Grok My Enthusiasm (33)
August 24, 2016
One in a weekly series of enthusiastic posts contributed by HILOBROW friends and regulars.
I’ve long been fascinated by instances in visual culture when carefully managed illusions are emphatically punctured. At the end of the 1971 film Two-Lane Blacktop, for example, the final image is gradually obscured by a growing burn-out spot, as though the reel has stalled in the projector while the heat from the lamp overpowers the polyester substrate; at that moment, the viewer can only focus on the physical material that has been conveying the illusion all along. Various approaches to revealing a form’s technical apparatus have been heavily theorized and employed since at least the 1930s in film and theater, but the trope was less well-worn in still photography, which is why I love two early examples in that medium — one in a 1935 promotional booklet, Color Sells, touting the benefits of advertising in Condé Nast’s magazines; and the other in the first-ever “Camera Issue” of Vogue (a Condé Nast title) released in June of 1941.
The cover of Color Sells shows several dimly lit figures maneuvering lights, arranging props, and otherwise milling around a group of three brightly illuminated beauties promoting beach towels, while the Vogue frontispiece features a similar aesthetic, providing a glimpse of another photo studio, “full of confusion, people, and machines,” as the caption notes. Both images bristle with tripods, stands, bulbs, and cords, but I find it pleasantly dizzying to consider the equipment that lies beyond these tableaux — the additional unseen machines providing the illusion that illusion is hereby being exposed.
These two photographs overlap with a decade of fervent analysis of the political ramifications of cultural production, when the now-stock notions of the alienation effect, aura, and the culture industry were first introduced. But what to make of images such as these, which supply not a critique, but an embrace? Here, the various devices are the real models, while the actual ladies merely dress the set, props illustrating the marvels of these stages that manufacture drama for the printed page. Vogue’s “Camera Issue” included a back-of-book page detailing the technical data behind each and every image in the edition — the specs of the camera, lens, filter, exposure, aperture, and even the wattage of the lighting used to create the magazine’s signature glamour — but Color Sells, its predecessor, divulges even more, in a way: the booklet is devoted to educating the potential advertiser on how a color image can stoke the reader’s desire. While Vogue’s fashion editor and detective theatrically confer over a choice of jewels in the foreground’s darkness in the 1941 image, Color Sells reproduces a glorious spread of diamonds and precious stones, with a headline noting that “Color Portrays Jewels to Justify Cost.” Sumptuous images of silver, makeup, tableware, liquor, and objets d’art follow, accompanied by explanations of how such finely wrought reproductions help “open the pocketbook.” The extravagant glamour of the fashion magazine as we know it began in this era of early color, and so I’m particularly amused by these contemporaneous apparatus-revealing images, which provided both the advertiser and the reader with fleeting, shadowy visions of the artifice behind the artifice — a world of illusion without end.
GROK MY ENTHUSIASM: Rob Wringham on THE THEORY AND PRACTICE OF LUNCH | Gordon Dahlquist on WEEKEND | Joe Alterio on MILLION YEAR PICNIC | Adrienne Crew on LA BARONNE EMILE D’ERLANGER | Josh Glenn on THE SURVIVAL SAMPLER | Alix Lambert on THE SKIES BELONG TO US | Adam McGovern on PENELOPE and CHAVEZ RAVINE | Rob Wringham on THE LYKE WAKE WALK | Mark Kingwell on NORTH STAR SNEAKERS & GWG JEANS | Gordon Dahlquist on FELLINI SATYRICON | Erik Davis on AH! | Devin McKinney on WHISPERING AFRAID | Mimi Lipson on 1973 SEARS ROEBUCK CATALOG | Jessamyn West on MOSS | Josh Glenn on THE SCOUT HOW BOOK | Brian Berger on SLACKER | Alix Lambert on ABSOLUTE BEGINNERS | Chelsey Johnson on MONOTREMES | Devin McKinney on THE BUTCHER COVER | Flourish Klink on ONE DIRECTION | Gordon Dahlquist on FULL METAL JACKET | Allegra Huston on CLOTHESLINE | Jenny Davidson on POWERLIFTING | Evan Narcisse on REZ | Deborah Wassertzug on VEGETARIAN MEATBALLS | Chris Spurgeon on WALLACE AND GROMIT | Mandy Keifetz on BENEFICIAL MICROBES | Annie Nocenti on MARKS ON WALLS | Molly Sauter on THE GREAT BRITISH BAKE OFF | William Nericcio on LAND OF THE LOST | Dan Fox on “VOICE OF GOD” RADIO DJS | Brandi Brown on WIKIPEDIA TALK | Claire Lehmann on THE APPARATUS REVEAL | Alice Boone on COSTUME JEWELRY | Colin Dickey on WIDESPREAD PANIC | Anshuman Iddamsetty on THE FULL BODY PROJECT | John Hilgart on MAKING GRATEFUL DEAD ALBUMS | Rob Wringham on STEVEN UNIVERSE | John Overholt on DECKLE EDGES | James Hannaham on HABIT PATTERNS | Jessamyn West on THE PUBLIC LIBRARY SYSTEM | Adam McGovern on THE SPACE GIANTS | Brian Berger on MEDIUM COOL | Chris Spurgeon on THE DUNNING-KRUGER EFFECT | Joe Alterio on TABLETOP WARGAMING | Mimi Lipson on TRASH PICKING | Jason Grote on CZECH CINEMA | Roxane Gay on AUTOMATED CAR WASH | Dan Fox on JULIA DAVIS | Amy Thielen on BINGO | Steph Burt on FEIJOA.
FIVE-O YOUR ENTHUSIASM (2Q2021): DARK SHADOWS | MANNIX | GET SMART | THE ADDAMS FAMILY | I DREAM OF JEANNIE | & 20 other Sixties (1964–1973) TV shows. FERB YOUR ENTHUSIASM (1Q2021): STEVEN UNIVERSE | TOP CAT | REN & STIMPY | SHE-RA AND THE PRINCESSES OF POWER | DRAGON BALL Z | & 20 other animated series. CARBONA YOUR ENTHUSIASM (2020): “Sex Bomb” | “Going Underground” | “Soft South Africans” | “Typical Girls” | “Human Fly” | & 20 other Seventies (1974–1983) punk singles. KLAATU YOU (2020 weekly): ZARDOZ | METROPOLIS | DARK STAR | SINS OF THE FLESHAPOIDS | SOLARIS | & dozens of other pre-STAR WARS sci-fi movies. CONVOY YOUR ENTHUSIASM (2019): THE TAKING OF PELHAM ONE TWO THREE | ROLLERBALL | BLACK SUNDAY | SORCERER | STRAIGHT TIME | & 20 other Seventies (1974–1983) action movies. SERIOCOMIC (2019 weekly): LITTLE LULU | VIZ | MARSUPILAMI | ERNIE POOK’S COMEEK | HELLBOY | & dozens of other comics. TUBE YOUR ENTHUSIASM (2018): LOONEY TUNES | THREE STOOGES | THE AVENGERS | ROCKY & BULLWINKLE | THE TWILIGHT ZONE | & 20 other Fifties (1954–1963) TV shows. WOWEE ZOWEE (2018 weekly): UNISEX | UNDER THE PINK | DUMMY | AMOR PROHIBIDO | HIPS AND MAKERS | & dozens of other Nineties (1994–2003) albums. KLUTE YOUR ENTHUSIASM (2017): THE KILLERS | BANDE À PART (BAND OF OUTSIDERS) | ALPHAVILLE | HARPER | BLOW-UP | & 20 other Sixties (1964–1973) neo-noir movies. #SQUADGOALS (2017 weekly): THE WILD BUNCH | BOWIE’S BAND | THE BLOOMSBURY GROUP | THE HONG KONG CAVALIERS | VI ÄR BÄST! & dozens of other squads. GROK MY ENTHUSIASM (2016 weekly): THE THEORY AND PRACTICE OF LUNCH | WEEKEND | MILLION YEAR PICNIC | LA BARONNE EMILE D’ERLANGER | THE SURVIVAL SAMPLER | & dozens more one-off enthusiasms. QUIRK YOUR ENTHUSIASM (2016): “Tainted Love” | “Metal” | “Frankie Teardrop” | “Savoir Faire” | “Broken English” | & 20 other Seventies (1974–1983) new wave singles. CROM YOUR ENTHUSIASM (2015): DARKER THAN YOU THINK | THE SWORD IN THE STONE | OUT OF THE SILENT PLANET | THIEVES’ HOUSE | QUEEN OF THE BLACK COAST | & 20 other Thirties (1934–1943) fantasy novels. KERN YOUR ENTHUSIASM (2014): ALDINE ITALIC | DATA 70 | TORONTO SUBWAY | JOHNSTON’S “HAMLET” | TODD KLONE | & 20 other typefaces. HERC YOUR ENTHUSIASM (2013): “Spoonin’ Rap” | “Rapper’s Delight” | “Rappin’ Blow” | “The Incredible Fulk” | “The Adventures of Super Rhyme” | & 20 other Seventies (1974–1983) hip-hop songs. KIRK YOUR ENTHUSIASM (2012): Justice or vengeance? | Kirk teaches his drill thrall to kiss | “KHAAAAAN!” | “No kill I” | Kirk browbeats NOMAD | & 20 other Captain Kirk scenes. KIRB YOUR ENTHUSIASM (2011): THE ETERNALS | BLACK MAGIC | DEMON | OMAC | CAPTAIN AMERICA | & 20 other Jack Kirby panels.