Nohemí  Lugo  Rodríguez  History  of  Photography  Professor  David  Arnold.    

UTA  BARTH:  To  See…  just  to  See    INTRODUCTION    

The  purpose  of  this  essay  is  to  introduce  and  analyze  the  work  of  photographer  Uta  Barth.  She  received  a  BA  from  the  University  of  California  at  Davis   in  1982  and  an  MFA   from   the   University   of   California   at   Los   Angeles   in   1985.   More   biographical  information  is  available  here.        

The  essay  will  cover  her  work  from  “Ground”  body  of  work  exhibited  in  1994  to  her   lasts  exhibited  body  of  work  “Compositions  of  Light  on  White”   (2011).     I  will   start  introducing   her   recent   works   for   the   reader   being   able   to   identify   prevalent  characteristics  in  all  of  her  past  works  as  well  as  new  features.    First,  the  essay  will  focus  in   what   it   is   evident   in   her   photographic   syntax   in   order   to   deep   later   in   her  involvement,  formal  approach,  and  the  true  subject  of  her  work.      I.  PHOTOGRAPHIC  SYNTAX.  DESCRIPTIVE  ELEMENTS.      

“To  walk  without  Destination  and  to  See  only  to  See”  is  one  of  the  last  bodies  of  work  by  Uta  Barth.  It    was  exhibited  in  2010.  The  following  diptych  belongs  to  this  body  of  work:

 (Untitled 10.4)  

 

In  2011,  Barth  displays  other  works  such  as  "And  a  white  line  to  draw  with  light"  and  "Compositions  of  Light  on  White".  The  following  images  are  from  these  collections:  

 

 "And  a  white  line  to  draw  with  light".  ((Untitled 11.5  

 "Compositions  of  Light  on  White".  Composition no. 5    In  different  bodies  of  work  we  can  notice  these  elements  in  common:      

High  key   images  and  dominance  of  white  or   light  colors.  In  the  picture  "And  a  white  line  to  draw  with  light"  we  find  curved  lines,  white  over  white,  predomination  of  straight   lines   and   geometric   shapes.   This   is   common   in   other   bodies   of   work   as  "Ground"  (1994).  From  the  pictures  that  made  it  up,  Ground  36,  38  Ground,  Ground  45,  66  Ground,  Ground  78,   among  others,  had   this   type  of   simple   compositions,   in  which  white  predominates  in  different  tones  revealed  by  the  direction  of  light  .    

       Ground 38 Ground 78 Ground 66 Ground 45  

Use  of  poliptychs  with  harmonic  compositions  which  share  elements  of  visual  communication.  For  example,  in  the  first  diptych  from  "To  walk  without  destination  and  to  see  only  to  see"  we  can  see  the  repetition  of  lines.  His  legs  are  lines  perpendicular  to  the   floor,   the   floor   design   also   shows   perpendicular   lines.   The   tree   is   taken   from   a  vantage  point  that  highlights  the  lines  formed  by  the  branches.  One  can  see  a  contrast  between  tones:  the  shadow  is  dark,  the  floor  is  clear.  There  is  tension  between  the  lines  that  form  the  shadows  of  the  legs  and  the  floor.    However,  the  small  leaves  and  warm  colors  balance  the  composition  and  create  a  visually  harmonic  image.  The  second  image  of   the  diptych   is   complementary   to   the   first  one   through   repetition  and  contrast.  The  leaves   are   repeated,   wavy   lines   instead   of   straight   lines   create   contrast,   the   white  background   creates   contrast  with   the   shade  of   its   legs.   The  diptychs   of   her   bodies   of  work   have   continuity   through   repetition   of   elements   or   through   the   visual   continuity  established  by  the  lines  between  the  two  images.      

Poliptychs  started  to  become  more  common   in  the  work  of  Barth  starting  with  “Nowhere  Near”  (1999)   in  which  Barth  explores  the  movement  from  outer  space  seen  from  the  inside  through  the  windows  of  her  home:    

 Untitled (nw 9)  

 “Nowhere  Near”.  nw  6    

In  this  regard,  Pamela  Lee  (2004)  points  out  that  Barth  started  using  diptychs  and  triptychs  "to  analyze  the  mechanics  of  a  visual  double  take:  that  moment  in  perceiving  the   world   passively   in   which   one   catches   sight   of   a   detail   arrests   briefly   that   vision,  compelling   the  beholder   to   look  again  ".  Thereafter,  almost  all   the  works  of  Barth  are  presented  as  serials  in  diptychs,  triptychs  or  poliptychs  always  exhibited  in  a  horizontal  position.      

Graphics   and   color   combined  with   the   images.   Since  her   first  exhibitions,  but  especially   in   "White   Blind   (Blind   Red)"   2002,   pictures   are   displayed   with   graphic  elements   that   are   central   to   the   message   and   not   just   complementary   part   of   the  museography.      White    Blind  (2002)    

 2.5    

 2.13  

 Blurred   Images.     In   "Ground"   (1994)   and   "Field"   (1995)   there   are   completely   blurred  images,  usually  taken  in  urban  spaces.  These  images  are  composed  of  straight  or  curved  lines  with  an  appearance  of  softness  thanks  to  blur.  We  can  see  circles  formed  by  lights.  Compositions  are  simple,  with  few  elements.    

Presence  of  the  photographer.  Returning  to  her  most  recent  bodies  of  work:  "To  walk  without  destination  and   to  see  only   to  see"  and  "And  a  white   line   to  draw  with   light"  there   is   something   that   can  be   seen  as  unusual   in  her  work   (From  1994  on),   the  very  presence  of  the  photographer  by  including  their  shadow  and  the  inclusion  of  the  human  figure.  We  can  say  that  at  the  time  of  this  analysis,  Barth's  work  can  be  seen  as  a  circle.  In  this  moments  she  has  a  mature  work  which  incorporates  elements  of  her  first  bodies  of  work,  capture  the  essential  characteristics  that  defined  her  style  integrated  in  a  new  collection   which   is   innovative   and   fresh.     These   are   pieces   that   hold   a   thread   of  continuity  with  the  past  works  but  are  fresh,  with  a  new  approach.  Especially,  “To  walk  mostly  without  destination  and  to  see  only  to  see."    II.  PHOTOGRAPHIC  SYNTAX.    DEEPENING  IN  MEANING  AND  FORMAL  APPROACH.    

Recognizing  the  common  elements  in  the  works  of  Barth  is  easy.  Understanding  the  complexity  and  her  approach  to  art  photography  requires  knowing  the  point  of  view  of  Barth  and  her  critics.  In  researching  more  about  her  work,  the  value  and  dimension  of  his  proposal  increases.  Barth's  work  has  several  layers  in  which  it  can  be  interpreted.  However,  an  interesting  thing  about  her  proposal  is  that  without  reading  critiques,  Barth  draws   attention   to   her   simple,   evocative   images,   with   which   visual   power   calls   for  looking.  Her  imagery  is  easily  accessible  to  the  average  viewer  who  at  least  in  intuitively  recognizes   the   focus  of  Barth   in  marginality   and   light.   The   viewer   is   caught  with   such  powerful  images  that  could  actually  see  all  the  time  in  everyday  spaces,  if  essentially  he  would  be  aware.  Thus,  Barth  draws  attention  to  the  act  of  seeing.      

The  involvement  of  the  photographer  is  not  artistic  representational  although  it  may  seem.  When  we  observe  leaves,  everyday  objects  and  spaces,  windows,  trees  in  her  work,   we   might   think   so.   Barth's   work   is   part   of   a   constructed   involvement.   Her  photographs  are  still   life  and  abstractions  achieved   through  different  decisions.  As  we  discussed   in   Module   8,   abstractions   simplify   the   forms   of   a   visible   object.   Barth's  contribution  is  that  this   is  done  through  light,  often  simplified  figures  are  produced  by  light.  “The  Ground  Have  not  literally  series  "event"  or  subject  other  than  the  light  that  falls   on   to   an   environment   ",   said   Barth   (Highs,   11).   While   modernist   abstractions  worked   in   shadows   in   the  past,   Barth   focuses  more   in   light   that   in   shadows  and  high  contrast.  In  "To  walk  without  destination  and  to  see  only  to  see"  we  return  to  see  this.  The  presence  of  the  photographer  is  abstracted,  becomes  shadow  and  line,  produced  by  light:  light  on  the  floor  of  a  street.    

On   the   other   hand,   Barth   does   not   hide   or   disguise   the   reference   as   in   the  modernist   abstractions.   She  does  not  play   to   the   audience   "guessing"   about  what  we  are  observing.  We  can  clearly  see  floor  and  walls.  We  are  able  to  see  that  these  images  are   blurred   cityscapes.   Barth   focus   all   her  work   in     the   process   of   perception,   vision,  gaze,  time  and  light.  She  says:  "The  question  for  me  always  is  how  can  I  make  you  aware  of  our  own  activity  of  looking,  instead  of  losing  your  attention  to  thoughts  about  what  It  Is  that  you  are  looking  at"  (Barth  in  Lee,  2004).  

 With   this   in   mind,   the   photographer   challenges   several   photographic  

conventions.   One   of   the   most   contentious   is   the   issue   of   having   "subject   matter".  Besides   the   already   mentioned,   Barth   achieves   this   through   the   use   of   blur,   which  becomes  a  form  of  abstraction.  Focus   is  one  of  the  photographic  conventions  that  has  evolved  in  photography  Hirsch  (2011)  points  out  how  Julia  Cameron  innovated  with  the  selective   focus   which   nowadays   is   an   essential   part   of   photographic   aesthetics.   The  author  also  mentions  how  the  blur  technique  that  interposes  a  motion  and  uncertainty  in   the  photograph.  He   talks  about  how   the  blur  expresses  and   shows  how   the   loss  of  focus  released  images  from  photographic  accuracy  offering  a  different  representation  of  reality.  Interestingly,  much  of  what  Hirsch  mentions  in  more  detail  about  the  blur  is  not  what   Barth   expresses   using   blur.   She   has   also   extended   the   aesthetics   of   the   blur.  Tomas  Martin  (2000)  explains  that  from  a  structuralist  point  of  view,  a  photograph  is  an  emanation  of  the  referent.    In  his  opinion  an  unfocused  photograph  is  an  emanation  of  the  referent  and  the  lens  being  together,  something  that  sharp  focus  usually  conceals;  then   the   lens   become   invisible.   Based   on   his   opinion,   we   can   say   then   that   Barth   is  challenging  the  way  we  see  through  a  camera  and   it   is  making  evident  that  we  are  so  used  to  the  possibility  of  seeing  all  very  sharp  that  we  forget  this  is  not  the  way  we  see.      

Sheryl   Conkelton   (1996)   explains   that   “The   images   in   the   Field   series   mimic  cinematic   framing   conventions   in   a   subtle   query   of   the   visual   structures   that   imply  movement   or   activity   in   the   foreground”.     Then,   by   focusing   in   the   background,   and  loosing   the   feeling   of   foreground   and  background,   the   spectator   is   invited   to   simplify  and  see  the  enchanment  of  the  image,  to  interpret,  to  look  for  clues…  there  is  confusion  but  a  very  softly  way  due  to  the  aesthetics  of  the  blur.         Barth  also   comments  on  another  photographic   conventions:   time.  Especially   in  “Nowhere  Near”  (1999).  Where  she  took  photographs  for  a  year  from  inside  her  house.  We   can   see   how   light   changes   what   it   is   viewed.   This   somehow   looks   like   a  “documentary”  of  light.  We  know  what  is  outside  but  we  discover  how  different  it  looks  according  to  the  day.  Again,  Barth  does  not  play  very  much  with  the  possibilities  of  the  equipment  to  make  look  something  different.  There  are  very  dark  images  that  could  be  clearer  chaning  ISO  sensibility  and  speed  but  that  is  not  what  the  photographer  need  to  make  her  point.      

White  Blind  (Blind  Red)    2002  is  her  more  complex  work  conceptually  and  one  of  the   simplest   if  we   see     this   repetition  of   trees.   It   is   the   abstraction  of   her   own  work.    When  asked    “what  are  you  working  on  now?  She  answered“  It’s   just  the  tree  outside  my  window”  It’s  not  longer  even  the  window;  it’s  just  the  tree.”  Higgs  (2004).  However,  she  plays  with  the  viewer  deeply.  She  is  not  calling  just  to  see  but  to  be  disoriented  by  seeing.  There  are  many  repetitions  and  suddenly  visual   interruptions  of  colored  panels  or  panels   in   color   that   include  abstractions  of  branches.   It   is  a   constant  experience  of  looking  and  enjoying  in  an  aesthetic  level  but  also  an  intellectual  exercise.      

This  balance  between  a  very  conceptual  work  and  very  powerful  message  in  an  aesthetic   level   is   unique   in   her   work.   It   may   be   explained   by   her   influences.     Barth  declares  that  most  of  her  influences  does  not  come  for  photography.  She  does  not  like  people  simplifying  her  work  comparing  it  to  pictorialism.  She  says  to  Highs  (2004)  that    she  sees  this  as  very  simplistic.  In  the  same  interview,  the  photographer  talks  about  her  influences,  most   coming   from   other   fields   such   as   architecture,   sculpture,   conceptual  art.        CONCLUSION    

Barth's  work  is  innovative  and  has  been  a  cornerstone  of  photography  in  the  late  twentieth  century  and  early  twenty-­‐first  because  of  its  contribution  to  the  aesthetic  and  the  conceptual.  On  the  aesthetic  level,  she  presents  simple  abstractions  which  by  their  color  and  compositional  elements  communicate  on  an  emotional  level  and  not  just  in  an  intellectual   level.   As   a   viewer   there   is   a   feeling   of   harmony,   closeness   and   tranquility  that   I   feel  when   seeing   her   images.  We   can   enjoy   her   images   as   "Experience".   In   the  course   "Language  of  Photography"  we   talk   about  Experience:   “mood,   inflection,   form,  and  rhythm  are  so  integrated  to  the  imagery.  The  resultant  experience  is  as  Important,  if  not  more   so,   than   the   subject  matter   itself   ".   It   is  Not   necessary   to   have   information  about   Barth’s   work   to   be   moved   by   her   images.   As   abstractions,   the   viewer   can  interpret   them   in   many   ways.   Even   if   Barth   has   rejected   it,   the   viewer   can   observe  themes  such  as  an   inquiry  of  her  own  space  and  be   identified  because  she  recognizes  her  own  daily  life,  because  she  is  taken  to  see  the  light  that  usually  does  not  see.  Sheryl  Conkenton  (1996)  comments:    

“In  both  the  Ground  and  Field  series  there  are  multiple  possibilities:  to  respond  to  the  photographs  as  images  of  something,  as  objects  in  a  room  with  particular  visual   and   physical   relationships,   and   as   critical   inquiry   into   the   nature   of  photographic  representation  and  its  limits.”  

The   photographer   challenges   several   photographic   conventions   as   the   vision  itself   and   the   representation   of   time,   the   issue   of   having   "subject   matter"   and   so  advances  the  photographic  language.    Barth  comments  about  perception  and  vision  in  a  clear,   compelling,   intimate   and   accessible   way   for   a   common   viewer.   She   is   able   to  establish  a  perfect  balance  between   form  and  concept.  Her   images  give   the   feeling  of  being  there,  being  part  of,  or  feel  her  authorship  and  voice  in  the  image.  She  does  not  wears  out  making  things  too  complex  dependent  on  tools  and  equipment.  Thus,  returns  to  the  essence  of  the  picture  and  makes  it  her  theme:  view  light  and  portray  light.  

Insisting  on  Beholding.  Body  of  Work  inspired  and  Influenced  by  Uta  Barth.    

   Insisting  on  Beholding.  Untitled  1  

 When   I  was  17   I  wore  glasses   for   the   first   time  and  discovered   that   the  world  

was   not   a   series   of   impressionistic   images   as   I   perceived   it.   Most   of   the   time   I   just  perceived   light,  shadow,  smooth  contours.     It  took  me  until   that  age  to  discover  that   I  needed  glasses  because  for  me  my  vision  was  normal.  Back  then,  I  remember  putting  on  my  glasses  seeing  a  flower  with  an  intense  color  that  could  not  believe.  It  was  perfectly  delineated  too.  The  image  shocked  me  almost  to  tears.  I  learned  to  recognize  the  world  in  this  way.  I  also  became  very  good  observer.  My  need  of  seeing  took  me  to  become  a  good  beholder.    

   

A   few   years   ago,   not   knowing  Barth,   took   some  pictures   of  my  white   shutters  and   a   flower   pot   shadow   projected   on   them,   the   light   of   a   chair   in   the   table   cloth,  etcetera.  My  last  body  of  work  “Cachitos”    (bits)  focus  on  unseen  scenes  of  the  street.  Some  of   these   images,  were   light  on  surfaces.  When   I  discovered  the  work  of  Barth,   I  was  amazed.  I  felt  finding  something  familiar.  I  felt  it  was  like  finding  a  tutor,  a  path  to  walk.    

   Nohemí  Lugo.  2008.  

 Nohemí  Lugo.  “Cachitos”,  2011.  Untitled.    

   

In  this  series,  I  tried  to  take  different  elements  learned  by  observing  and  reading  Barth’s  work.   first   I   intended  to  see  where  we  never  see  as  an  awareness  exercise.  All  photographs  were  taken  at  my  home,  my  workplace  and  the  places  that  usually  walk  by:  near  my  home  or  near  my  work.  I  tried  to  take  from  "Ground"  the  focus  on  light  and  the  carefree  attitude  about  viewers  being  able  to  see  common  spaces  where  it  is  projected.    Unlike  Barth,  who  has  disclosed  no  clear  intention  with  the  space  itself,  I  do    take  up  the  idea   of   inviting   the   viewer   of   my   own   space   to   share   with   him   my   subjective   and  abstracted  view  about    what   I  usually  see.  The  series  also  takes  from  "Nowhere  Near"  the   concept   of   time.   As   seen   in   “Nowhere   Near   “   the   light   changes.   This   is   a   direct  reference  to  Barth  in  the  images  of  the  windows.  These  are  from  my  backyard.  In  part,  they  make  a  bit  of  derision  to  the  idyllic  images  of  the  trees  we  see  in  the  work  of  Barth.  In  this  case,  we  see  everyday  things:  a  broom,  a  bathtub  for  my  baby,  hanging  clothes.  This  points  to  my  own  current  personal,  geographical  and  cultural  reality.    

The  outdoors   images   of   the   series   retake   "To  walk  without   destination   and   to  see  only   to  see"   in   two  senses:   the   insistence  on  the  act  of  seeing  and  photographing  everyday  so  and  ignored,  sidewalks  and  floors  are  usually  marginal   in  our  view,  as   it   is  heaven  on  many  occasions.  We  look  ahead,  look  at  the  floor  not  directly  and  sometimes  just  not  to  fall.  We  may  be  thinking  and  even  though  our  look  is  directed  to  the  floor,  we  do  not  see  it  because  “it  does  not  offer  anything  interesting  to  look”.  As  in  the  backyard  photos   from,   the   series,   in  my   photographs  we   can   see   not   only   idyllic   elements   like  flowers.  There  is  a  cigar  throw  away  by  the  side  of  beautiful  flowers  fallen  from  a  tree,  pineapple  husks  are  a  waste  that  ironically  beautifies  the  space.    

 In   a   stylistic   level,   images   intended   to   be  minimal,   with   few   elements.   In   the  

entire  series  can  be  seen  images  closer  to  Barth  and  ultimately  images  that  only  works  for   inspiration.   The   series   also   has   a   subtle   influence   of   Laura   Letinsky,   from  whom   I  take  the  idea  of  alluding  to  human  presence  without  any  actual  human  figure  portrayed  in  the  scene.      Sources    Barth,  Uta.  Nowhere  Near.  (2000).    Los  Angeles:  Acme.      Conkelton,   S.   (2000).   “Uta   Barth   in   conversation   with   Sheryl   Conkelton,   1996”.   In  Between  Places.    Henry  Art  Gallery.    Conkelton,  S.  (2000).  “In  Between  Places”.    In  Between  Places.    Henry  Art  Gallery.    Higgs  M.  (2004).  “In  conversation  with  Uta  Barth”.  Interview.  Uta  Barth.  Paidon.    Hirsch,  R.  (2011).  Exploring  Color  Photography.    China:  Focal  Press.  Fifth  Edition.  

 Lee,  P.  (2004).  “Uta  Barth  and  the  Medium  of  Perception”.  Survey.  Uta  Barth.  Paidon.  Martin,  T.  (2004).  “A  little  Background  Noise”  (Excerpts).  In  Between  Places.    Henry  Art  Gallery.    Tania   Bonakdar   Gallery.   Uta   Barth.  http://www.tanyabonakdargallery.com/artist.php?art_name=Uta%20Barth    Uta   Barth.   Biography.     http://www.guggenheim.org/new-­‐york/collections/collection-­‐online/show-­‐full/bio/?artist_name=Uta%20Barth