Richard B. Woodward essay - South Central - Mark Steinmetz
Richard B. Woodward essay - South Central - Mark Steinmetz
Richard B. Woodward essay - South Central - Mark Steinmetz
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Photographs are puzzles. Many can be solved to our satisfaction in the the time<br />
it has taken to make them; when the things photographed and the motives of the person<br />
(or computer program) responsible seem transparent, guileless, “straight,” we write our<br />
responses in pen. Other photographs require penciled answers and some detective work<br />
to be understood. However effortless tripping the shutter may be, arresting time is not a<br />
simple act, and the questions triggered by any image multiply the further it recedes into<br />
the past as information about who, what, why, where, how is garbled or lost and the trail<br />
of clues goes cold.<br />
<strong>Mark</strong> <strong>Steinmetz</strong>’s photographs of Knoxville, Tennessee in the early ‘90s are far<br />
more enigmatic than by rights they should be, given their proximity to our time. Taken<br />
over a two-year span, in a historic period that he calls “after Reagan and Bush and before<br />
Clinton,” they depict the city’s inhabitants at their daily and nightly routines. The people<br />
in <strong>Steinmetz</strong>’s pictures drift in and out of the frame and bear no clear relationship to him<br />
or to each other, a style that has served generations of photographers who prefer to stand<br />
apart from a subject and wrap themselves in a cloak of invisibility.<br />
Circumstance in part dictated this approach. <strong>Steinmetz</strong> found himself teaching at<br />
the University of Tennessee where he knew almost no one. He could claim familiarity<br />
neither with Knoxville’s geography nor its inhabitants. At the same time, though, his<br />
strategy was also deliberate. He wanted to work in reaction to the younger group of<br />
photographers featured in the 1991 exhibition called “Pleasures and Terrors of Domestic<br />
Comfort” at the Museum of Modern Art, a group identified by the show’s curator, Peter<br />
Galassi, as favoring an intimate, confessional style toward portraiture and the world.<br />
More intrigued by the British photographers Chris Killip and Graham Smith,<br />
whose pictures delve into harsh social conditions as well as personal idiosyncrasies,<br />
<strong>Steinmetz</strong> patrolled Knoxville at the economic margins. He compiled a haphazard index<br />
of faces he saw while he walked or drove the streets—“people passing through the city,<br />
hitchhikers to whom I gave a ride.” In most cases he asked before taking a picture.<br />
Some people he photographed a few times. “But I didn’t know them,” he stresses.<br />
“I didn’t want to pretend that I had some insider access. I wanted to be outside.”<br />
His judicious sense of distance from these random characters, most of them<br />
pictured without the usual status marker of a particular job or neighborhood, and drawn<br />
in <strong>Steinmetz</strong>’s lovely sfumato palette, lends to the selection an out-of-time dreaminess.<br />
Historians can usually fix a date on an image by piecing together evidence from many<br />
sources. The giveaway may be the jacket on a man’s back or the stylish part in a<br />
woman’s hair; or buildings, commercial signs, highways, flowerbeds, a tree that sprang<br />
up or vanished at a known time.<br />
Knoxville is a small city (population 585,970 in 1990) and unknown territory to<br />
me. But I’m guessing that even those for whom it’s home would have difficulty assigning<br />
<strong>Steinmetz</strong>’s pictures a year or address. Certain details indicate that he was photographing<br />
when people with little money still telecommunicated, when out of doors, at pay phones<br />
(plates 2, 70, 81). Satellite dishes had become a sideyard blight (plate 79) and American<br />
cars were still the norm for Tennesseans.<br />
And yet <strong>Steinmetz</strong> has gone out of his way not to define time and place with too<br />
much precision. Most of these people don’t seem grounded in the ‘90s. The slender black<br />
woman holding a hand to her face in bright sunlight (plate 58) might have stepped out
of a Walker Evans portfolio from the ‘30s. <strong>Steinmetz</strong> appears to be acknowledging one of<br />
America’s dirty secrets: despite the promise of upward mobility for all, the lives of many<br />
families do not appreciably improve over the generations.<br />
Like characters in folk or rock ballads, the people in his pictures float on a sea of<br />
troubles that for the moment hasn’t drowned them. Some have started families and are<br />
settled down; others seem to getting the hell out of town to try their luck elsewhere. The<br />
majority are white, still on the upslope of fifty, and not well off. They’re perhaps one dire<br />
medical checkup away from eviction and perhaps homelessness, a real economic danger<br />
for millions of Americans then and now. A man lying on the rocks beside a stream may<br />
already have fallen off the grid (plate 34). Any number of young children or teenagers in<br />
these portraits could be next.<br />
<strong>Steinmetz</strong> knows better than to think that photography can suggest a solution to<br />
a crisis of this scope. Tub-thumping, policy papers, and summary ironies are not his style.<br />
Nor does he presume to understand these people’s “stories.” Some appear pleased he<br />
was there with his camera; others barely tolerate his presence. His pictures offer only<br />
a fair and tender regard for them as individuals. They circulate without being fenced in<br />
by anything in the photograph. The black man with the American flag curled around his<br />
forearm like a toga or a bandage (plate 70) is not asked to represent faith in his country<br />
or the lack of it. He has simply agreed to pose while in the middle of his job, raising or<br />
lowering the nation’s colors, here rendered in black-and-white-and-gray.<br />
Woven into the sequence of portraits is also a shrewd appreciation for Knoxville’s<br />
animals and their importance in people’s lives, no matter what their station. The kitten<br />
curled up on wood chips that opens the book is probably going to have it as rough as any<br />
drunkard or stoner who chooses to call it a “pet.” A mother hen and her chicks crossing<br />
a road by a freeway underpass maintains a sense of order and decorum (plate 9), and a<br />
squirrel upholds its lush, furry tail even after becoming road kill (tif).<br />
Ever since he exhibited in “New Photography 9” at the Museum of Modern Art<br />
in 1994, <strong>Steinmetz</strong> has been someone to watch. His quiet patience and cool empathy<br />
recalls Robert Frank, William Gedney and Robert Adams, as well as his contemporaries<br />
Thomas Roma and Judith Joy Ross. But in his unhurried and self-administered pace<br />
<strong>Steinmetz</strong> has walked alone. A book of photographs has been overdue and worth the<br />
wait.<br />
James Agee in “A Death in the Family” and Cormac McCarthy in “Suttree” have<br />
plumbed the lower depths of Knoxville. <strong>Steinmetz</strong> has given us his own fictional version<br />
of the place and its characters, one that is no less bleak for being like so many other cities<br />
in America. The joys and hope expressed by the people in these pictures may be of a low<br />
order by most standards, but the strength of their presence lingers long after the cover is<br />
closed.<br />
--<strong>Richard</strong> B. <strong>Woodward</strong>