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Posts Tagged ‘martha rosler’

This post is part two of an essay on Paul Seawright’s Invisible Cities project. You can read part one here.

Invisible Cities clearly must be considered as part of a tradition of documentary photography and as such it raises a number of interesting questions that I will now turn to. The first of these is the problematic issue of a photographer from outside a particular culture or environment trying to make meaningful work about, or within, it. Martha Rosler has been deeply critical of the documentary tradition, particularly when it involves a privileged outsider shedding light on marginalised or disadvantaged communities. She would see this practice as merely reinforcing existing power relations and doing little to address any of the root causes of the situation. Similar difficulties are identified by Stuart Hall: he describes how stereotyping is used to maintain power in a society or culture by marginalising certain groups, and how photographic representations, whether intentionally or not, play an important role in this (Edward Said has also written persuasively of how Western representations of the Orient  have played a pivotal role in maintaining the power relationships between East and West). As a white European working in Africa, with its historical and contemporary difficulties with colonialism and post-colonialism, Seawright runs the risk of falling into this trap, a situation he is by no means unaware of:

Until I accepted the Imperial War Museum commission in 2002 to respond to the war in Afghanistan, I’d never considered making work that extended beyond my sphere of direct experience. I wrestled with the problems that making work in another country presented, not least that I have been critical of non-indigenous practice in Northern Ireland

(Paul Seawright quotation from interview with Russel Roberts)

(more…)

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In this article Levi-Strauss writes about the relationship between aesthetics and politics in social documentary photography and essentially mounts a defence of the role of the aesthetic within this genre.

He starts by observing that the right in America have always recognised the subversive, and deeply political role, of the aesthetic in art and this explains their hostility to it. On the other hand, left-wing critics and theorists (Rosler et al.) have made ubiquitous a view that denies a central role for aesthetics in genres such as documentary. An example of this in mainstream writing would be Ingrid Sichy’s criticism of Sebastiao Salgado, which upbraids him on numerous fronts, but in particular accuses him of being more interested in the aesthetics of his images than in the plight of his subjects.

Levi-Strauss identifies the roots of this viewpoint to be the writings of Walter Benjamin in the 1930s but denies that Benjamin’s criticisms are applicable to contemporary photographers such as Salgado. His basis for this is that Benjamin had in mind a particular movement (New Objectivity) which explicitly presented poverty and political struggle as objects of “comfortable contemplation”, whereas Salgado’s work shows real solidarity with his subjects and aims to confront viewers with the reality of hunger, tragedy and suffering. (more…)

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Martha Rosler is a visual artist whose writings on photography theory have been widely influential over the last two decades. In this essay, her concern is with how documentary photography can continue to function in the postmoden world.

The traditional practice of social documentary photography as a means of helping underprivileged, dispossessed or marginalised groups has become deeply problematic for a number of reasons. Chief among these is that photography’s status as a unique medium for offering direct insight into truthful reality has been destroyed – by the widespread use of digital manipulation on the one hand, and by the postmodern tendency to question and analyse the motives of the photographer (and dissect the possible multiple meanings of the work they produce) on the other.

The role of the documentarian as the privileged outsider shedding light on those underprivileged communities fortunate to benefit from the attention of his/her lens is no longer tenable. At the same time, the idea that marginalised communities should document their own struggles without the interference of “outside” agents is also fraught with difficulty, not least of which is the impossibility of defining what “outside” actually means in many contexts. (more…)

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