Hine dedicated much of his adult life to this very thing. At no point in that speech does Hine refer to any ethical questions about photographing vulnerable people even though he was predominantly photographing children at this time. In Martha Rosler questioned the motives of both serious and amateur photographers who were prowling the Bowery and engaged in what she saw as victim photography. Concept — The Stage I discussed the socio-political background to immigration in an earlier essay here so I want to concentrate on the ideas behind assignment 5.
She also writes extensively about art and its interaction with life, often from a social in the sense of the impact life has on art and vice versa aspect. The photographer becomes the hero — reaches places we would not dare to go, faces untold dangers.
Carries information from a group of powerless people to those in power. Gap between photos that end up as commodities and those that form part of an analysis of society with a view to changing it — body of work about abuses, racism, sexism etc — a radical documentary.
Or are they won by the militant populace on the streets? How much is a fantasy to be consumed by tourists, retouched and dressed up?
Are re-appropriated images valid? Are images documents — or are they stories — and does it matter if they are beautiful? Who is important people in the image or the maker?
The aesthetic role of images increases with increasing distance from the original issue but should understanding of images be rooted in the original context? And what does that say about society? Do documentary images about the poor, the substance abusers, the drunks simply serve to make us feel good about ourselves?
How does this fit into her understanding of documentary photography?
So — why has she taken them and shown them? She proposes that the is or at least could be a growth of documentary committed to the exposure of abuse, workplace, racial, sexual or class oppression. That was nearly 40 years ago — are we any nearer to that now?Martha Rosler brings to her work in all mediums—from photomontages to performances, photographs and critical writings—a passionate, socially concerned engagement with the world, a politics shaped by the feminist movement of the s, a firm belief in the .
The film is an interesting watch and reminds us of some of the debates raised by Martha Rosler in her essay In, around, and afterthoughts (On documentary photography) () in which she is critical of current documentary work.
“documentary fuelled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism. The photo essay in the context of ‘documentary photography’ Defining and critiquing documentary – Bearing witness now that even the veneer of social concern has dropped ay from the upwardly mobile and comfortable social sectors’ Martha Rosler ‘Decoys and Disruptions.
Martha Rosler is known for her incisive social critique—her writing, mixed-media work, and photography have been widely esteemed since the s. Martha Rosler is an American artist. She works in photography and photo text, video, installation, sculpture, and performance, as well as writing about art and culture.
Rosler’s work is centered on everyday life and the public sphere, often with an eye to women's experience. May 18, · Martha Rosler: In, around, and afterthoughts (on documentary photography) May 18, lynda Leave a comment In looking at documentary and social reform the course notes urge us to look at Martha Rosler’s essay ‘In, Around, and Afterthoughts (on Documentary Photography)’ which was written in the 80’s.