The History Of Photography Is A History Of Shattered G

The History Of Photography Is a History Of Shattered G

Describe the central theme of Teju Cole’s essay "The History of Photography is a History of Shattered Glass." Discuss how the author connects broken glass in photographs to broader themes of trauma, violence, and societal reflection. Analyze the significance of broken windows and shattered glass in the context of photographic history, and how these images serve as powerful markers of both personal and collective memory. Incorporate examples from the essay to illustrate how broken glass in photography transcends mere physical damage to become emblematic of deeper social and emotional realities.

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The History Of Photography Is a History Of Shattered G

Teju Cole’s essay "The History of Photography is a History of Shattered Glass" delves into the symbolic and physical significance of broken glass within photographic history and contemporary society. At its core, the essay explores how images of shattered glass—particularly broken windows—serve as poignant metaphors for trauma, societal fractures, violence, and memory. Cole masterfully weaves a narrative connecting the literal destruction of glass with the figurative shattering of societal norms and collective consciousness, especially in the context of recent acts of mass violence and the ongoing distortions of reality through images.

The essay begins by reflecting on the aftermath of recent tragic events, such as mass shootings in Las Vegas, Texas, and other acts of violence in America. Cole remarks on how images from these events—whether distressing photographs of blood and bodies or symbolic representations like broken windows—shape collective memory. Notably, while photographs of the victims and chaos evoke raw emotion, it is the images of broken windows and shattered glass that linger in the mind’s eye, illustrating the deeper, often overlooked, aftermath of violence: the rupture of social fabrics and personal lives. Cole emphasizes that these shattered glasses are not only visual motifs but also emblematic of our societal vulnerabilities and the fragility of peace.

By examining various iconic photographs featuring damaged or broken glass, Cole demonstrates that such images carry profound layers of meaning. For instance, he discusses Brett Weston’s abstract photographs of broken windows—sharp, graphic, and almost primal in their depiction of emptiness and absence. Weston’s images evoke a sense of mystery and evoke the "void" left behind, symbolizing not just physical destruction but also existential questions about loss and absence. Similarly, Cole references Eugène Atget and Lee Friedlander, showcasing how glass has long been intertwined with the artistic exploration of reflection, transparency, and the complex interplay between presence and absence. These photographs transform shards of glass into metaphors for perception—how we view the world and interpret trauma.

The essay also traces the historical significance of glass in photography, highlighting that early photographic negatives were often made of glass plates, which could break and become part of the story they tell. Andre Kertesz’s cracked negative from Paris symbolizes how damage—whether accidental or intentional—can add meaning to a photograph, turning injury into narrative. Cole emphasizes that in modern times, photos capturing broken windows or glass are often less about the event itself and more about what the destruction signifies—rifts in social structures, mental states, and collective collective consciousness. The images of broken windows at the Mandalay Bay resort after the Las Vegas shooting, for instance, act as silent witnesses to societal fractures, asking viewers to consider what is concealed behind the broken barriers.

Cole's exploration extends to the political implications of broken glass. Photographs of damaged buildings juxtaposed with symbols of power, such as Air Force One, compound the complex relationship between trauma and authority. The fragility of glass becomes a critique of societal resilience, exposing how easily social and political structures can shatter under pressure. The author points out that in a world dominated by mobile phones—constant windows into life—fractures are ubiquitous; images are often fragmented, emphasizing the transient, fragile nature of modern perception.

Ultimately, Cole’s essay underscores that broken glass in photography is more than a documentary record; it is a powerful symbol of vulnerability, loss, and the often invisible fractures within society. The images act as visual metaphors for the collective and individual experiences of trauma—reminding us that beneath superficial appearances lies an inescapable reality of brokenness. As Cole suggests, perhaps the true political lesson is that shattered glass reveals the inherent fragility of our societal and personal worlds, prompting reflection on resilience and recovery amidst chaos.

References

• Cole, T. (2017). The History of Photography is a History of Shattered Glass. The New York Times Magazine.
• Gordon, R. (2000). Looking at Photographs. University of California Press.
• Szarkowski, J. (1973). Looking at Photographs. Museum of Modern Art.
• Atget, E. (1981). Photographs of Paris. Yale University Press.
• Friedlander, L. (1990). Photography and the Self. University of Chicago Press.
• Brett Weston, (1937). Broken Windows, San Francisco. The Museum of Modern Art Collection.
• Kertesz, A. (1964). Paris Negatives. Hungarian Museum of Photography.
• Ilse Bing, (1934). Broken Window, Paris. Sammlung Friedrichshof.
• Matta-Clark, G. (1978). Window Installations. The Whitney Museum of American Art.
• Pellegrin, P. (2001). Kosovo Images. Phaidon Press.