New Orleans, LA
This exhibition of works from NOMA's collection explores photography’s relationship to the world through a diverse selection of photographs that include obstructing elements or remind us that the photograph itself is often an obstruction to the real world.
Since the earliest days of photography, photographers have had a contentious relationship with the real world. Unlike other forms of picture making, in which the author has total control over each element in the picture, every photograph is a negotiation between what exists in front of the camera and what the photographer is willing to include. Some photographers have employed methods to eliminate distracting parts of the picture—masking out sections of the negative, manipulating the print, etc.—but others have chosen to accept everything within the frame, even when certain elements in the picture obstruct others. Still others, especially in the twentieth century, intentionally sought out obstructions, framing the world with bold occlusions that prevent us from seeing part of it.
Sometimes playful, sometimes staunchly conceptual, these photographs draw attention to photography’s dual dependence on the real world and on the photographer, who determines how much of that world we get to see. Even more recently, photographers have begun exploring how the photograph, or even the act of photographing, is itself an obstruction to the real world. This exhibition brings together fine art and documentary photographs, anonymous snapshots, and conceptual works, to explore these various relationships between photography and obstruction.
Exhibition overview from museum website