’) is based on it being one of the best examples of a new art movement. De Lara’s describes it well when he states ‘Eggleston’s work epitomizes an entirely new movement in art: in this case the movement that established color photography as a legitimate art form in a time when all serious art photography was black & white’ [19].
There is also an interesting connection in 1992 when MoMA’s director of photography had passed from Szarkowski to Peter Gallassi. The incoming director was involved when an exhibition called ‘Photography Now’ in which Morell’s black and white Light Bulb (1991) was printed on the front page of the exhibition brochure.
I have a limit of 1000 words so I need to be aware of word count used on the MoMA aspect and not lose sight of this being a critical essay on Morell’s ‘Toy Horse’.
My main issue with the image is that it is in black and white and what I want to examine is do I think that Morell made a conscious decision to use black and white because it was the best artistic choice for his subject or was it because black and white was what he did at that time and it wasn’t even a consideration. One argument that I will put forward is that he chooses subjects that work well in black and white. In this case he is re-enacting his childhood which he sees in black and white because black and white was how moments were captured when he was a child.
An article on ‘the iris -Behind the Scenes at the Getty’ discusses the childhood aspect of his work and refers to the use of black and white in the images as nostalgic. Morell explains in this article that “I wanted to suggest the fears and the awesomeness of confronting certain things at an early stage in life”. The author of the piece does not follow this up in detail and describes ‘Toy Blocks (1987) as a looming Tower of Babel but no reference to the Cuban situation of Morell’s early years. ‘Toy Horse’ is not included in the article which is an overview of the ‘Childhood’ series and also makes a brief reference to Morell’s later Camera Obscura work.
This was a positive piece and not a critique so the use of black and white went unchallenged. I suppose it was accepted that black and white was the norm in 1987. Paul Graham discusses his use of colour in an interview with Gillian Wearing in Paul Graham, Phaidon Press, 1996, p12. Graham recollects how his ‘Beyond Caring’ 1984 series was criticised for trivialising the issue of unemployment due to the use of colour. He said he received a lot of ‘flak’.
This suggests that Morell is not a risk taker and was on safer ground with what he produced in black and white. How would ‘Toy Horse’ be read if it was in colour. Would bright primary colours help the narrative and allow the viewer to be the 1 year old child crawling around the floor. Or would more subdued faded colours capture nostalgia and memories. If the image is purely about Brady in 1987 then colour could be regarded as more appropriate especially as childrens toys are colourful. The fact that it is black and white makes the viewer think ‘nostalgia’ and the author’s childhood. From all that I have read and listened to I do not think this was his intention. Maybe it is because I am looking at it in the 21st century that I am challenging its meaning. I wouldn’t make the same judgement for a Cartier-Bresson or a Frank because they were working well within the black and white era.
It also follows that black and white was used because in his words “he saw himself as a beginner photographer”[3]. It had already been acknowledged by Henry Peach Robinson in 1886 that “to a photographer, the addition of colour would only be a complication”. The comparison he was making was between painting and photography in the late 19th century. John Szarkowski, however, was of a similar opinion in 1976 [6], where he doubted there were enough gifted photographers to use colour. Obviously Eggleston was one, in Szarkowski’s view, plus a couple of others like Stephen Shore and ???. All of these were within the street photography genre which, in 1987, Morell had already decided to move on from[2]. In his own words “….” This attitude could well have been the norm 10 years later, especially for Morell’s indoor, staged, still life type work.
Morell completed his Master Of Fine Arts from Yale University in 1981, two years after Philip Lorca diCorcia received his from the same university. It was in late 1986 that diCorcia’s constructed colour tableaus were included in a MoMA exhibition showcasing young photographers whose work represents the most interesting achievements of new photography [18]. All 3 of the photographers included in this exhibition worked in colour using a documentary style that explored ‘the question of narrative’ [18]. It was at this time Morell was producing his black and white ‘Childhood’ series.
The justification of presenting an image in black and white is a major topic of discussion for students and is always challenged by their tutors. My experience of looking at students work is they often submit images in black and white that have poor composition in the belief that it makes it look better. This isn’t a good enough reason and ultimately an unsuccessful image in colour is probably also unsuccessful in black and white. I may need to be less direct with that statement as I will be unable to use a student/tutor example as I feel this would be an inappropriate invasion of their studies. I will try and find a generic quote from an educational journal to back up this opinion.
“Black and white is abstract; color is not. Looking at a black and white photograph, you are already looking at a strange world.” -Joel_sternfeld
My final thought is whether it is an homage or not. The object at the centre of the frame is the same, the viewpoint is the same. There is an element of ‘identity and place’ in both. Eggleston’s is about the scene in front of you. Morell’s is about his past, in my opinion. It is not really about the family home. The overall meaning and narrative are different. Morell’s overall set may be about the home environment but it is more a personal response about spending a lot of time at home and thinking about his own childhood and what the future holds for his baby son. Maybe I will re-read some notes on homage.
In addition the photographic aspect of this assignment there is also the ‘Critical Writing’ aspect to study. I have found some links which give guidance on the do’s and dont’s. I will also need to be accurate with my Harvard Referencing which I have found to be difficult up to now. I will also find out what copyright or attribution rules I should follow if I choose to reproduce an image in the essay.
This has been a very rewarding exercise as my research is helping me determine if I like ‘Toy Horse’ or not. I have also managed to extract it from the series and critique it in its own right by studying it alongside ‘Memphis (Tricycle).
Possible essay titles:
“In the beginning it was all black and white.” Quote from Irish actress Maureen O’Hara
“Black and white are the colors of photography. To me they symbolize the alternatives of hope and despair to which mankind is forever subjected. Quote by Robert Frank
“We don’t live in a world that’s black and white.” Quote by Shannon Elizabeth
Everything is not black and white – various
“Things are not quite so simple always as black and white.” – Quote by Doris Lessing
Martyn Rainbird 