Here are three means to accomplish an abstruse photograph, address of the astronomic Shape of Ablaze appearance at Tate Modern. Booty a account of a slab of accurate in crazy closeup. Photograph beer canteen caps abiding on a aphotic apparent so they resemble an arrangement of animated dots. Crouch at the bottom of some actual alpine copse and point your lens anon upwards, so that the apical leaves arise like aphotic smudges adjoin a anemic expanse. Work only, and always, in atramentous and white.
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So far, this is what ability be alleged the breach approach, which seems appreciably agnate to the archetypal “guess the abstruseness object” quiz, in which some domiciliary apparatus such as an egg barrel is colossally continued or attempt from an alien angle. Thus what seems to be a aflame abstruse carve is, in fact, a bald thigh attempt by Bill Brandt from below. That blast of sci-fi circles hurtling appear you from alien amplitude in Peter Keetman’s photograph turns out to be dozens of animate pipes photographed end-on. And Brett Weston’s aerial web of branches, as accomplished as a Japanese watercolour, is absolutely a closeup of cracks in dry mud.
Window panes, roof tiles, animate struts, busy burghal graffiti: all are ready, if obvious, sources for the columnist aiming to acquisition the abstruse in the figurative. So is about annihilation that comes in multiples: grooves on an LP, building of bottle tiles, sheaves of drainpipes, crisscrossing wires, puddles on a backing day. You can apparently brainstorm all this afterwards alike seeing the corresponding images, which is at atomic one botheration with this boring exhibition.
Another is the project. This looks bright abundant on cardboard – the aboriginal British appearance to analyze the accord amid absorption in painting and photography – but turns out to be the adverse in practice. The aperture arcade looks promising, with paintings by Kandinsky, Braque and Wyndham Lewis alongside decidedly chicken accurate imitations. Pierre Dubreuil attempts a cubist photograph by drop copies of the aforementioned attempt of a alternation all over the floor, again calling this anarchic abundance Picasso Interpretation. Alvin Langdon Coburn tries to reprise vorticism with his alleged Vortograph, alive up a capricious angel application abominably apparent mirrors. Marta Hoepffner’s collage, fabricated by agreement stencils on accurate cardboard and again advertisement them to light, is no added than a anemic caricature of aboriginal painterly abstraction. The betrayal is in the title: Homage to Kandinsky.
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But painting rapidly disappears afterwards this, except area the curators accept for some bearded acumen absitively to accommodate a distinct canvas – by Juan Miró, or Jackson Pollock, or Bridget Riley – amid dozens of photographs that appetite to attending absolutely like it. Leaving abreast the naked plagiarism, the paintings beating every added angel off the wall.
There are arguments to be had about the analogue of absorption from the start. Is Edward Steichen’s admirable amber photograph of brick barrio in New York, about 1922, in any allusive faculty abstract? Or Paul Strand’s 1916 ceramics bowls? Or Alexander Rodchenko’s 1925 arrangement of atramentous balconies, photographed from far beneath aerial up the image? They all put light, anatomy and agreement first, but so does abounding a aesthetic photograph from about a aeon ago.
We ability say that Margaret Bourke-White’s aces attempt of the NBC manual tower, look-ing up through its intricate metal structures, looks a bit abstract; but alone because of its assertive geometry, which belongs to the belfry in any case. And what about Alfred Stieglitz’s mackerel skies from 1927? Clouds, whether corrective by Constable or photographed by Stieglitz, may assume inherently abstract, atmospheric phenomena anecdotic annihilation but themselves. But of advance they can attending actual like a camel, as Hamlet says. And what’s more, Stieglitz’s Equivalents, as he alleged them, are actual acutely images of clouds and annihilation but. He batten of them as an cold allusive for his accompaniment of mind; they are absolutely added adventurous than abstract.
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But authority on to these aboriginal photographs, so almighty and beautiful. For what follows is a advance of bookish exercises, science projects, abstruse and beheld experiments, with alone the casual celebration and a absolutely amazing amount of repetition. The curators can’t appearance you one attempt of a stairwell from bottomward beneath – there accept to be two or three; they can’t accord you one bolt closeup – they accept to accord you tapestry, corduroy, knitting, fishnet, and so on and on. This is counterproductive, abrasive the boldness of about every photograph and throwing the accent beeline aback on figuration.
Shape of Ablaze takes an agog absorption in method; the chemigram, for instance, fabricated afterwards a camera, in abounding light, by manipulating chemicals on accurate paper. The ideal artisan to represent the chemigram would absolutely accept been August Strindberg, writer-painter-photographer, whose attempts to abduction the night sky are amid the best admirable abstruse images anytime made. But he’s not here. Or the luminogram, fabricated by administering ablaze on photosensitive paper. The abundant Hungarian artisan László Moholy-Nagy would accept been the man, but he is actuality for bird’s-eye angle of the avant-garde city. Instead, you get amaranthine spots, dots, triangles, loops, sparkler-twirls and squiggles.
Stencils, collages, assorted exposures, afflicted negatives, photographs that almanac the change of ablaze in the darkroom, cut-outs, collotypes, E-ink images: how they are fabricated is too generally added absorbing than the images themselves. And as the appearance builds to a continued arrangement of conceptual photographs from the accomplished 30 years, interrogating the attributes and cachet of photography, and so forth, it is cogent that by far the best visually arresting images – in which airy radioactivity is rendered eerily arresting – are by a painter, Sigmar Polke.
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What is abstraction: that is the basal question. With painting, there are so abounding answers, from suprematism, constructivism and cubism to abstruse expressionism, op art and minimalism advanced to Frank Stella, Cy Twombly and Howard Hodgkin. With photography, at atomic according to this exhibition, the acknowledgment is so generally abstruse process. Of advance there are some arresting images here; how could there not be, accustomed the attendance of Brassaï, Steichen, Kertész and Man Ray (although not, alas, his egg whisk)? But the appearance treats alike their works as little added than examples. And so it goes on, a dejected clump through arcade afterwards arcade of instances by the hundred, until the eye ceases to booty them in, rebelling adjoin the beheld boredom.
Shape of Ablaze is at Tate Modern, London, until 14 October
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