{"id":471,"date":"2019-08-15T15:39:57","date_gmt":"2019-08-15T15:39:57","guid":{"rendered":"http:\/\/gobetween.wpengine.com\/?p=471"},"modified":"2020-08-05T16:17:52","modified_gmt":"2020-08-05T16:17:52","slug":"jessie-palmer-af-kersting-canary-wharf-and-the-removal-of-the-fat-cat","status":"publish","type":"post","link":"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2019\/08\/15\/jessie-palmer-af-kersting-canary-wharf-and-the-removal-of-the-fat-cat\/","title":{"rendered":"Jessie Palmer: Anthony Kersting, Canary Wharf, and the Removal of the Fat Cat"},"content":{"rendered":"<h2>Audio Version<\/h2>\n<p>Read by David Brown.<\/p>\n<p><iframe loading=\"lazy\" title=\"Spotify Embed: Anthony Frank Kersting, Canary Wharf, And The Removal Of The Fat Cat\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" src=\"https:\/\/open.spotify.com\/embed\/episode\/7dlm3gADyTHoHqM66RWaSL?si=YR1noTGOSjm5O2uplIe-xg&#038;utm_source=oembed\"><\/iframe><\/p>\n<h2>Text Version<\/h2>\n<p>My key interest for the past year has been in the figure of the &#8220;Fat Cat&#8221;<a href=\"#_ftn1\" name=\"_ftnref1\"><sup>[1]<\/sup><\/a>, to which none of the images I was looking at in the Conway Library could give a literal face. Yet, the collection of AF Kersting seemed to offer some light on my desire to continue looking at this select group of people through his record of the Canary Wharf commercial estate in the early 1990s.<\/p>\n<figure id=\"attachment_476\" aria-describedby=\"caption-attachment-476\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_003.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-476\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_003.jpg\" alt=\"\" width=\"600\" height=\"783\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_003.jpg 1226w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_003-230x300.jpg 230w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_003-768x1002.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_003-785x1024.jpg 785w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-476\" class=\"wp-caption-text\">&#8220;LONDON, CANARY WHARF, The Tower.&#8221; <br \/>AF Kersting <br \/>CON_B04268_F003_003. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>Leafing through the collection of Kersting\u2019s work held by the Conway Library, one begins to form an image of a photographer who scrutinised his subject matter until no question was left for the imagination. There are only four images he took of Canary Wharf and they stand in stark contrast to the rest of the collection, which features a multitude of similar images taken from minutely different angles, recording as much as possible of an object, building or landscape.<\/p>\n<p>Kersting\u2019s photographs show us Canary Wharf in the early 1990s standing at the opposing side of the river, and take us all the way through to the marble halls of the West Ferry Circus property at the most western side of the site. Thirty years old today, these images are outstanding documents of the architecture of Canary Wharf in the early days of its redevelopment. The images place 1 Canada Square high up in the London skyline and relay a reality far from the built-up area we know today. The relationship between Kersting\u2019s habit of not including people in his images of buildings and landscapes, and the current intensive and pedantic control of the site\u2019s media coverage, lends itself to a new conversation about the presentation of the financial industry.<\/p>\n<figure id=\"attachment_474\" aria-describedby=\"caption-attachment-474\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_005.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-474\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_005.jpg\" alt=\"\" width=\"600\" height=\"467\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_005.jpg 1600w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_005-300x233.jpg 300w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_005-768x598.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_005-1024x797.jpg 1024w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-474\" class=\"wp-caption-text\">&#8220;LONDON, CANARY WHARF, From the River.&#8221;<br \/>AF Kersting<br \/>CON_B04268_F003_005. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>Arguably, there is much to glean from an image that documents something that only wants us to see its surface. For example, the empty and flawless nuances of each image reiterate the appearance the financial world wishes to portray to its global audience. The single interior photograph shows a vestibule leading into something of an endless tunnel of infinite reflections, the shuttering of the repetitive architecture rejects our attempt to try and identify ourselves with this alien space of wealth. Similarly the exterior of the Westferry Circus and &#8220;The Tower&#8221;, (which is referring to 1 Canada Square, the second tallest building at the time of its completion in 1991), suggests, through its scale and uniform appearance, that there are no cracks in its literal physical structure in which to insert ourselves psychologically.<\/p>\n<figure id=\"attachment_473\" aria-describedby=\"caption-attachment-473\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_004.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-473\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_004.jpg\" alt=\"\" width=\"600\" height=\"758\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_004.jpg 1267w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_004-238x300.jpg 238w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_004-768x970.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_004-811x1024.jpg 811w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-473\" class=\"wp-caption-text\">&#8220;LONDON, WESTFERRY CIRCUS, CANARY WHARF, The Vestibule.&#8221;<br \/>AF Kersting<br \/>CON_B04268_F003_004. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>In Henrich W\u00f6fflin\u2019s doctoral dissertation, Prolegomena zu einer Psychologie der Architektur (Prolegomena to a Psychology of Architecture, 1886)<a href=\"#_ftn1\" name=\"_ftnref1\"><sup>[2]<\/sup><\/a>, he focuses on the concept of the psychology of aesthetics and suggests that there is an empathy that we have with objects which influences their design. His particular focus is on architecture and its proportions which, he argues, are understood by viewers in relation to their own: humans actively create buildings that correspond to their own physiques. An example he gives is that facades of buildings are the same as human faces.<\/p>\n<p>Kersting\u2019s documentation of these buildings within Canary Wharf rings true to such a proposal. The design exhibits the nature of the clientele who rent these office floors, actively displaying their wealth and desire for privacy. The structures themselves behave not only in alignment with their inhabitants \u2013 the city skyline mirroring the companies&#8217; power and international reach \u2013 but also with the inaccessible and largely unknown movements of the financial market, which prefers to be left alone to do its job as the largest grossing industry in the UK.<\/p>\n<p>The tone set by these structures is one of distance and exclusivity. Furthermore, the symbolism of these buildings, in particular the success and association that they have with their &#8220;starchitects&#8221;, has become something of a novel and &#8220;must-have&#8221; aspect to new developments cropping up across global capitals. 1 Canada Square\u2019s architects, C\u00e9sar Pelli &amp; Associates, who also designed the World Financial Centre in New York, only reiterate how these buildings have been made to accommodate and act as a representation of those inhabiting it.<\/p>\n<figure id=\"attachment_475\" aria-describedby=\"caption-attachment-475\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_002.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-475\" src=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/files\/2019\/08\/CON_B04268_F003_002.jpg\" alt=\"\" width=\"600\" height=\"760\" srcset=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_002.jpg 1263w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_002-237x300.jpg 237w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_002-768x973.jpg 768w, https:\/\/sites.courtauld.ac.uk\/digitalmedia\/wp-content\/uploads\/sites\/26\/2019\/08\/CON_B04268_F003_002-808x1024.jpg 808w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption id=\"caption-attachment-475\" class=\"wp-caption-text\">&#8220;LONDON, WESTFERRY CIRCUS, CANARY WHARF.&#8221; AF Kersting CON_B04268_F003_002. The Courtauld Institute of Art. CC-BY-NC.<\/figcaption><\/figure>\n<p>My curiosity wishes to revisit how these images might have been created, particularly when restrictions placed by the owners of Canary Wharf, Canary Wharf Group Plc, are so tightly regulated today. Though we are being given access privileges that might not exist again, the images are largely dictated by Kersting\u2019s style. From behind the lens, he has the ability to crop out the rest of the landscape. Perhaps the photograph from the other side of the river suggests that Canary Wharf has become an island, a disconnected metropolis from the rest of the city? Kersting\u2019s reiteration to his audience of this distance between these developments and the rest of the city becomes an increasingly alarming parallel when one inserts the companies into the offices that tower 50 floors into the sky. I feel a far clearer message relayed, however, is the immense power and money these structures represent. And the way they stand as early symbols of the city against the largely unpopulated docklands of the time.<\/p>\n<p>The faceless nature of the fat cat lets us forget the individuals of the financial machine. It is not necessarily the individuals who see the need to remove themselves but, for example, Canary Wharf Group Plc who is the umbrella voice surrounding the property and enforces film and photography permits. With Kersting&#8217;s choice to not include people in the images these photographs only flatten the facade we are presented and, arguably, the face of this industry even more. The flatness compacts and constricts itself even tighter, so that it gives as little information as it possibly can. The flatness of our knowledge is emanated by these buildings&#8217; faces. Its desire to create privacy reflects our image back to ourselves, looking at the light catching on the windows. What else Kersting saw, we will never know. The fat cat wins again.<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><sup>[1]<\/sup><\/a> <strong>Fat Cat:<\/strong>\u00a0If you refer to a businessman or politician as a fat cat, you are indicating that you disapprove of the way they use their wealth and power.\u00a0<a href=\"http:\/\/www.collinsdictionary.com\">www.collinsdictionary.com<\/a><\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><sup>[2]<\/sup><\/a> W\u00f6lfflin, H., 1886. Prolegomena zu einer Psychologie der Architektur, M\u00fcnchen.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"mceTemp\"><\/div>\n<hr \/>\n<p>Jessie Palmer<br \/>\nCourtauld Connects Digitisation Oxford Micro-Internship Participant<\/p>\n<div id=\"gtx-trans\">\n<div class=\"gtx-trans-icon\"><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Audio Version Read by David Brown. Text Version My key interest for the past year has been in the figure of the &#8220;Fat Cat&#8221;[1], to which none of the images I was looking at in the Conway Library could give a literal face. Yet, the collection of AF Kersting seemed to offer some light on&hellip;<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2019\/08\/15\/jessie-palmer-af-kersting-canary-wharf-and-the-removal-of-the-fat-cat\/\" title=\"View &lsquo;Jessie Palmer: Anthony Kersting, Canary Wharf, and the Removal of the Fat Cat&rsquo;\">View <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":204,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[313,6,48,8],"tags":[75,412,46,207,209,18,14,15,21,208,211,210,32,206,205,203,204],"class_list":["post-471","post","type-post","status-publish","format-standard","hentry","category-micro-internship","category-the-conway-library","category-the-courtauld-gallery","category-the-kersting-archive","tag-architecture","tag-audio","tag-black-and-white","tag-canary-wharf","tag-city","tag-conway","tag-courtauld","tag-courtauld-connects","tag-digitisation","tag-fat-cat","tag-financial-district","tag-henrich-wofflin","tag-kersting","tag-london","tag-new-york","tag-westferry-circus","tag-world-financial-centre"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jessie Palmer: Anthony Kersting, Canary Wharf, and the Removal of the Fat Cat - Digital Media<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2019\/08\/15\/jessie-palmer-af-kersting-canary-wharf-and-the-removal-of-the-fat-cat\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jessie Palmer: Anthony Kersting, Canary Wharf, and the Removal of the Fat Cat - Digital Media\" \/>\n<meta property=\"og:description\" content=\"Audio Version Read by David Brown. Text Version My key interest for the past year has been in the figure of the &#8220;Fat Cat&#8221;[1], to which none of the images I was looking at in the Conway Library could give a literal face. 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Text Version My key interest for the past year has been in the figure of the &#8220;Fat Cat&#8221;[1], to which none of the images I was looking at in the Conway Library could give a literal face. 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