The Art of Allan Sekula

Photojournalism is the idea of having a photo speak louder than text. The American photojournalist Allan Sekula believes that text oriented photos are necessary in conveying the message as a whole. In conclusion Allan Sekula’s photographic meaning differs from the quotidian photojournalist. He does not believe in the myth of photographic truth. He snapshotted photos of protester and monumental events that had shaken the world he lived in. He was against selling the photos he was photographing and the documentaries he had shot simply because he did not like the means of doing so. He knew how to work the system without being in the system. By having such tactics, he had prerequisite knowledge about how to frame his photos to appeal to the public, without actually having to conform to any order.

This essay will discuss how Sekula avoids “victimization” and “exploitation” in his works. Also, what his views are on the common principles of image ethics and how he goes about them.

Sekula’s principal medium was photography, which he employed to create photography exhibitions in the 1990s, and direct documentary films. However, his secondary medium was the written word, employing essays and other critical texts in concern with his images to create a multi-level critique of contemporary late capitalism (Featured Filmmakers). His forte was the diptych platform of his exhibitions; efficiently using two photographs to expand and propel his message. With the medium of explanations through text depicting the social and geological context of these photographs, he managed to add essential context that enriched his expressions.

According to the national press photographer’s association, photojournalists operate as trustees of the public. Their main incentive is to report visually the significance on the events and viewpoints of today’s world. The need to document society as a whole and to preserve its history is quite eminent. This is where Allan Sekula conforms by avoiding stereotyping individuals and groups. By treating his subjects with respect and dignity. Giving special consideration to vulnerable subjects and compassion to victims of crime and tragedy. He strives to be unobtrusive and humble in dealing with subjects (Code of Ethics). He puts great effort into respecting the integrity of the photographic moment. He as a photojournalist continuously studies his craft and his ethics that guide him to abide by it. This is where he reduces the obsession that photojournalist usually have with beautifying and fetishizing the situation they are not meant to alter.

In one of his most renowned works, a photograph of Kaela Ekonomu is shown. She is a young American anti-globalization activist photographed after she was beaten by the Seattle police during a protest that was held in 1999 (Agenda Culturel). Sekula gave her an identity of a fighter instead of a victim. A resilient creature of some sort. She still seems to have maliciousness in her hidden smile. People in the background are also seen to surrounding her, reassuring the audience that they will not let her go back into battle alone.

By capturing a moment as such and representing it in such ways, Sekula eliminates “beautification” in its definition and replaces it with freedom. He reduces the “victimization” aspects in the sense of placing Kaela Ekonomou on a podium instead of down with the dogs.

Thus, changing the relationship of power and harm in the composition of his photographs.

This is demonstrated with this representation of this uplifting woman express her power who isn’t afraid to face violence because she didn’t believe in the order that was set.

Sekula shows this eminently with the installation of diptychs juxtaposing a bunch of opposing ideas and conceptual aspects of existence.

Critical to Sekula’s work was the relationship between photography and art. In his article “Invention of Photographic Meaning”, he often references Walter Benjamin and his views. Walter Benjamin is a German- Jewish philosopher who encourages art to be unique instead of it being mass-produced. He saw both journalism and photography as enemies of art. He viewed artwork as a unique and precious object. On the other hand, the photograph is characterized by reproducibility. Thus, according to his creed, photojournalism cannot be considered art, and here is where Sekula differs in opinion. If and only If art is the exact representation of nature, then the photographer behind the camera would need to have an objectified view. Thus, making his opinion unbiased.

Nevertheless, Walter Benjamin believes otherwise. Simply the photographer’s choice of angle, makes his art subjective, making it reproducible.

Sekula took matters into his own hands, and recreated his own aspect of storytelling. His black and white sequence of “workers leaving the factory” mimics the 1895 first Frere Lumiere film “Sortie des Usines”. This sequence seems like it is an exact replication of their 30 second beginnings snaps of motion pictures. He found a way to comply with today’s society by making art- mass producible, consequently finding a solution to the dilemma of photojournalism and art.

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