Letinsky Still Life With A Glass And Oysters Analysis

This essay will explore themes and symbolism expressed in the still life photography of Laura Letinsky. This will focus largely on ‘Untitled #1, 2008’ (fig. 1) and the series it is part of: ‘The Dog and The Wolf’. In particular, it will explore the influence of Dutch classical painters, and how Letinsky both incorporates and contrasts these influences within her practice and symbolism. It will also consider the social connotations of the photography, and issues around the time that Letinsky may be addressing. The similarities and differences between her work and the images of other photographers will also be explored, while also observing how Letinsky has constructed her images in ways to mould the viewer’s emotions and understanding towards
The paintings show the food before consumption, when it appears most appetising and conventionally beautiful. Capturing fresh objects emphasises the owner’s wealth and makes the composition look more desirable and appealing. A clear example of this is Jan Davidsz de Heem’s ‘Still Life with a Glass and Oysters’ (Fig. 2). The food shown is prepared and ready for consumption. Everything included is free of imperfections, because that is how it is believed it should be. In stark contrast, Letinsky captures scenes after the meal has been consumed, showing what is left behind. Although Letinsky states that this is to capture unconventional beauty, there are other reasons and interpretations behind these photographs. In the classical paintings, the food displayed would have been eaten fully and no waste would have been left due to the large costs involved in acquiring each item. Photographing the waste left behind could be interpreted as the modern way of displaying wealth. Since most foods are now affordable and accessible to the masses, being able to buy more than enough, to the point it becomes wasted, is the new sign of wealth, in comparison to the times in which the paintings were made. Although this may not have been Letinsky’s intention when creating the images, food wastage had been steadily increasing for many years before the images were created. Cheap prices had created a modern habit of overbuying, that then led to greater excess. In 2012, just four years after ‘The Dog and The Wolf’ series was created, the annual cost of food waste for a nuclear family in America was $1,365 to $2,275 (Gunders, 2012). Although this may not have been the interpretation that Letinsky aimed to create, there are hints that she has considered a similar idea. The name of the series: ‘The Dog and The Wolf’ not only refers to the French phrase alluding to twilight, but is an Aesop fable. In the