Photojournalist Harry Benson is renowned for being at the coal face of celebrity culture, capturing candid and moving images of his subjects. When deconstructing this image it is essential we refer to the significant and historical context, surreptitiously informing what I believe is Benson’s personal viewpoint on Barbra Streisand and celebrity culture in general.

The horizontally framed black and white image allows us to take in the whole scene of Streisand’s live performance in Central Park, NY in 1967. Positioning three elements of fame side by side, each with their own truth; the performer, the enforced protector and the audience. Visually reinforced by the rule of thirds they represent equal parts to the triangle of celebrity in this image, for they do not exist without each other, despite their differing vantage points.

The free concert ‘A Happening in Central Park’ on Saturday 17th June 1967, was orchestrated to bring Streisand to her 135,00 fans as ‘A gift to New York’, it would also provide content for her first live album and a television special. 300 police officers were drafted to attend however due to a last minute State visit only 30 remained as a police presence on the night.

This concert was the last time she performed live in public until her comeback 33 years later in 1994. The reviews whilst not scathing did allude to her forgetting a number of her songs and ‘rambling tales’ in between(1). Streisand conceded when interviewed(2) “I wasn’t charming or cute about it, I was terrified”. She blamed the pressure on the show’s mishaps due to concerns with her own safety after criticism she received on the release of publicity photographs for the film ‘Funny Girl’(3).

The stage, simply constructed with plexiglass stairs with a 200 foot track that extended out into the audience dominates across the horizontal centre third frame. It reveals to us the flimsy supporting legs and hollow underside, increasing in depth as it crosses the frame and rests under Streisand, could this be Benson’s generalised opinion to the transparent emptiness to fame and/or Streisand also. Whilst the function of the stage is to elevate her so she is seen more clearly, it transcends in meaning and provides a distinction between ‘her and ‘them’, both physically and metaphorically. It highlights how our star subject is being watched from all angles, languishing between the worlds of those that want a piece of her and those that are paid to keep her safe.

I questioned if Benson harboured sympathy towards Streisand, with her size fairly small in the frame illuminated by the lighting that is positioned so close, suggesting isolation and loneliness. However through the over exposure of her face and it’s mannequin-esque quality I believe it to be synonymous with what Benson see’s as the personal transformation of Streisand under the glare of fame, with the airbrushed face she presents to the public.

On a platform not unlike the plank on a pirate ship, she isn’t however there by force or accident. She sits, singing into her microphone with one foot carefully positioned out in front. Her foot laid flat in her heeled shoe and straight on showing purpose and control, this says to me that she chooses to be there by her own admission and accepts the consequences of her choices. Benson recognises this by capturing her open mouthed, her look is less attractive, more predatory as she devours her microphone and by extension of that, her audience. Commenting on this image he has been quoted as saying (4)

“...Streisand looks like she is Frankensteins mother here or something. She shouted at me to ‘Fuck off,” because I was not doing the angle she wanted....”

He had taken Streisand’s Portrait two years earlier in 1965 when his colleague interviewed her. It was alleged she excused herself half way through and never returned to resume the interview (5).This had to have informed his opinion of her prior to the Concert. Might this reference to ‘Frankensteins Mother’ be evidence of his indifference and why he chose to ignore her request and capture her from this angle instead.

Moving through the frame, the faceless Police Officer standing hands on hips facing the stage between the audience and performer allows us to see what he see’s, which being central in the frame is the risk he personally takes. This sandwiching effect informs along with his uniform he is her designated protector, standing between her and danger. He is not in focus unlike Streisand and this informs us he is her inferior, as our eyes travel towards our elevated subject who is illuminated and in focus. His stance is interesting to me, it shows one of apathy towards the moment, possibly one who is feeling unthreatened and in control as he watches on or maybe someone who isn’t aware of the danger they place themselves in, maybe an element of all three. The photographer has allowed space for us to ruminate on these possibilities and his role by not allowing us to see see the Policeman directly or with clarity.

The audience to Streisand’s left are largely indiscernible under the rigged lighting, possibly suggesting how blindsided to celebrity they really are. They are seated, motionless, looking transfixed. Those in the audience seated closest to the stage would see its empty underside and referenced connotations as described above, although they would be distracted and rewarded by their proximity to the performer. The majority of the audience, those seated a little further back and those watching on television would see from a polished angle perpetuating the glamour of celebrity.

We see one or two figures in the audience holding their arms to eyes suggesting the use of binoculars to get an even closer, magnified look.This is repeated by the burly figure in front of the stage who is possibly using a camera rather than binoculars to capture his target, although one could successfully argue it looks like he is taking aim at something with a gun holding stance. Both examples where we see the hunter versus’ the hunted, another aspect of celebrity. Above all this in the top third of the frame we see the Natural World. The tree’s, the night sky, serving to remind us what is real. This reference is an important one to me for it allows a contrast with the fabricated celebrity triangle which Harry Benson was all too aware of and witness to as a photojournalist.

(1,000 words)