Dead Troops Talk
Jeffery Wall is a 66 year old Canadian artist who was born in Vancouver on September 29, 1946. Growing up in Vancouver, he often uses the cities many industrial and urban characteristics as the backdrop of his photos. He attended the University of British Columbia, as well as Courtauld Institute of Art in London. While at the art institute in London, Wall studied art history with T.J. Clark, a Manet expert. This art history background plays a role in his works.
Wall is best known for his gigantic back-lit photographs using a technique called Cibachrome, in which film transparencies are reproduced onto photographic paper using positive-to-positive dye destruction. Cibachrome uses 13 layers of dyes that are then sealed into polyester based paper. Polyester allows the colors to be more stable, and to resist fading and discoloration longer than traditional paper.
While Wall was an undergraduate at the University of British Columbia he began experimenting with conceptual art. However, it wasn’t until 1977 that he produced the first of his cinematographic photographs for which he is most known. He staged most of his photographs for the purpose of conveying specific messages, mostly referring to philosophical issues and the history of art.
In the 1990’s Wall stopped solely staging his photographs and began implementing digital manipulation. Dead Troops Talk (1992), is one of Wall’s first photographs using this technique, and is also one of the most influential. What sets this image apart from his previous works is the use of digital manipulation. He frequently used actors, staged sets, and productions crews to create his “one-frame-cinematic productions”. Giving actors detailed background on the characters they were portraying. In the case of this image, actors were photographed in individual sections and then digitally assembled to simulate the outdoor scene. This was cutting edge technology at the time.
Dead Troops Talk shows 13 wounded Soviet soldiers, who have just been killed, lying in a trench. The scene showing gore and dismembered body parts is incredibly detailed, realistic, and disturbing. The sub-title reads, “A Vision After an Ambush of a Red Army Patrol, Near Moquor, Afghanistan, Winter 1986”. What makes the image unique is that all the soldiers are re-animated, conversing in what Wall calls, “dialogue of the dead”. Each soldier is displaying a different reaction and emotion to his fate. One soldier looks on in terror at his surroundings, not noticing that his fingers and the top of his head have been blown off. Another recruit playfully rides one of his comrades piggyback, while a third dangles a piece of flesh in front of them. This combination of ultra realism and dark humor illustrates how everyone reacts to situations differently, no matter what situation it is.
This image does not directly refer to a historical event, but to something deeper. It speaks about the destructiveness of violence and war and shows an uncensored glimpse into the horrors of warfare. Dead Troops Talk is Wall’s commentary on war photography in the media. Showing the “real” thing (being his piece), versus what the media shows. It tells how censored and misleading the media can be. Depicting war in a light that genuine documentary war photography cannot.
Each soldier’s expression could represent the many different opinions and stances people have on war. The pained and horrified soldiers could resemble anit-war. Some soldiers appear apathetic to their fate, resembling parties that do not care about how gruesome war is. Another possible interpretation is that these are the actors taking a break between takes, although this is unlikely. With the amount of detail shown, one would assume that Wall would have included a stage light or camera in the photo.
This piece is influenced by past wars fought and by documentary war photography. These influences are reflected in the positions of the soldiers, their expressions, and by what one takes away after viewing the photo. That war is hell and how awkward it is to find it humorous.
I found this piece very powerful. The brutal honesty of depicting what war really looks like stopped me in my tracks. The photo causes the viewers to bring their own emotions into play when analyzing it, and that’s what makes it powerful. The viewer will instantly be able to relate in some way because of the multiple emotions shown. The dark humor that is included makes the piece much more digestible. It contrasts with the graphic violence causing both aspects to be better understood.
This pieces inclusion of digital manipulation is a positive thing in my opinion. It allowed for Jeff Wall to position each person is the exact way he wanted with the exact expression needed to properly depict the scene he imagined. It works perfectly and conveys a strong message, while still leaving room for interpretation.