art history

This is an important book for "so called" documentary writers, photographers, and film makers. I say "so called" because we tend to think of documentary work as an accurate representation--literally the truth. Robert Coles pretty much shoots that idea down, showing how the background, beliefs, biases, hopes, and fears of the documentarian color the narrative. I came away believing that the word objective is not relevant here, and that it may be impossible to ever get at the truth. If I read Coles right, the documentarian may, in fact, be more akin to the literary fiction writer/photographer/film-maker, who does seem to get at the truth. This is not to say that documentary work is futile. On the contrary it can be potent, meaningful, and worthwhile. We may just have to look at it differently and face up to the fact that it reflects the person doing the documentary work as much as it does his/her subject. This is a liberating idea. And we owe a debt to Coles for proffering it. There are consequences, too. For instance, in the light of Coles' discovery, a lot of critics may owe an apology to Richard Avedon, whose photographic fiction, "In The American West," may be fine documentary work after all.