Photography As Art

The question of whether or not photography can be regarded as art is a very tough question.  I have never addressed it myself. But I recently picked up a follower who does beautiful photography and the question forced itself upon me: when does the photograph become a work of art?

To address this question, I will begin with Monroe Beardsley’s definition of the artwork which he proposed back in the 1980s in the last essay he ever wrote on the subject just before he died. Beardsley told us then:

“An artwork is something produced with the intention of giving it the capacity to satisfy the aesthetic interest.”

Beardsley chose his words carefully. He stresses the “capacity” of the work to “satisfy the aesthetic interest.” The object may not, in fact, generate any response whatever. But the notion of aesthetic interest is particularly important. It contrasts with the sorts of interest we take from day to day in ordinary objects, interest that generates feelings of sentiment, fear, anger, lust, or whatever. The aesthetic response when it occurs is distinctive. It results from attention that is focused entirely on the object itself. Eliseo Vivas called this “rapt, intransitive attention” to the object. The object holds our attention to itself and does not let our minds or feelings wander off into memories, associations, irrelevancies. When we look at a Norman Rockwell painting, in contrast, it conjures up all sorts of fond memories of past Thanksgivings, childhood pains, family gatherings, Boy Scouts, Girl Scouts, — complete with a small dog at our feet. These are not aesthetic responses and Rockwell characterized himself as an “illustrator,” not an artist. He knew whereof he spoke.

An artist can produce an object, a painting, sculpture, dance, musical composition, poem, or even a piece of driftwood that demands of us a “rapt, intransitive” response. We behold the object and we become lost in it. Our minds do not wander and strong feelings do not obtrude. We simply feel at one with the object. It approaches the religious experience described by mystics.

Now Beardsley doesn’t say the object always yields such a response. he says, rather, that it is the artist’s “intention” that it have the “capacity” to satisfy the aesthetic interest. He wants us to focus on the artist’s intention — to the extent that we can figure out what that was (and even assuming that the artist herself even knew what it was at the time). We look at the object and we see forms, shapes, colors, relationships that announce the presence of beauty. My new blogger friend is a photographer and her blog contains a number of her photographs that are clearly works of art. They are beautiful. They speak for themselves and need no explanation. In fact, any attempt at explanation is doomed to fail, because explanations involve discursive language whereas the language of art is immediate, intuitive and instinctive. Works of art do not seek to evoke nostalgia, memories of long walks in the woods, past memories of lost moments in childhood. None of these things is present as we simply look and our interest is absorbed by the photograph itself. That distinctive, decidedly aesthetic, response is the only one that seems appropriate.

I do think there are photographs that rise to the level of art. In days long gone the photographer was able to control the finished product as it was developing by altering the time spent on taking and developing the photograph, altering chemicals, etc. In cases such as the photographs of Ansel Adams, for example, the results (even in black and white) were clearly works of art.

Today, with digital cameras — and iPhones! — the artist requires an eye for composition, color, shadow, subject-matter, and the subtleties of form. One can simply point and shoot with a PhD camera (“push here, dummy”) and relish the shot of one’s self (!) or friends, or the lovely spot where we saw the eagle soaring in the deep blue sky. But only the artist is able to capture the moment when all of the pieces fit together and the finished product speaks for itself.

It can happen by accident, of course. In a recent trip to the North Shore with my wife’s niece and her brother, for example, our niece took a photograph of her brother sitting on some rocks at the shore of Lake Superior in the evening with the moon shining on the lake. It was a work of art. The photographer was able to capture just the right moment, when things were aligned and the finished product demands our complete attention. It is a truly beautiful shot.

The Shores of Lake Superior at Dusk

Yes, photography can become art. But it usually falls short because not all of us see with the artist’s eye and it is so difficult for even an artist to capture the precise moment when all things come together; and, of course, there is never any guarantee that those who view the photograph will have an aesthetic response. In a world flooded with images and sounds and diversions surrounding us on all sides there are rare moments when we are willing to take the time to just look and appreciate, allow ourselves to get lost in the picture. It takes imagination, time, patience, experience, and sensitivity. And these things are becoming less and less common. But artists are still among us and they paint, they sculpt, they dance, they play. And they take photographs.

Thank goodness!


I have chosen the title of this post with some fear and trepidation. This is a red-hot topic and there is almost always much more heat than light at the core of the discussion argument. But I do believe that the abortion issue may help us to understand why women would vote for a misogynist such as Donald Trump who regards women as so many trophies to be collected and spoiled in a way only he is privy to. Thus, as we ponder the whys of this election I think at some point this issue needs to be addressed.

The battle between the “pro-lifers” on the one hand and the “women’s rights” on the other comes down to a matter of faith, not reason. This is why the argument becomes so heated so fast. One either believe that life begins at conception or one believes that life begins when the child is removed from its mother. If one does not believe that life starts at conception then there are grounds for the claim that the mother’s rights over her own body are paramount. There is no scientific evidence that either of these claims is the correct one. It all depends on how we define “life.” Those who oppose abortion are convinced it begins much earlier than those who favor abortion. And the courts have determined, somewhat arbitrarily, that is begins after “fetal viability.” Again, there is no evidence that any of these views is the correct one. And since there is no evidence one way or the other the argument comes down to which group has the larger pile of rocks to throw.

The irony, of course, is that many of those who claim to be “pro-life” are also in favor of war and capital punishment which gives the lie to the claim that all life is sacred. And those who argue for women’s rights are frequently quite happy to see women in the workplace held down by a glass ceiling and making less money than the man next to them doing the same job. We are not known for our consistency, we humans.

My thesis advisor at Northwestern, Eliseo Vivas,  wrote a book titled The Moral Life and The Ethical Life in which he said, at one point, “the soldier goes to battle with a heavy heart.” In other words, there are times when we must take another human life. It is a matter of expediency: kill or be killed. St. Augustine insisted that the only time war was justified was to defend oneself and one’s group against direct attack. A “preemptive strike” is not justified. But the moral question is whether the taking of another human life is ever justified. St. Thomas Aquinas tells us that life is a human right and if we take another’s life we forfeit our own and he therefore justifies capital punishment on those grounds. Vivas would say “no.” The taking of a life may be a matter of expediency. But that is not a reason that carries any moral weight whatever. Since we cannot ever justify the taking of another human life under any circumstances (Augustine and Aquinas to the contrary notwithstanding) we can only attempt to reconcile ourselves to the fact once it has occurred: this is a psychological, not a philosophical, problem. The soldier with the heavy heart must somehow learn to live with the fact that what he did was wrong. And societies must seek humane alternatives to capital punishment.

Thus the abortion issue becomes increasingly cloudy as we try to deal with two questions at the same time: when is a human being alive? and once alive are we ever justified in taking that life? I confess that I do not have the answer to either of these questions, though I find the second question the easier one. I think Vivas was correct: we cannot justify taking another life; we can only seek to reconcile ourselves to it if it happens.

In the current frenzy of a political contest unlike any previous political contest I suspect these questions are at the core of the explanation why 30-35% of the  women in this country might want to support such a candidate as Donald Trump: they hope he would appoint a conservative judge to the Supreme Court who might somehow “overthrow” Roe v Wade and make abortion illegal once again. Hillary Clinton is sure to nominate a liberal judge and we will have more abortions and more death, in their view of things. For those who see this election through the wrong end of the telescope, thereby missing all the larger issues, I suspect this argument wins the day for many of the devout — whose faith I shall never question, but only ask that it be recognized as faith, not reason — and wish they would turn the telescope around.