Kolobrzeg,
Poland, July 26 1992. (Beach series)
Hilton Head Island, 1992 (Beach series)
Almerisa, Asylum seeker’s centre, Leiden,
The Netherlands March 14, 1994
Almerisa, Leidschendam, The Netherlands, June 25, 2003
All above images are copyright of Rineka Dijkstra taken from her "Beach" and "Almerisa" series' and can all be found either in the Julian Stallabrass text named "What's in a Face" or through the following link...
“I want to awaken definite
sympathies for the person I have photographed.” Rineka Dijkstra (Stallabrass 2007: p.12)
We recently studied Stallabrass' text "What's in a Face" during our Critical Practice module of the photography course. Within this text, Stallabrass compares and contrasts a variety of images in order to highlight how ethnographic methods are used in contemporary art practice and in turn, brings about questions concerning identity and culture. Stallabrass uses Dijkstra's work as an example of this type of ethnographic photography. This is the first time I have come across this work and for me, it is very helpful in terms of objectivity and the subject of identity. Despite the age of the work, it is still extremely relevant to my own ideas, I particularly like the space around each subject (in both series'). I feel this creates a sense of separation between photographer and subject and therefore gives the viewer much more to interpret. It also leaves the viewer a chance to place themselves within the image- they can imagine how they would react if they were the subject. The full frontal "pose" of the subject, and their awareness of the photographer is both uncomfortable and surprisingly ethical. It feels like although the subjects don't necessarily look like they want to be there, they are aware of the camera's presence- they have some sort of choice in this situation and have quite clearly decided they want to be photographed. The spacing around the subject is also interesting because it makes them an exhibition, something to be looked at and studied by others.
What I feel is most interesting about Dijkstra's work when thinking about my own is the way in which her photographs challenge ideas about identity. When placed in a series, you notice the differences between each subject. Take the two top images for example from her "Beach" series. Placing these together, you realize they aren't as similar as first thought. It accentuates the differences between each subject in terms of physical appearance but more importantly how they present themselves in front of the camera. While the Polish girl (top image) seems quite reserved, covered up and uncomfortable, the American girl in the image below appears much more conscious of the camera's presence. She seems to be much more posed and also quite fashion conscious; she has her skin on show wearing a bikini, make up and her hand is posed quite unnaturally next to her face. It is interesting to note here that in the 21st century we base judgements on people based on their appearance and use this as a way of reading their identity. It is the same in photographs. We judge based on appearance. I need to take this into consideration when looking at my own work. Can a single portrait tell the viewer about a person?
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