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I Am

Dr Joe Zammit-Lucia www.jzlimages.com

joezl@zlmatheson.com

© Dr J Zammit-Lucia. All Rights Reserved.

Musings on Animal Portraiture … and its role as a Conservation tool

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MAN’S DOMINION Through the ages, human interaction with animals has been based on a solid and unshakeable assumption of man’s superiority over all other creatures. Science describes and explains in human terms, then places Man at the pinnacle of the Linnean tree. Human desires consistently trump consideration for non-human animals allowing us, with a clear conscience, to breed animals for slaughter, experiment on them to feed our knowledge consumption or to develop human medicines, foods and cosmetics, decapitate and skin them for clothing, decoration or pointless luxury goods, hunt them just for our transient pleasure, and so on. At the peak of our selfish (and ultimately self-destructive) anthropocentrism, we continue to expand our numbers, taking over or destroying more and more of the earth and the oceans around us and driving all other creatures to extinction. Even our conservation efforts betray our perceived superiority as we study, tag, move, organize, fence in, breed, release, protect – what has been described as “a concept of Nature that attributes all change to human agency”. Most animals (large animals at least) now live in some sort of captive state or are restricted to nature reserves – the animal

equivalent of the reservations, ghettoes and settlements that the master races created for peoples previously seen as inferior. Our interaction with animals and this ingrained culture of superiority has been the subject of a substantial literature over centuries – from Montaigne and Descartes through to modern and contemporary scholars like John Berger, Linda Kalof and Steve Baker. Many of these authors have also explored the fact that the many forms of animal representation – painting, sculpture, film – reflect and, maybe unwittingly, continue to re-enforce the ‘arrogant assumption of human superiority’. Photography is not immune. ANIMAL PHOTOGRAPHY “The Photographed Animal — Useful, Cute and Collected”. This title of a photographic exhibition and subsequently a book by Ute Eskildsen maybe exemplifies the approach. The animal photographs collected in this volume document the usefulness of working animals, they project ‘cute’ animals and their endearing behaviors – seemingly there only for the purpose of human amusement - or they glorify Man’s

“We’ve had a very arrogant assumption of human superiority and I think that’s what we’ve got to change”

Jane Goodall

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subjugation of animals in captivity or as hunting trophies.

WILDLIFE PHOTOGRAPHY Wildlife photography is, today, perhaps the most widespread form of animal photography. Some scholars see wildlife photography as the modern equivalent of Victorian big game hunting and the colonial attitudes that went with it. We ‘shoot’ and ‘capture’ animals and display the resulting images as trophies – the proud achievement of the intrepid photographer ‘hunting with the camera’. Whether one agrees with this interpretation or not, wildlife photography today has largely evolved as the aesthetic branch of the science of natural history. Grounded in the paradigm of collection, documentation

and education and often surrounded by a technical text, the aim is to showcase and explain the wonders and beauty of nature. Wildlife photography also fails to break out of the assumption of human superiority and distance. The term ‘wildlife’, itself places a barrier; they are there – in the wild (or what today passes for the wild) - and we are here. The use of the collective ‘wildlife’ leads us to view animals not as individuals but rather as specimens of species. The animal as individual is not the subject of the wildlife photographer. Rather the subject is ‘Nature’ or the animal as a thing of beauty. In some wildlife images, the animal, while visible to the eye, may not be visible to the mind. It is objectified or hidden in the blaze of color or the abstract pattern or the species behavior or the romanticized magnificence of Nature that is the true subject of the image. Ben Osborne, Shell Wildlife Photographer of the Year, 2007 explains his winning entry (below) “I focused on the centre of the action, an explosion of texture and colour.” Texture and color are the true subjects of this magnificent image.

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Wildlife photography today is reminiscent of the early Renaissance when the aim was to imitate or hold a mirror up to nature and when art and science were intertwined. BREAKING OUT A number of photographers have broken out of the more common approaches to animal photography. Henry Horenstein’s unusual and mesmerizing ‘Animalia’ images focus on animal close-ups or animal parts showing them as an aesthetic form. The animal as Being is not the subject. Rather these images are ‘still life’ images or studies of form that have animals in them.

Image Copyright Henry Horenstein

Horenstein’s images are reminiscent of Robert Mapplethorpe’s studies of human form. In “Survivors”, James Balog isolated his subjects in studio or studio-like images. His aim was to show how animals were increasingly hemmed in by human encroachment – the consequence of Man’s assumed superiority. Robin Schwartz (image below) created environmental portraits of a range of primates in a human context – as pets, in zoos, learning centers, circuses, etc.

Image Copyright Robin Schwartz

Her approach to these images is the same as one would take to human portraits. Though the human framework of their environment is inescapable, her strong images capture the character and preferences of these animals as distinct individuals. More recent work by Britta Jaschinski (below) also treats the animal as the primary subject. In contrast to her previous work on animals in captivity, some of these images remove context and focus on the animal itself.

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Powerfully, and sometimes hauntingly, she captures the very animality of the animal portrayed.

Image Copyright Britta Jaschinski

With her astounding studio images of monkeys and other animals (below), Jill Greenberg explores the field of animal portraiture in a studio context. These images start to bring us face to face with animals as creatures in their own right.

Image Copyright Jill Greenberg. Courtesy ClampArt Gallery, NY

Here, isolated from any context – human or wild, we start to see animals for what they are – individuals with character – animal personalities (with apologies for the paucity of language that only provides a word derived from ‘person’ to communicate this concept). It is interesting that while many of these compelling images engender respect for these individuals, such respect is rapidly undermined when the animal is portrayed as ‘cute’ or ‘funny’ (image below). The subject immediately becomes an object for our entertainment and amusement. We look down on the objectified subject and our feelings of superiority rapidly come to the fore. The two images juxtaposed below show how fine is the line between respect and ridicule in animal portraiture.

Image Copyright Jill Greenberg. Courtesy ClampArt Gallery, NY

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EQUAL IN THE IMAGE Is it possible to create animal images that push against the ingrained, centuries old culture of human superiority and, if so, what would be the characteristics of such images? Here is a theoretical wish list of what one might consider as elements necessary to create animal portraits the objective of which is to leave the human viewer with a renewed and heightened level of respect for the animal. Images that start to place the animal as a rightful co-inhabitant of our shared world rather than re-enforce, consciously or subconsciously, the viewer’s superiority over the animal subject. 1. The Starting Point It seems to me that attempts to elevate the animal image to a plane of equality with the human animal must take as the starting point human representation rather than conventional animal representation. The human portrait must be the model for any animal image that tempts the viewer to see the animal as equal rather than subordinate. 2. Context The next step is to remove context. Placing the animal ‘in the wild’ creates distance. Placing the animal in a human context can reinforce the impression of control. The ‘studio portrait’ removes

context allowing the subject to be the sole protagonist in the image. 3. Engagement To be effective, such an image needs to engage the viewer emotionally. The objective of the image must therefore be emotional engagement not documentation. Here again, the long history of human portraiture provides many lessons in the devices that can be used to generate emotional engagement. 4. Personality An effective image allows the viewer the opportunity to project individuality and character on to the animal subject. This is what we do with human portraits. We identify with the individual. The creator of the portrait has the skill to manipulate the viewer into projecting character and personality onto the image. The viewer is led to believe that he ‘knows’ the subject even though he does not. It is probably helpful to avoid clichéd representation of animals as ‘cute’ or ‘funny’. While cute and funny are part of the repertoire of human representation – particularly for children – we have seen that these characteristics rapidly undermine respect for the subject. 5. Power Every portrait generates a power play between the subject and the viewer.

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Some portraits objectify the subject or create the feeling that the subject is subordinate and being looked at by the viewer. None of this engenders feelings of equality.

Image Richard Avedon

For a feeling of equality, the subject must have a degree of power in the viewer-subject relationship (above). The subject must project self-confidence; an ability to engage with the viewer or, at the very least, not seem subdued or spied upon by the viewer’s gaze. Here again, human portraiture provides a wealth of history. 6. Mystery Finally, it would be useful if such portraits could create at least a partial sense of mystery about the subject. In viewing animal portraits created in the manner of human portraits, the human viewer will project human characteristics, thoughts and feelings on to the subject.

This is inevitable and, indeed, desirable, if the viewer is to engage with the subject.

But we also live in an age of science and knowledge consumption where it is easy to make the jump from observation, description, classification, study and inference to the delusion of understanding. We start to believe that we ‘understand’ animals. Renowned British naturalist Sir David Attenborough: “there is more meaning and mutual understanding in exchanging a glance with a gorilla than any other animal I know….We see the world the same way they do.” As an example of a scientist throwing scientific method to the wind and slipping into romantic delusion, this is hard to beat. Image Copyright J Zammit-Lucia

“The animal looks at us and we are naked before it. And thinking perhaps

begins there.” Jacques Derrida

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The reality is that we are merely human and can never hope fully to understand animals. The successful portrait will capture that mystery by distilling what John Berger describes:

“The animal scrutinizes [Man] across a narrow abyss of non-comprehension… The man too is looking across a similar, but not identical, abyss of non-comprehension…He is always looking across ignorance and fear.” In ages past, animals were surrounded by a sense of mystery and humans had a heightened respect for them as a result. Our perception of ever-accumulating knowledge has destroyed that respect. Re-discovery of a sense of mystery surrounding animals may help revive our respect for our fellow creatures. IS ANY OF THIS EVEN POSSIBLE? The shopping list above contains a number of blatant contradictions. How can one use that most anthropocentric of art forms – the human portrait – as a model for breaking down the very anthropocentrism that assumes human superiority over animals? How can one tempt the viewer of these portraits anthropomorphically to project individuality and human-like feelings, thoughts and emotions as a way of engaging with these subjects and yet expect him to come out the other end respecting the animals purely for their animality rather than for any similarity to humans?

How can one engage the viewer in an attempt to get closer and have a metaphorical conversation with these animals yet emerge with a heightened sense of mystery and a recognition of our limitations, as mere humans, in ever being able to understand the non-human animal?

Who knows? We are but human and maybe anthropocentrism is the most powerful tool available to be turned upon itself. In the world of animal portraiture I would like to explore the narrow space between the animal as an object or ‘in the wild’ – distant and, by inference, inferior to the human - and the animal as human property or as anthropomorphized or aesthetic object. A space where the conversation is about mutual respect between the subject and the viewer. In this space, the line between animal and human remains sharp and distinct. Yet each deserves equal respect – the animal for its animality, the human for its humanity. In human-animal relations, maybe the next frontier is to move beyond cruelty prevention to a more fundamental respect for the other creatures that are co-owners of this planet.

“We call him an animal but we never knows what it means. He seems a far greater mystery to

me than a clever man” DH Lawrence in St Mawr

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WHY DOES IT MATTER? Our conservation efforts today represent a mere palliation of symptoms rather than a curing of the disease. As we strive to preserve some semblance of natural habitat and fight against the accelerated extinction of species, we are just trying to mitigate the effects of our assumption that we own the world and all else survives at our whim. This assumption that we are supreme and it is only human needs that matter is enshrined in the Endangered Species Act that sets out to preserve species because of their “esthetic, ecological, educational, historical, recreational and scientific value to the Nation and its people.” In other words - for us, not for them.

All conservation efforts will continue to be swept aside in an instant as we decide that there are other human needs that trump our desire to preserve animal and plant life. Human development will clearly justify destruction of the Amazon and our thirst for oil will doubtless require exploration in the Arctic National Wildlife Refuge. The underlying disease is our assumed superiority and total and utter dominion over all natural resources and all other creatures. Only when we can make a slight dent in that assumption can we really say that we have started to cure the disease rather than merely palliate the symptoms of an incurable illness. An illness ultimately fatal to our own species as well as every other.

J Zammit-Lucia

July 2008About the Author Communicating an environmental message and raising money for environmental causes are the stated aims of award winning British conservation photographer Joe Zammit-Lucia. Involved in photography since the age of 16, a qualified physician and an entrepreneur who founded a successful international company, Joe Zammit-Lucia is now a professional conservation photographer based in the UK and the USA. His interest is in exploring how art and photography can help conservation and environmental efforts. Most of his current work focuses on animal portraiture. He is working with environmental organizations on multiple projects around the world. In collaboration with The Nature Conservancy, he has authored “Green-in-Print” – a guide to environmentally-friendly photographic paper. He is both author and photographer for “FIRST STEPS Conserving Our Environment” (Matte Press, 2008) based on a United Nations exhibit. Winner of multiple Awards, his work has appeared in international fine art photography, environmental and other magazines worldwide and is featured in The World’s Greatest Black and White Photography. His solo exhibits have been presented in major public forums such as the United Nations Headquarters in New York and the National Museum of Natural History in Paris among others, as well as in private galleries in Europe and the USA. His work was exhibited in Venezia Immagine on the occasion of the Venice Biennale in 2007. Dr Zammit-Lucia’s images have been selected for the visual branding of the World Conservation Congress in Barcelona in October 2008. The artist donates all profits from his photography to environmental causes.