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Posts Tagged ‘sebastiao salgado’

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)

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In this essay from 1972 John Berger questions the effectiveness of graphic war photography and in doing so anticipates many of the debates about documentary that were soon to come. It was originally published in New Society magazine and subsequently reproduced in the 1980 collection, About Looking.

Writing during the closing phases of the Vietnam war, Berger begins by describing both the extent of the American bombing campaign of the north of that country, and the indiscriminately cruel nature of the lethal armanents being used. He notes a photograph in the newspaper by Don McCullin, from earlier in the war, depicting a man holding his injured child in the aftermath of a bombing. The actual photograph is not reproduced in the book but it is most likely the one below that Berger is referring to.

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