SIGNS ARE PRIMARILY SOURCES OF INFORMATION AND IDENTIFICATION, a utilitarian way of learning who’s who and what’s where. In photography, their primary use can move beyond those roles to become commentary, context, atmosphere, even pure abstract subject matter. As shooters, we all use signs in ways that are not strictly literal but are 100% visual. They are powerful tools.
This is a circular way of saying that, in an image, a sign is never just a sign, but a way of indicating and qualifying place, time, mood. Be it a hand-scrawled “keep out” warning outside a busted farmhouse or a day-glo neon “open” greeting outside a pawn shop, a sign is valuable narrative shorthand. Of course, just like human storytellers, some signs are untrustworthy narrators, undermining what they seem to “say” with the things they imply within an image. Managing their messaging then becomes the responsibility of the photographer, who can use their content to reveal, conceal, or comment as needed.
The sign seen here, announcing the Museum Of The Moving Image in Astoria,Queens, has its letters mounted on a mirror-like surface, allowing the viewer to see evolving street life over his shoulder as he “reads” the characters. It’s both advertisement and illustration, a low-tech demo of the museum’s intent. Like all signs, it’s a prop, a piece of stage dressing, interpreted as narrowly or broadly as you need it to be.
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