Modernism and postmodernism represent two diametrically opposite approaches to working with images, their meanings, and concepts of truth in photography. As defined in the book "Photography: A Critical Introduction" by Liz Wells, modernism is based on the assumption that photography has certain properties that allow it to reveal the essence of reality through the clarity of form and unique characteristics of the medium. Modernist photographers considered themselves authors and were convinced that the camera was able to offer an adequate vision of reality. Unlike modernism, postmodernism questioned the reliability of representation, rejected any notions of truth, and used techniques such as appropriation, staging, and constructed realities.
Alfred Stieglitz: The Photographer Who Embodies Modernism Stieglitz's work in modernist photography demonstrates that, in the early twentieth century, the photographers attempted to prove that their photos have formal qualities, meaning, and the capacity to convey some deep ideas. For example, his photo The Steerage (1907) consists of clearly visible geometrical elements, which makes it possible to assume that it was carefully composed. However, Stieglitz's main goal was to show that a picture of the steerage could convey the essence of the class struggle, movement, and other aspects of reality. Equivalents is another series created by Stieglitz in the 1920s–1930s that demonstrates modernist approaches.
According to the photographer, the photos from the series show clouds that reveal inner states and emotions. Therefore, the photos can be perceived as metaphors of the photographer's thoughts, which proves that his work is guided by the idea that a combination of vision and the nature of photography can be used to convey some universal meanings. It should be stressed that Stieglitz's approach corresponds to the modernist philosophy that implies a strong belief in the image and its properties, the authority of the artist, and the possibility of revealing the essence of reality and the self.
Jeff Wall: The Photographer Who Uses Postmodern Strategies Postmodern photographers like Jeff Wall reject the notion of the photographer's authorship and the existence of any unique, objective truths. His works demonstrate that even photos that seem to depict real scenes are usually carefully constructed and edited. For instance, A Sudden Gust of Wind (after Hokusai) (1993) looks like an ordinary photograph depicting the interaction between several people. However, it turns out that the photograph was created using digital means. Moreover, the picture combines modern reality and a historical scene depicted by a famous Japanese artist Hokusai.
The use of the postmodern strategy of appropriation allows to draw attention to the complexity and diversity of the process of creating an image. Mimic (1982) shows another interesting approach to postmodern photography. The picture captures a brief moment in the life of two African-American men who meet on the street. Nevertheless, it was carefully staged, and Wall tried to recreate the moment of racial tension. Thus, the photograph shows how images are created through certain processes, which cannot be considered natural.
The comparison and contrast of the works by Stieglitz and Wall demonstrate fundamental differences between modernist and postmodern approaches to photography. While Stieglitz was focused on achieving perfection and revealing the essence of reality, Wall used artificial methods to create his pictures. Even though they were presented as natural, they showed the extent to which images can be fabricated and manipulated by photographers. Another difference is related to the concept of appropriation used by Wall. In his opinion, photographs should be considered in the context of the history of art and cultural processes.
All in all, it should be concluded that postmodern photography uses many strategies, including appropriation and staging, which help to reveal the constructed character of images. Modernist photography, on the contrary, focuses on revealing the truth through a particular artistic approach.
The tension between modernism and postmodernism isn't just theory — it shows up in every frame.
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