Throughout the BOW course I have come to the realisation that my photography is elevated contextually by the process of time and the understanding that a concept evolves through deeper discovery.
The use of looking again through fresh eyes has always been a valuable asset, although I have found that revisiting work projects a new emphasis upon a photograph and presents concerns that you once felt comfortable with and no longer do. The method of honing a concept is more in line with manipulating an idea and feeding your understanding until the concept naturally evolves.
The deeper the understanding, the richer the idea which is potentially beneficial to the photography if the concept can be contextualized. This again require a degree of patience, an area where I have struggled previously to adapt. However, it is certainly the case that the more I dig, the more fruitful the concept.
When I observed the images and interviews the new topographers collective it is interesting to see the evolution of a concept The concepts that they was playing with that evolved to represent vernacular scenes that occurred through the manipulation of an idea. When I observe the work of Lewis Baltz It is possible to witness Baltz’ early formal depictions that take inspiration from urban architecture and moves towards a minimalist approach.
Within the overall development of my Body of Work, there has been a considerable and valuable level of importance attached to he adoption of practices informed by much of the contextual theory used to illustrate documentary photography within my extended written project.
Elevating the Meaning and reducing the Power
Documentary photography as an artform delivers a paradox of visual identity when being viewed as a body of art. My understanding of this was related through my practice and the work of photographers such as Chris Killip and Nan Goldin. However, by observing from a deeper perspective as part of the sustained photographic practice, I could relate the significance of visual contextual meaning and its limitations within the form of documentary. Earlier photography assignments had attempted to a reveal a concept and translate my thoughts (multi layered) within the overall representation through a meaning that was potentially too complex to be read. Both photographic practice accompanied by the understanding of theorists such as, Roland Barthes, Martha Rosler, John Berger and Allan Sekula, forced the adoption of new approaches. The conversion from forcing a meaning to anchoring the transferable concept provided a wider scope within my photography. The contextual elements were broader and less ambiguous, whilst the observations regarding text provides a relatable account of my thoughts that connects the implied visual connotations to the overall concept. In addition the theories of Stuart Hall, John Tagg, Victor Burgin and Solomon Godeau provided a wealth of understanding with regards to photographing people who are relatively powerless. Stuart Hall’s theory of representation in particular, generated significant understanding as to how an audience perceives something that is being presented as a binary concept. My attempts to dilute signs of ‘otherness’ through the a reduced projection of power, displayed a level of difficulty to overcome, my intentions were not being made visually apparent. The ease in which a photograph can be misrepresented (especially within the representation of poverty or class) becomes a concern to me as I strive to amplify the concept. Essentially the concept had to be approached from a different angle to elevate the contextual understanding and the removal of subjects became an ethical choice that benefited the overall concept. My attempts to dilute the power relation became revalued through the combination of self reelection and the use of abstraction to connote the sense of power and absurdity that added an element to the frame which offset the reduced presence of people.
The use of abstraction to connote a sense of power within a documented scene through a wider context
The understanding that fosters a considerable regard for documentary meaning can be found within contextual theory to observe the responsibility and the agency of the photographer. Hall (1997) relates to what we are actually seeing and from which perspective) and instills a substantial regard for personal practice and ethics.
The development of my documentary photography draws on the understanding that a subject decontextualized from reality, fails to provide a visual explanation of their experience. The intention is to visually describe inequality and homelessness without being reliant on channeling a spectators sympathy or portraying the subject as the ‘other’
The development of tone, visual language and reduction of the negative power relation can be seen when contrasting with the primary assignment. Although many aspects of ethical considerations were made to get the the point where subjects were removed (detailed in Body of Work Blog); the comprehension of ‘showing’ a narrative through an understanding of how a photograph is interpreted became a significant factor.
Earlier photography July 2019.
The concept of contextualizing the everyday bustle of consumerism in relation to the connoted elements that imply inequality was photographed to highlight the absurdity of the vagrancy act of 1886 that still resides today. The structure of the image is multi layered with meaning and struggles to define my thoughts. The message has moved from the individual struggling to sustain a living and the wider concept of the unseen power (causation). The contextual message is narrow and presents a victim in a binary contrast to the rest of society. Stuart Halls, Spectacle of the other relates how an audience perceive marginalized communities when presented with a binary choice and the negativity that is attached.
Hall’s Theory of representation informed the direction of my photography as I became forced due to the pandemic, to photograph without subjects. The decision was a choice I had previously considered as a result of my work at St Mungo’s which helped me realise the complexities of homelessness and the mental health of a large percentage of the homeless population. The logistical difficulty of photographing during the pandemic, coupled with my reluctance to aim my photographic concept through the lives of people struggling the most, rendered the new approach. This approach undoubtedly benefitted from a greater understanding form theorists such as Allan Sekula, Stuart Hall and Martha Rosler
Documentary photography as art delivers a paradox of visual identity when being viewed. My understanding of this was related through my practice and the work of photographers such as Chris Killip and Nan Goldin. However, by observing from a deeper perspective as part of the sustained photographic practice I could relate the significance of contextual meaning and its limitations whilst diluting the power relation without losing the level of self expression. Equally so, the reverse could be seen by collaborating elements of my practice that remove the power dynamic, to the search for further discovery within contextual theory. This could be seen through the development of documented subject identity and the removal of a power that projected a passive victim of society.
Equally so, the reverse could be seen by collaborating elements of my practice that remove the power dynamic, to the search for further discovery within contextual theory. This could be seen through the development of documented subject identity and the removal of a power that projected a passive victim of society.
Since I commenced researching ethical methods to represent inequality and poverty, I have taken many occasions to reflect upon the work and approaches of Anthony Luvera. The details of my reflections and observations I considered to be valuable within the context of my extended project and therefore thought it wise to compile some of my observations. The considerable extent of Luvera’s practice is adopted as a result of his consideration towards overcoming visual exploitation and providing a voice to a community that is all too easily ignored.
Anthony Luvera – Self Assisted Portraits “I explained how to use the cameras and listened to each participant’s ambitions, encouraging everyone to simply go and do it. I never brought along photography books or showed my own photographs, nor did I tell any of the participants how or what to photograph. When looking at the photographs I asked each participant to pull out their favourites, or the images that best represented what they wanted to show” Anthony Luvera – Published in Source, Issue 47 2006.
Luvera refers to himself as a socially engaged artist of collaborative projects. Much of his work relies on a level of collaboration that many photographers would see as losing a degree of artistic integrity. However, research into his motivation of his adopted approaches, provides further evidence of a a wider understanding to contemplate.
‘Understanding the how’
I find a level of encouragement within photographic practice that his own approach was inspired by the likes of ‘The Belfast Express’, a community group who became interested in ‘how’ the people were experiencing life, living between two belligerent fractions and campaigning for a coming together. There is a significant interest in how the community is being represented. This is vastly different to the motivations of photojournalists such as Don Mccullin who have expressed similar levels of empathy for the community whilst being commissioned to display the dramatic moments in Northern Ireland. In an interview with Studio International Levera questions how drama from photographers who have travelled to be a part of, (Susan Sontag’s Tourist photographers) helps with the identity of a community. I can infer that the suggestion is that negative portrayals of only destructive elements, can lead to further levels of negative public perception.
Community
The expression and examination of community life is driven by a search of understanding that leads to a sense of knowing. I very much like the ethos behind Luvera’s work. The use of community associations to empower marginalized groups to take the lead in making photographic representations of their own lives and experiences , a theory suggested by Jo Spence (1976) to allow people to look at the world differently.
The discovery of Luvera’s ‘ Self Assisted Portraits’ appears to be born out of this sense of community photography. The shaping of a photographer’s development is something of great interest to me and I find it encouraging to discover how documentary photographers meander from one set of foundation principles to the growth of a variation of a theme. A particular benchmark that Luvera asks himself is to convey the stories of those within their own communities about the way their lives are shaped. The importance of listening is a required skill to truly identify with a community and understand their personal everyday dilemmas. By capturing this visually, the significance falls into the politics that is attached to any social struggle. I like the way Luvera does not shy away from this and attempts to amplify the voices of a community who are under represented.
Motivation
I find a great deal of satisfaction by observing the motivations behind a photographers general impetus, values and ethos. Luvera appears to be ever evolving and open to adopt new approaches if they fit within his ethical parameters. The work always appears to be in transition with the consideration of how to represent his subjects without projecting an imbalance of power, being a prime motivation. Because the photography involves the inclusion of the subjects own thoughts behind the process to create a ‘self representation’.
The level of engagement is a major driving force behind the motivation to elevate the voices of marginalized communities. It would be fair to suggest that the engagement holds such prominence within the work that it often overrides the political aspect of the representation. Luvera believes that the representation is designed to display some of the engagement between the participants, the medium of photography and himself.
Much is spoken about Killip’s tender eye and his ability to empathise with a community different to his own. The level of trust can be witnessed from the engagement displayed by his subjects, some of whom he stayed in touch with years after publication. This can be seen right throughout his career as he relished in accomplishing purposeful photography having been exposed to the work of Walker Evans and Paul Strand form an early age
In my most recent essay, I researched and covered Killips project ‘In Flagrante’ which is often described as an iconic vision of Thatcherite Britain. It feels as if historically this may be party pertinent, although it is understood that Killip wished for the project to be seen as an honest understanding of downtrodden environment in which he aspired witness the value of lives.
It is difficult to comprehend that the work was taken without acknowledgement for the scale of the 1970’s and 80’s de-industrialization in the North East. The essence of each composition suggests that the environment was a fairly major part of Killip’s thought processes. The reason behind the unemployment and marginalization would have be felt right throughout the community as a direct consequence of socio-political decisions and the deliberate visual representation of this cuts right into the heart of the causation.
The meaning, whether, implied or unconscious springs out from almost every photograph as the contextualization of hardship stands out quite dramatically as a backdrop to the the lives of those affected by industrial cuts.
Across the many tributes there is a unified agreement that Killip had a natural ability to display tenderness and detail with an underlying ability to contextualise a meaning without ever overstating the obvious. The level of honesty is apparent from those that knew him and is a trait that transfers onto his prints.
Primarily the aspect that I take away from reading tributes and looking at his many projects is the ability to immerse himself in a world that he is then able to truthfully represent. Never appearing to look for adulation or to appeal to popularity, Killip had great awareness regarding photographic readability. His sense of knowing and ability to display sensitivity and intimacy in equal measure is highly revealing within a social documentary.
Chris Killip provides visual understanding that captures subjects without projecting levels of authority upon his subjects. It is possible to visually gain a little of his own character from the very people he is wishing to value.
Throughout the recent lockdown I commenced an experiment into the importance of language and how exposure to language can effects peoples view of life. Within a group of other OCA students we looked into working in a way that you would not normally be accustomed to. I found the experiment to be quite a moment as I was moving away from the objective ‘here and now’ to a more abstract view. By taking some of the media language around the early stages of lockdown, I made visual assumptions as to what this would look like and found myself using much more introspection into my own experiences.
Martha Roseler
Having read Steve Edwards ‘The Bowery in two inadequate descriptive systems I became intrigued with the use of language as a method to add another layer of context, all be it in Rosler’s case to provide tensions that both aids and complicates meaning
There are aspects of Rosler’s position that are extremely perceptive and provide a level of understanding that manages address the hole that documentary photography often falls down. The misuse of of Power raises much thought in terms of poverty and class which highlights the overarching issue for concerned photography. By presenting power as a means to portray the powerless, Rosler manages to encapsulate the dichotomy that has proved a grand hurdle for documentary photography since the days of Riis and Hine.
The links to photography’s part in maintaining social order offers a relatively concrete view and generalizes over the misuse of power to achieve a political aim. I find the view highly plausible, but not necessarily the manner in which it is used to define all reformist photography.
There are many examples of Lewis Hine’s photographic documents that are presented without any allegiance to an authoritive class. The ethical lapses and voyeuristic tendencies were never intended to be used as justification for the maintenance of social order in all cases, and it is this that Rosler does not make clear. The structures of power that were required to be greased or utilized, enabled all the mechanisms of an institutionalized society to be tied into the more unsavory side of a philanthropic agenda. I concur with Rosler’s overall position on the element of power within documentary photography, such as the ‘them not us’ dynamic, the audience differential and the voyeuristic tendencies. The understanding regarding the damage that can be projected is highly perceptive when linked to a political agenda, I would however feel more comfortable if the reformists were criticized for their opportunism and careerism and misuse of power, rather than an intentional allegiance to power.
Martha Rosler manages to challenge previous documentary photography by aligning the visual imagery to liberal sensibility which forces reform by tapping into the social conscience. Much of the work of previous artists is challenged and attributed to visually documenting social imbalance by observing the effects of damaged lives, without attempting to address the social acceptance of a system that governs the very fallout being photographed.
Rosler views on the maintenance of social order are similar to the views held by Allan Sekula and John Tagg who see an overriding economic structure being fed by false meaning and institutionalized political dogma. What generated my interest in Rosler’s essay is the criticism that representations of poverty conjures up information about a group of powerless people, to a different group of powerful people. The implication from this, is that poverty stricken subjects have little or no autonomy in their lives and are heavily reliant on others (media, charity, photographers) to speak for them.
Much consideration has taken place in contemporary photography to dilute the power imbalance, and this is an encouraging angle to follow. However, Rosler is specific about describing the audience, and warns against the dangers of coercing empathy for social reform.
There is significant food for thought which like Sontag’s ‘On Photography’, provides much caution Martha Rosler does however provide a collective of work to support her critical thoughts and makes clear the importance of knowing life rather than observing and reforming life.
The salient points that resonated the most appear within Rosler’s take on reform. The need to not enter another’s world with an aim to not attempt to disrupt or change, but to look for the wider causes and explore areas around social responsibility for the economic imbalance. The consideration for asking, whether or not I am adding to the problem will form part of my conscious
Having observed ‘The last stop’ project over a year ago, the work left an impression upon my senses and thought it worth revisiting to observe the motivation and level of attachment Georgiou has with the environment.
There are elements of my personal practice which require an affiliation with both subjects and the environment. The understanding of social balances and imbalances creates an attachment that I continually aim to capture within my work. The Last Stop deliberately uses two decks of a double decker bus to change between levels of attachment on one hand and more of a deliberate surveillance style sense of detachment on the other, which is opposite to the artists personal experience.
I am finding that through researching ‘otherness’ via the prism of culture, I am able to obtain a significant level depth and detail to the subject. Having previously read ‘Image of Whiteness’ Daniel Blight (2019) there is a rich spectrum of consideration for the way those marginalised by society are represented through conscious or unconscious viewpoints.
Research into the influences of Photographer Anthony Luvera led me to read Stuart Hall’s ‘ The spectacle of the other’, chapter within representation: Cultural Representations and Signifying Practices (1997)
Elements that drew my attention come from Hall’s focus upon the binary differences that are used within representations to provide meaning. Hall refers to binary opposites and points us towards the very human instinct of contrasting heroes v villains and good v evil.
I like the way Hall refers the subjects being photographed for their differences and ‘the represented’ as opposed to those doing the representing. This is a vital cog within the power dynamic of social documentary photography and reading the work of someone who delves so deeply into the phenomenon of otherness provides considerable thought.
Much of the differences within representations are being observed through the prism of race. However, Hall veers towards all differences and does not hold back with a powerful argument to really look hard at representations that signify differences.
The concern also falls towards media as the chapter opens up a further debate towards responsibility and accountability. By viewing the connotation of meaning, it is entirely possible to make assumptions towards marginalized communities and it is these assumptions that on there own may be relatively inadequate to signify a defined representation of otherness. When viewed as an accumulation of blatant cliched stereotyping, accompanied by text, the effect can easily guide a audience to accepting the negativity as standard.
Peter Hamilton refers to a representational paradigm. “He uses the term to describe a shared photographic approach that creates a vision of the people that becomes an accepted view. Halls reference to Hamilton opens up a significant area within my research. Having formed many opinions towards the damage that representations of marginalised communities can create, it is good to locate further supporting evidence around the theory.
Hall views differences’ as both negative and positive attributes to representations, but believes both opposites as necessary to forge meaning. This opinion appears to align itself to aspects of Bathes system of codes and that meaning is constructed from the observers decoding of what is not being signified as much as what is.
This concept is used by Hall to define the differences of the ‘other’ relies upon the understanding that meaning cannot be fixed and that therefore groups or cultures can never own the arbitrary concept. This is an area that I have often read within my research into semiotics and the manner in which we construct meaning. The reliance upon the audience understanding the meaning is often given greater significance than the intended artistic meaning. The use of manipulation is often seen by advertisers, the media and more recently political social media to tap into the semiotic codes in an attempt to apply a rhetoric that suits an agenda.
As far as Hall suggests, these practices (conscious and unconscious) feed into the public psyche and form binary differences stemmed from the visual language. These binary differences, when weighed, (as they usually are) stamp a level of authority and superiority upon the powerless.
Although I found myself agreeing with the main thrust of the theory I also started searching for a counter argument, as the polar opposites in every case fail to allow for the grey nuances that inhabits most areas of life captured by social documentary photography. The degrees of scale can often be sucked out in favour of extremes when observing contextual theory. It is therefore pleasing that Hall allows for some reflection and witnesses that binary differences can also be seen as reductionist and over simplified “swallowing up all distinctions in a rather rigid two part structure”. Binary oppositions are themselves rarely neutral, which means that the other is usually dominant, and it is this dominant factor that Hall and Derrida believes the power rests. The importance given to ‘difference’ when observing otherness is highly significant and although I have written sections within the extended project that touch upon the implications of binary differences, the complexity and depth that is found in Hall’s research has provided much further consideration. Much like the text with ‘The Image of Whiteness’ there is a vibrancy to the argument that falls outside some of the more dry academic theory. The differences in race and culture have provided me with a much wider argument that dovetails into the inequality of poverty
Within the period of the course, there have been many poignant step changes that I can reflect upon. The point where my practice ventured into new territory was primarily a reaction to the logistical constraints of photographing during a pandemic. Not only had I stopped working at St Mungo’s recovery college, ( where my photographic subjects had agreed to be portrayed to display the damaging affects of homelessness), but the streets were relatively empty and visual normality had shifted. After lockdown, my own health dictated that I could no longer put myself at risk and therefore continued with the OCA ‘Keeping the momentum’ gathering of artistic minds. I was struck by how creative the group were and realised that my own creativity was always attached to reality and the literal view.
Puppet Constructions
The elevation of a tableau style approach, using puppets during lockdown produced some telling visual examples of how I could elevate and transfer meaning. The contextual elements of my photography had always been too complex and multi layered, The manipulation of artificial subjects, released a new found desire to throw up previous attempts to photograph relatively straight and go beyond the comfort and security of representing a one dimensional visual that was trying to do too much. I also became interested in the power of the media and descriptions of ‘how things are’ and ‘how they should be’ filtering down to be accepted as objective truth. My subjective thought could be projected by adding elements that don’t belong, throwing the culture of hegemony to one side and opening avenues of thought through visual constructions
By adding physical elements that appear out of place, I found a method of symbolising the overarching power I had been trying to visually represent.
By transferring the element of power (in this case financial power) I also found a method that removed the identity of the subject. This had been an area I had looked into from the research of Stuart Hall and Martha Rosler. I could Identify a presence of homelessness and relate to the causation of power, as seen through the early workings of the concept.
The recent direction of my own work has prompted greater awareness of artists who’s work speaks with a political voice. Having been aware of Kennards work with CND and his associated work, my tutor pointed me in the direction of his use of newspapers as a symbol of power, as this is an area I had been working within the Body of Work .
Kennards work is very much about his expression of anger within the realms of International inequality and political power. The montages are fairly hard hitting and don’t compromise the feelings towards what Kennard sees as guilty party’s. The connections stand out forcibly with little room for ambiguity. His approach provides a level of visual directness that ignores any softening for public consumption.
The art of Photo montage could be seen as a way of joining things that are more often viewed separately, and Kennard homes in on this skill to amplify the voice of what he believes people think outside of the mainstream media.
So much of Kennards work is about connections and placing aspects of political rationale side by side to visually force links of situations that are usually connected by language, power and other abstract senses.
Use of the Financial Times visual symbol resides with the significance of wealth and power in contrast to various transgressions this force has upon inequality and suffering. By using the FT as a backdrop and constructing socially engaged scenes, incidents and symbols in the foreground, the meaning does not pull any punches. The message is consistent and clear as a constructed form of representation.
´f
By looking to see where my own work could benefit from Kennard’s influence, I would suggest that aesthetically, there are symbolic similarities, although I do try and maintain significant levels of reality. The construction of a photo montage lends itself to deliberately mess with reality and elevate dominant aspects that suit the context. However, the motivation behind the work is certainly an area that I can relate to and advance into my visual development. Kennard,s work comes across as bold, impactful and audacious. All attributes that I have felt should be suited to my own voice and undiluted into the visual language.
Gerard Hilderly Level 3 OCA 