“The negative depiction of black women as domineering matriarchs or exotic sexual objects was created, and still is perpetuated, by white (usually white male) social scientists, and even by a few black male social scientists trained by the … images of hyper-sexuality and overbearingness often merge to symbolize the black woman” (St. Jean & Feagin, 1998: 6)
From minstrel shows to mammies, black people, and more specifically, black women in film, have been portrayed in a damaging light. Caricatures that echo the dehumanisation of black people have been at large throughout the history of American film. With the Black Lives Matter movement sparking necessary conversation on issues surrounding systemic racism and white privilege, it’s essential that we turn our focus to the issues faced by black women. Often rejected from feminist spaces for being black, and from black spaces for being female (Crenshaw 1989: 140), black women’s voices need to be elevated more than ever. Throughout this Literature Review I will be exploring the existing material regarding black female representation in American film, looking at the history and contexts of certain stereotypes, and at how portrayals have progressed over the years.
Intersectionality: The Male and White Gazes
Due to belonging to two minority groups, black women’s struggle for representation, both on screen and behind it, is made all the more difficult. Even white women, whose experience of womanhood is made easier by their whiteness, have fought and continue to fight sexist portrayals. Most notable is Cindy Sherman’s photographic project Untitled Film Stills, (Figure 1) where she transformed herself into common tropes such as the femme fatale and the suburban housewife, playing with the concepts of the male gaze and voyeurism.
The male gaze is a concept introduced by Laura Mulvey in her essay Visual Pleasures and Narrative Cinema and highlights the objectification and sexualisation of women for the purpose of the male scopic drive (the pleasure in looking). The woman’s role is to sustain the “fantasies and obsessions” of men, having no authority and taking a “passive” approach in looking, as opposed to the “active” view of the male (Mulvey 1989: 15-19). John Berger described this concept years prior, as “Men act and women appear. Men look at women. Women watch themselves being looked at.” (Berger 1972: 47).
The white gaze, as explored in an article for The Guardian, “traps black people in white imaginations” (Grant 2015), limiting them to their expected roles and undermining their prerogative by forcing them to be a complicit aid for their white lead.
Statistics of Race and Gender Representation in Hollywood Film
The representation of race and gender in film has been well documented throughout the years. A study by US Cannenberg stated that out of the top 100 grossing films of 2019, one third didn’t include a speaking or named black female character, in contrast with the mere 7% of films that omitted their white counterpart (Smith et al. 2020). The UCLA Hollywood Diversity Report for the same year concluded that only “3 out of 10 lead actors in film are people of colour”, which shows the underrepresentation of racial minorities, especially when we consider that they make up more than “40% of the US population” (Hunt and Ramón 2020).
There is a statistical inequality between male and female black filmmakers, due to what Ed Guerrero describes as the “triple oppression” for black women: “independent vision, race and gender” (Guerrero 1993: 174). Due to both women and black people’s experiences being undermined in society, the lack of voice given to people belonging to both minorities is large.
The Bechdel, DuVurnay and Shukla Tests
In order to highlight the lack of representation of minorities in film, several ‘tests’ have been created to determine if films are being inclusive in both their casting and their portrayal. The test that initiated these measures is the Bechdel test, the premise of which was initially introduced as a feminist joke in a comic book. Despite its unserious origins, it’s now used as a tool of evaluation.
To pass the Bechdel test, the following criteria must be met: at least two female characters must exist with speaking roles, as well as conversing with each other about something other than a man (Bechdel ca. 1985. The Rule – Dykes to Watch Out For). (Figure 2) Some interpretations also require the women to be named characters. Despite its popularity, it has been heavily critiqued due to its low standards for female dialogue – it’s argued that audiences should instead be analytical of how their dialogue is perceived by other characters (O’Meara 2016), and if they make choices that “drive their own stories” (Ellis 2016).
From the Bechdel test came the DuVurnay and Shukla tests, the former coined by a movie critic due to the lack of Oscar votes for Selma, a movie about civil rights created by a black female director. (Figure 3) It was named after the director herself, with its aim to highlight racial inequality, the premise being that African Americans should be depicted as having “fully realized [sic] lives rather than serve as scenery in white stories” (Dargis 2016). With an emphasis on giving people of colour conversations outside of their racial identity, the Shukla test requires “two ethnic minorities talk to each other for more than five minutes about something other than race” (Shukla 2013). Unlike the Bechdel test, the analysis of films that meet the criteria of the DuVurnay and Shukla tests has been mostly unexplored, with only The Guardian reporting that just three of 2016’s best picture Oscar nominees had passed the Shukla test (Latif and Latif 2016). However, the mere invention of these measures highlights the fact that racial minorities in film are not given the representation or portrayal that is necessary.
“The new stereotype played to White perceptions of Black personalities who, in the vernacular of the era, ‘knew their place’ in American society. Blacks now appeared in movies for the purpose of entertaining White audiences within the context of social limitations… When in movie character, Blacks were subservient to Whites as maids, mammies, domestics, and sidekicks” (Clint et al, 2013: 73)
Stereotypes of Black Women: The Mammy
To understand the contemporary portrayal, we must first look at the origins of the main stereotypes that has dominated films from the beginning: the mammy, the jezebel, and the sapphire. Characterised as being jolly, middle-aged, overweight, dark-skinned and pertaining to have or evoke no sexual desire, the mammy’s sole purpose is to care for the white family she is a servant for (Jewell 1993: 39-39; West 1995: 459; Harris-Perry 2011: 73). Stemming from the Southern states, this stereotype bases itself on black women who served during the antebellum era (McElya 2009: 4). However, this greatly contrasts with the reality of black servants at the time as the majority would have been young and slim, the latter being due to poor diets (ibid, Pilgrim 2000, Jones 2019). These attributes were created to present black women as being against the epitome of white womanhood (Jewell 1993: 39-40, Pilgrim 2000) creating a further division between black and white woman.
As discussed in From Mammy to Miss America and Beyond, and quoted in Sister Citizen, this portrayal was created as pro-slavery propaganda by presenting black slaves as being “happy and content with their duties” (Jewell 1993: 38), despite the fact that these women lived with the “constant threat of physical and sexual violence” (2011: 72).
The most notable depiction of this stereotype is seen in the 1939 film Gone with the Wind, where the character Mammy is seen as protective and devoted towards the white family in which she serves (2009: 3). (Figure 4) This damaging stereotype can be seen in many movies, including The Help (2011) and the Big Momma anthology (2000-2011). However, in recent film this caricature has been subverted, creating a new narrative. The 2019 horror film Ma contorts this depiction of black women – initially starting out as a considerate motherly figure by inviting a group of young people into her home, the character Ma takes a sharp turn, becoming vengeful when they rebel against her rules (Jones 2019). (Figure 5)
Ma’s “terror, cruelty and vengeful rage are reserved exclusively for white women and children” (ibid), greatly contrasting with Gone with the Wind’s Mammy, whose care is exclusive for her white family. Despite critics’ analysis of this depiction of a subverted stereotype, the white director Tate Taylor denies the correlation between Ma and the attributes of the mammy trope in his own film (White 2019), highlighting the ignorance often held by white people when it comes to stereotypes of minorities in film.
Black women, however, are all too familiar with their representation, with a 2003 study reporting that 97% of the black women interviewed were ‘‘aware of negative stereotypes of African American women”, with 80% stating they have been affected by “persistent racist and sexist assumptions” (Charisse Jones and Kumea Shorter-Gooden, cited in Harris-Perry 2011: 35). Despite this, as Carolyn West discusses in Mammy, Jezebel, Sapphire and Their Homegirls, some black women find comfort in seeing the “warmth and resilience” of the mammy, including when placed on memorabilia (West 2008: 287). This opinion is not widespread however, as these depictions were used to “dehumanize [sic]” (Brown 2019) and are most often deemed entirely offensive.
Stereotypes of Black Women: The Sapphire & The Jezebel
Depicted as “the angry black woman” (Aljazeera 2020), the stereotype of the sapphire was based on the character of the same name in the mid 20th century show Amos ‘n’ Andy. “Hostile [and] nagging” (2008: 296), she is shown to emasculate the men around her, further reiterating the belief that black women aren’t as desirable as white women. (Figure 6) It was popular during the 1970s’ blaxploitation era of film, in which black people were depicted as being promiscuous, rebellious and criminal (Pilgrim 2002).
“The notion of the angry Black woman was a way — is a way — of trying to keep in place Black women who have stepped outside of their bounds, and who have refused to concede the legitimacy of being a docile being in the face of white power,” (Dyson in Ryzick et al, 2020)
In modern film, the sapphire transforms into the trope of the ‘sassy black friend’, often outspoken with unfiltered speech. She can be seen in Wanda Sykes character in the Bad Moms anthology (2016-2017), in which she acts as a humorously unprofessional therapist by insensitively giving relationship advice (Lucas and Moore 2016).
This trope is seemingly more prominent in comedy television shows than it is in movies, with these characters’ main contribution being one-liners to entertain the white protagonist, and having no story of their own, such as Donna Meagle from Parks and Recreation whose catchphrase ‘treat yo’ self’ has gained popularity (Mylrea 2017).
Hyper-sexual and possessing lighter skin and European features, jezebels adhere to the “sex objectification requirement of white womanhood”, greatly contrasting with the sexless attributes of the mammy, and the masculine aggressiveness of the sapphire (Jewell 1993: 46). The only power a jezebel holds is through her slim, attractive body, as this enables her to seduce men (Aljazeera 2020). Stemming from the rape and sexual assault of female slaves from male slaveowners, the jezebel has been used to cover-up these crimes by presenting black women as always having “desired sex”, infiltrating the belief that these sexual encounters were consensual (2008: 294), creating further ownership of white men over black female bodies.
The Objectification of Black and Female Bodies
The objectification of black bodies is historically evidenced by anthropometric photography which initiated during the 1860s. (Figure 7) Black people were photographed against grids in order to calculate their “physical characteristics” (Cohen 2015: 61). It’s also important to note Martha Rosler’s video piece Vital Statistics of a Citizen, Simply Obtained on the dehumanisation of women’s bodies (Rosler 1997), linking to anthropometric studies by showing a woman being clinically measured. This reiterates the increased oppression faced by black women due to both their racial and gender identities being subjected to objectification.
The First High-Profile Black Superhero Movie: Black Panther
“A commentary on African lives with minimal interest in, or need for, the approval of the white gaze” (White 2018), 2018’s Black Panther is one of the top 10 highest grossing films of all time (Hughes 2018). (Figure 8) Having a predominantly black cast and a diverse set of roles and for female characters, Black Panther passes the Bechdel, DeVurnay and Shukla tests. In an interview with Variety, the actress Lupita Nyong’o stated that the director purposefully created roles that would show the “influence” of women, showing eagerness to represent them as diverse individuals (Variety 2018).
Women can be seen physically protecting the male protagonist along with dominating the technological field (ibid), showing strength and leadership in a positive light, and diverging from the emasculatory demeanour of the sapphire. This creation of well-rounded characters subverts the male gaze, whilst colonialist viewpoints are defied by showing African tribes as progressive. The authority is passed over to black women themselves, something rarely seen in American film.
Overall, it can be said that the roles available to black women are slowly becoming more diverse. Shunning stereotypes rooted in slavery propaganda and trading them for complex, influential characters, the American film industry is starting to give black women their own voice. However, lead roles for black women are still scarce, instead going to their male or white counterparts.
“We need to be more aware of the persistence of stereotypes affecting Black girls and women – and avoid repeating those mistakes when making writing, casting, and other content production decisions. While it is encouraging to see some positive trends, it’s clear that much more work needs to be done to ensure that women of all backgrounds have the same opportunities when it comes to being depicted on screen.” (Geena Davis Institute on Gender in Media, 2021)
The notable academic research on this topic was created during the 1980s to early 2000s, and has taken a small decline since then, with newspaper and magazine articles becoming more prominent than academic journals or studies, the latter not gaining as much attention as reports in earlier years. With the rise in the acceptance of the LGBT community, and the acknowledgement of the struggles faced by those with disabilities, there is surprisingly little research about the representation of black women who also identify with these labels. Seeing this lack of research, there is scope for an investigation into how these additional components to one’s identify affect people’s casting, perception, and representation in film.
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This dissertation focuses on surveillance and voyeurism in photography. The argument debates the necessity of surveillance imagery against the invasion of privacy that voyeuristic work confronts. Drawing on the work of Michael Wolf, Weegee, Merry Alpern and Sophie Calle as key examples, this dissertation compares the effect of surveillance photography versus voyeuristic photography. In addition, the argument examines deeper the aspect of control that surveillance provides within society, including how it alters behaviour, referencing the work of Trevor Paglen. Furthermore, the debate considers how privacy is breached through voyeurism and compares the balance between this control and invasion. Finally, the discussion references the work of Edward Hopper, in terms of painting’s ability to be voyeuristic. Through comparing his practice to Karin Jurick, Richard Tuschman and Thomas Struth, the dissertation discusses how painting can subvert traditional expectations and align itself to the photographic world. Overall, the dissertation aims to consider how surveillance fits into the society of the 21st century, influenced by modern concerns of technological developments and sacrificing information. Through use of theorists and key writers, such as Foucault, Phillips and Sontag, the discussion focuses on how the public navigate the relationship with constant observation, and photography’s role within this.
In defining surveillance and voyeurism “we might say they are two sides of the same coin – voyeurism being personal, the product of a wilful individuality… while surveillance is impersonal” (Badger, 2010: 87). Since the invention of photography, it has always been true that “to collect photographs is to collect the world” (Sontag, 2008: 3); however, the span of this collection and documentation of human existence has never been to the degree and volume that it is currently. Foucault comments “our society is one not of spectacle but of surveillance” (1991: 217), which remains increasingly relevant to the current social climate. With developments in facial recognition technology and 350 million security cameras worldwide (SDM, 2016), I believe that surveillance is a key topic of debate in the 21st century, especially in the last year. This is due to the rapid developments of surveillance technology in China and the increasing discussion around the topic in other countries. As a species we are at the culmination of recorded existence and verification by photographic devices (Figure 1)
Moreover, the understanding that “the visual image is possibly the dominant mode of communication in the late twentieth century” (Edwards, 1992: 3) is still applicable. A key aspect of this relates to the tourist gaze and ability of the average person to document at their own accord. Furthermore, the existence of social media platforms such as Instagram where “the majority of Instagram authors capture and share photos that are of interest to the author” (Manovich, 2017: 31) is relevant. In this way, it is natural to question purpose and necessity of this technology, as well as subjective boundaries of acceptance, particularly when this is beyond our control.Therefore, this dissertation is relevant to the modern day due to the focus on social acceptance of surveillance and voyeurism, as well as photography, in a world of growing observation.
Firstly, I will touch on the nature of photography as a tool of observation, discussing photography as a window for viewers. I will build upon the reality disclosed and depicted, including early anthropological documentation. Next, in Chapter 1, I will discuss how “the whole world is satelized” (Baudrillard, 1994: 35). Through acknowledging how “photographic images are pieces of evidence in an ongoing biography or history” (Sontag, 2008: 166) I will propose how I believe surveillant documentation is inescapable. I will discuss how surveillance inevitably happens whereas voyeurism crosses a viewer’s comfort.
Furthermore, I will link how photographers use surveillance techniques and concepts to create work, making observations about people; as well as work lending itself to a voyeuristic tone and the way in which I think this pushes viewers too far. Considering the themes in George Orwell’s novel Nineteen Eighty-Four (1949), “we need to ask ourselves whether the future society we want to live in is one which constantly watches its citizens” (Thomas, 2019) (Figure 2). Therefore, I think it’s important to comparatively argue how voyeuristic photography and surveillance photography are received. Also, “the surveiller expects to be in a relation of power over what he or she surveilles” (Kember in Lister, 1995: 116) is a factor of debate when considering surveillance in this chapter. I argue the importance of questioning roles of power between the viewer and the viewed, and how this affects acceptance of imagery.
Then, in Chapter 2, I will argue for the necessity of observation and control through surveillance. However, I will discuss issues with observation related to absence of public awareness and social media. Related to this, Philip-Lorca diCorcia makes a good point that “there is no expectation of privacy in a public space anymore in this world… in a way it’s about what you do with those images” (2010). This reflects how we understand that public and private spaces are separate and must accept this, whilst also touching on the notion that what is done with images is important. To expand upon this, my argument will acknowledge necessity of surveillance, whilst also discussing the rights to awareness the public has of what happens with these images and videos of us; such as the long-term storage and whether we are being actively watched or passively recorded.Furthermore, in a society that is becoming more like Orwell’s dystopia, the idea that “so long as they are not permitted to have standards of comparison, they never become aware that they are oppressed” (Orwell, 1989: 216) appears more relevant. In this chapter I will also argue how our awareness of the prevalence of surveillance affects our opinion and acceptance of it.
Finally, in Chapter 3, I will focus on Edward Hopper’s paintings as a case study. I will discuss the voyeuristic nature of photography in more depth, touching on the ability of paintings to be uncharacteristically voyeuristic and the relation of windows in paintings, photography and film. Furthermore, I will debate depicted realities and how the purpose of observation is questioned
Brief Considerations on The Nature of Photography as a Tool of Surveillance and Voyeurism
A key aspect of photography is that “it establishes not a consciousness of the being-there of the thing… but an awareness of its having-been-there” (Barthes, 1977: 44). Thus, I acknowledge that photography is rooted in the trace. Furthermore, referring to conceptions of photography Szarkowski asks “is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” (1978: 25); I would argue that it is representative of both. Viewers perceive photographs as windows into the world and it is in the nature of images to reveal, both about the photographer and the subject photographed.
Sontag observed that “reality as such is redefined – as an item for exhibition, as a record for scrutiny, as a target for surveillance” (2008: 156). This view is mirrored by “photography cannot ignore the great challenge to reveal and celebrate reality” (Abbott in Tagg, 1988: 156). Surveillance as a form of photography follows the same role in recording reality, although for more lawful and controlling purposes than contemporary photography.
The ability of surveillance to record us holds the same power to confirm existence and document, as that of 19th century anthropological photographs (Figure 3 & Figure 4), photography has always been inherent in showing the real, albeit not always the truth. Said touches on this related to Orientalism and the West’s tendency to convert the view of the East into an ideology of Western superiority; “the tradition of experience, learning, and education that kept the Oriental-colored to his position of object studied by the Occidental-white, instead of vice versa” (1979: 228). The fabricated reality depicted by Western photographers of the Other in anthropological imagery, reflects the absence of truth in photographical representation.
Although, photographs have the ability to disclose information beyond description, meaning they are key in surveillance imagery. Moreover, Bate says “social truth was embodied in the modern technological process of “documenting”” (2016: 59). The reality surveillance discloses is assured to such a degree that it is able to be used in legal trials as a form of evidence (Figure 5) I think that this is related to the understanding society has, that surveillance imagery is untampered with and pure documentation of human behaviour.
Chapter 1: The Omnipresence of Surveillance and the Intrusion of Voyeurism
In my opinion, it is not a question of should surveillance exist, rather acknowledgement that it does, as well as a response to how photography fits into this concept. Focusing on inevitably of surveillance ultimately reflects the concept that “photography is nearly omnipresent, informing virtually every arena of human existence” (Ritchin, 1990: 1). However, the comparative argument considers the breach of privacy I believe voyeuristic work holds, and the confrontation of our scopophilia that affronts us. As Bate described “… the scopic drive is in this sense a source of conscious and/or unconscious pleasure” (2016: 214), in this way my argument questions when this pleasure breaches privacy.
Furthermore, I oppose Phillips’ opinion that “our culture appears to be accommodating itself to the fact of surveillance and no longer considers voyeurism the danger it was in the past” (2010: 15), in reference to medical concerns of the sexual nature of voyeurism. Whilst I believe we are becoming more accommodated to surveillance, due to it becoming part of our subconscious awareness, I think we have social codes on what is acceptable to look at and what is not. Also, acceptance of a surveillance world relates to Adam Curtis’ 2016 documentary HyperNormalisaiton, whereby we live in a constructed fake world. The purpose of this suggested by Curtis is “to spread a state of bewilderment and powerlessness across the globe” (Adams, 2016) which I believe surveillance cameras fit into; their omnipresence is unfathomable to the public, leading to the overwhelming feeling of powerlessness.
Sontag commented “photography is essentially an act of non-intervention” (2008: 11); I believe that surveillance and particularly surveillant photography is a reflection of this concept. As a society, to a degree we have accepted that in public spaces we are watched – “he is seen, but he does not see; he is the object of information, never a subject in communication” (Foucault, 1991: 200). My view is not only is this accepted but often it’s encouraged as it leads to the feeling of public safety. Therefore, I think that we are used to being observed at a distance, and this leads to acceptance. (Figure 6)
In terms of this, my opinion is that surveillance is subconsciously registered. Related to photography, we consider the surveillant distance the camera can offer to also be advantageous as “we want the photographer to be a spy in the house of love and of death, and those being photographed to be unaware of the camera” (Sontag, 2003: 50). Sontag refers to our expectation of photography as a spy and in this way surveillance photography succeeds. Moreover, we acknowledge our own fascination with photography as a medium to look into untouched lives of others.
In reference to Kember’s comment earlier regarding a surveiller’s power, I believe that this also applies to photography; as viewers we understand that we’re in power over those photographed due to our awareness of looking. However, I think viewers are morally reassured when looking at images of people in public spaces, again, due to understanding that they could be a witness.
A key example of work we’re likely to be more comfortable with is Michael Wolf’s 2010 project A Series of Unfortunate Events (Figure 7). The series which looked “for anything weird or bizzare that had been captured by the ravenous cameras” (Casper, 2011) of Google Earth’s vans is not only comfortable for viewers to look at, but often amusing and curiosity-evoking. In my view, this comfort is due to the understanding that Wolf photographs images already taken, similar to Jon Rafman’s The Nine Eyes of Google Street View (2016) and Doug Rickard’s A New American Picture (2012). I agree that Google Earth seemingly possesses an “indifferent gaze” (Dyer, 2012) which Wolf uses advantageously, allowing a viewer to feel fascinated.
In addition, I argue that Wolf’s series is accepted due to the level of detachment provided in looking. Related to surveillance, particularly Jeremy Bentham’s 18th century panopticon, Foucault comments “it had to be like a faceless gaze that transformed the whole social body into a field of perception” (1991: 214). This also relates to Google Earth imagery as viewers consider the technology a source of information with an ambiguous gaze. The pixelated style and context give permission to enjoy the work, without concern about why the photographer did not intervene.
Furthermore, societal understanding of Google Earth means that the viewer is less concerned about purposes of the original imagery. In addition, the blurred or absent faces also reassure the viewer that personal identity is not at jeopardy, demonstrated in Figure 8. Related to my argument, this reinforces that distance and anonymity of surveillance bring a certain level of observational comfort.
In comparison, Mishka Henner’s 2011 Dutch Landscapes project also uses Google Earth. (Figure 9) With focus on significant Dutch locations, such as government sites, Henner acknowledges how censorship is “imposed on the landscape to protect the country from an imagined human menace” (2011). Although, I think there is a sense of hypocrisy in that governments enforce censorship for their buildings, but expect complete access to the public, I also understand necessity of national security. Alike to Wolf’s work, the series acknowledges how “the Google eye is so ubiquitous” (Medina, 2013) and again ignites the viewer’s curiosity.
Similarly, I believe that Arthur Fellig’s (Weegee) 1940s Movie Theaters series reflects viewer’s acceptance of observation. (Figure 10). In terms of the series, “the photographs capture everything that is unseen during a movie screening” (Brennan, 2015); in this way, Weegee mirrors the curiosity into lives of others that Wolf provides. In my view, this is due to the fact that Weegee’s images are not shocking. Sontag commented that in terms of journalism “images were expected to arrest attention, startle, surprise” (2004: 19) and I think the familiarity of the series prevents this.
Therefore, I argue that Wolf and Weegee’s work are examples of how “photographs depict realities that already exist” (Sontag, 2008: 122). In my opinion, the understanding that the human behaviour is in a public space and the viewer could’ve been a witness reassures those looking at the work, alleviating feelings of guilt or intrusion. This also relates to citizen journalism; I believe a viewer is less likely to question if it’s acceptable to be looking as they identify themselves as a fellow observer. This links to the urge to photograph as “they strive to record what’s happening from their perspective or vantage point” (Allan in Hájek, 2014:176). Related to this, Sontag made a key point that “needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted” (Sontag, 2008: 24) and I believe observant photography is evidence of this.
In addition, Gill comments “any act of observation implies a certain detached alertness” (in Phillips 2010: 241) which aligns itself with viewers of Weegee’s, Wolf’s and Henner’s work, as both photographer and viewer engage with detached vigilance. Furthermore, I think we don’t consider viewing of this kind a threatening act, therefore the power viewers possess over the subject is not as big of a concern. In addition, as viewers assume photographers to have responsibility and power in choosing to take images, viewers feel able to assume the photographer is accountable for their concerns and guilt, whilst still acknowledging their right to look. A key example of this is Kevin Carter’s Starving Child and Vulture (1993) photograph, which caused criticism from viewers who argued he should have intervened rather than document. (Figure 11)
However, the question of “does documentary inevitably create a prurient voyeurism for example, an unethical desire to look into the lives of others?” (Bate, 2016: 61) must be asked when considering documentary imagery. It’s important to debate when scopophilia breaches a boundary for viewers and causes discomfort. Moreover, in my opinion, when we feel that we’ve overstepped the boundary of privacy we begin to consider why we desire to look and our moral stance in relation. In a society where we are watched, it is voyeurism with its tendency for “invasive looking” (Phillips, 2010: 6) that I think many viewers are opposed to. Although we understand that “we watch, and we are watched” (Phillips, 2010: 6) I think voyeurism holds a degree of closeness that viewers often wish to disengage with in terms of photographic work.
In my opinion, a key example of this boundary being crossed is Merry Alpern’s 1994 series Dirty Windows. (Figure 12) Over six months Alpern produced intimate images of a secret New York lap-dance club that she described as having “something to do with wanting to understand how people connected, no matter the circumstance” (Alpern in Vermare in Cotton, 2018: 130). This is understandable to any viewer due to our inherent curiosity about others and human interaction, what’s interesting is the extreme to which Alpern considers this in her work.
Figure 12: Merry Alpern (1994) Untitled from Dirty Windows
Figure 13: Merry Alpern (1994) Untitled from Dirty Windows
Baker comments “our entire life is spent peeping into windows and listening at the keyhole – that’s our craft” (in Phillips 2010: 208) in regard to photography. I agree with this statement in the sense that it’s always the photographer’s nature to be curious, which drives them to pursue an image. Furthermore, the idea of photography being a window is inherent within the medium, as mentioned earlier, suggesting the inevitability of looking to be about seeing into an aspect of the world. This is certainly true of Alpern, however I think that the nature of the series brings into question a viewer’s own morals. In my view, it is not necessarily the content of the imagery which offends, as we understand the concept of pornography and a viewer’s enjoyment of watching others engage in sexual activities. (Figure 13).
Therefore, I think it’s the way in which those being photographed are unaware their intimate acts in a private space are now available for viewing beyond the window itself. Unlike Wolf and Weegee’s works, the activities portrayed in Alpern’s photographs aren’t within the public sphere and therefore the subject hasn’t consented to this visibility. I believe the act of looking at people having sex in a private space is understood as culturally unacceptable, and therefore Alpern’s series doesn’t follow our social normalities. I argue that when viewers breach societal rules, in any regard, they feel unease and shame. Moreover, this relates to conditioned behaviour through the idea that “perhaps inevitably in cultural life a child’s voyeuristic enthusiasm is curbed by parents and other adults, who impose social rules about when looking is appropriate or not” (Bate, 2016: 77).
Similarly, in my opinion Sophie Calle’s work produces the same unease of looking as Alpern’s. As demonstrated in Figure 14, she followed a man in Venice for 12 days. Although the man was aware of what she planned to do from the beginning, I think viewers still feel a sense of forbidden looking. In my view, there is the sense that Calle invades the subject, especially in Figure 15 where she used her job for the intent of her photography. Viewers don’t wish to think about the possibility of being followed or their trust in a stranger to be taken advantage of. In this way, I believe that Calle’s work offends viewers on behalf of the subject as they wish to avoid hypocrisy or a double standard. Related to this, Ulin comments that “for Calle, the idea is to push the bounds of propriety, to go where one wouldn’t ordinarily go” (2015), whilst she succeeds in this, she also forces the viewer to engage in this. The sense of stalking the images in Suite Vénitienne possess, also seen in The Hotel, cross boundaries of acceptable looking for viewers.
The idea that “we have expectations concerning a particular circle of unfamiliar people whom we might meet, and we have expectations concerning how these people will behave towards us” (Rössler, 2005: 115) is true in the sense that “we do not expect our being seen to be recorded on film and thus converted into something that can be shown in public” (Rössler, 2005: 115). I think Calle’s work directly relates to this, making viewers uncomfortable as they acknowledge that we put trust in strangers and don’t expect them to breach that.
Therefore, I think that as viewers we’re comfortable with surveillance work like Wolf’s and Weegee’s due to the way it provides us with distance from the subject. Furthermore, the acknowledgement that the subjects are already in a public space frees viewers of guilt, as they believe themselves to be possible witnesses already. In direct contrast, I believe that Alpern and Calle’s voyeuristic style is more likely to offend. This is due to the sense of privacy being breached in private spaces, causing viewers to feel morally incorrect. Furthermore, the viewer is uncomfortable for the subjects who expect privacy, which I believe makes the feeling of forbidden looking prevalent. However, building upon this discussion, purposes of surveillance and observation beyond photographic curiosity are questionable, relating to boundaries that are defined in terms of privacy.
Chapter 2: The Undefined Boundary of Surveillance In the Public Realm
In terms of surveillance, I think the purpose of technology to control the masses is necessary, however public knowledge and ability to regulate being watched is an issue. My argument is, that defining boundaries related to presence and intrusion of surveillance within society is the key problem. The comment that “privacy has been defined by what it protects or provides, namely dignity, personhood, individuality, autonomy” (Phillips, 2010: 55) stands true, however I believe surveillance isn’t as simply validated by this.
To a degree, the concept that “a subjected being, who submits to a higher authority, and is therefore stripped of all freedom except that of freely accepting his submission” (Althusser, 1984: 56) is true. Although surveillance arguably limits our free will, I think it simply reinforces our natural public behaviour. Moreover, use of surveillance aids in deterring illegal and dangerous behaviours beyond societal expectations of public behaviour. However, I also argue that surveillance presence has led to construction of socially accepted behaviour beyond taught morals; such as the understanding that you wouldn’t steal due to being caught on camera.
In terms of photography, I believe that claiming street photography can be truly candid is false; in public people provide certain personas and more formal behaviour. Foucault commented “we are neither in the amphitheatre, nor on stage, but in the panoptic machine” (1991: 217) which I think is partly true for the 21st century culture of observation. However, the effect of the panoptic society also means we’re on a stage in a sense, through how we portray altered versions of ourselves.
Moreover, in my opinion, control of the public provides benefits such as safety and as Lister says, “surveillance and classification are forms of social control which operate through the acquisition and organisation of information” (1995: 96). A key example of this information aspect would be passport photos (Figure 16). I believe that the use of documentation of people for safety is accepted and supported. Surveillance holds a similar power in classifying us for identification. During research it became clear that positive evidence related to spy photography and drones was virtually non-existent. In my view this makes sense, due to modern concerns related to surveillance. However I think that benefits are often overlooked.
Despite the benefits, the point that “it generates a degree of conflict between the control of and control on behalf of individuals and communities” (Kember in Lister, 1995: 117) is valid. In my view, the issue with surveillance is regulation. The public are most affected by surveillance, however they don’t possess power to dictate acceptable standards. With facial recognition technologies being introduced, as well as gait recognition, which has the ability to identify you from your walk, the issue of pushing surveillance too far comes into question. As Phillips comments “voyeurism and surveillance provoke uneasy questions about who is looking at whom, and for what purposes of power or pleasure” (2010: 6) which becomes increasingly relevant to modern humanity.
Furthermore, I think that the problem doesn’t only occur in public but also through use of phones where “it has now become commonplace to hear of Google using individual searches to sell targeted ads, Twitter promoting content on your feed based on who you follow, or Facebook data being scraped to enhance political campaigns” (Stuart, 2019). Whilst many users still hope for mobile phones to be possessions of privacy, the reality is that our information is worth a lot and is now being surveilled and sold. I argue that in the 21st century we must come to understand that as soon as we have a phone we have sacrificed our privacy. Also, I believe this extends to visual culture as information related to us is documented through photographs and shared online.
As Ritchin comments in reference to media, “many advertisers have since abandoned such publications, leaving them behind for the more selective reach of search engines plugged in to even more individualized interests” (2013: 20). I think the act of being online is transactional; public gain of unlimited worldwide information and connections, in trade for the companies’ gain of private sensitive information. The problem is “we don’t know if they’re potentially subverting security measures in order to facilitate spying on us” (Granick in Belkhyr, 2019), suggesting how the public have an absence of knowledge in terms of surveillance laws and their rights. In my opinion, photography in its surveying nature, is also part of the issue as many people don’t know their rights related to images.
In terms of photography, Trevor Paglen’s work focusing on surveillance and the digital world, comments on issues to do with privacy and understanding of the internet. (Figure 17) In reference to the internet, Paglen comments “it’s this thing that nobody can quite describe that seems like it’s nowhere but everywhere at the same time” (in Chapman 2016). I think that his work looking at US intelligence buildings and underwater internet cables aids viewers in understanding physicality of surveillance and the internet.
I think that Paglen’s work brings into question the scale of the photographic surveillance network and creates a wider picture of this reality. The intangibility of the internet makes the concept of being watched difficult to grasp, however the physical evidence shown in Paglen’s photographs reinforces the real (Figure 18). Furthermore, “his is a practice broadly underpinned by an investigation into the relationship between vision, power and technology” (Clark, 2019) and in this way brings the intent of surveillance into question. My view is that the intention of surveillance and those that watch us is questionable, largely due to the public’s absence of knowledge surrounding this.
I believe that due to Paglen’s work suggesting the vast scope of the surveillance network, viewers consider true intentions of those observing us, as mentioned earlier. (Figure 19) My view is that Paglen’s work is successful in revealing part of this unknown world. However, as many companies who hope to gain access to our information online are private, we may be unable to truly realise these intentions. The physical evidence of surveillance in the photographs suggests how truth regarding the topic is concealed from us, and the use of the internet has caused distraction from the reality of being watched. This relates to the idea of the image world as “the circuits of surveillance cameras are themselves part of the décor of simulacra” (Baudrillard, 1994: 76). We understand we are being watched, however we do not know the extent of this. Furthermore, we are drowned in online information, a lot of which is irrelevant or distracting, preventing our ability to fully comprehend the truth of our sacrifice.
Leading on from this discussion regarding privacy, the concept of voyeurism in visual culture becomes key in understanding the ways of invasive looking and how this instinct is ingrained in creative representations
Chapter 3: Edward Hopper: The Voyeuristic Painter
Photography’s nature is voyeuristic, “the photographic attraction resides in a visceral sense that the image mirrors palpable realities” (Ritchin, 1990: 2). In this way, photography has always felt close to, a part of, or even synonymous with reality. Whilst it is rooted in the trace as mentioned earlier, photography is not necessarily a depiction of reality, rather just the real. Moreover, despite Ritchin’s comment that “without this reliance on palpable fact, however, photographic currency, like that of painting, becomes the imagination” (1990: 2), some painting is able to mirror the real to a degree. A key example of this would be Edward Hopper’s realism paintings depicting American life. (Figure 20)
In relation to photography, Gordon comments “voyeurism is inherent in the medium. It’s a voyeuristic medium, unlike, say painting, which can be voyeuristic but is not necessarily” (2010). However, Hopper’s work is evidence of the way in which painting can be voyeuristic; I propose that paintings help us to understand photographic voyeurism due to developing awareness of composition and the choices painters make, similar to choices a photographer makes. I think this strongly links to the unusual style of Hopper’s work and causes the viewer to feel slightly unnerved by the paintings due to the realistic aesthetic.
Reminiscent of Walker Evans’ Many Are Called (1936- 1941) series (Figure 21), the paintings appear to the viewer as a photograph would, reflecting Hopper’s distinct style in the ability to paint like a photographer captures. (Figure 22) The comment that “the ambiguous, narrative richness of Hopper’s paintings – combined with their subtle, anxious energy – has given them a timeless quality” (Thackara, 2018) is valid. In this sense, the viewer has an understanding of the feeling of familiarity that Hopper’s paintings release. Furthermore, the photographic recreations of Richard Tuschman’s Hopper Mediations series prove the easy transition of Hopper’s work into photography. (Figure 23). Tuschman comments on Hopper’s paintings saying, “he created quiet scenes that are psychologically compelling with open-ended narratives” (2014); the reflection of the work as scenes containing narratives, aids in the relation to photography due to the way it suggests a constructed story.
Figure 22: Edward Hopper (1952) Morning Sun
Figure 23: Richard Tuschman (2014) Morning Sun from Hopper Mediations
Related to my earlier point regarding photography being a window into the world, I argue that Hopper’s work acts also as a window, only in a more clearly perceived way. Goodrich observed this by saying “many of his city interiors are seen through windows, from the viewpoint of a spectator looking in at the unconscious actors and their setting- a life separate and silent, yet crystal-clear” (1978: 105).
An example of Hopper’s windows is his Nighthawks painting demonstrated in Figure 24. I think that this painting is synonymous with Hopper due to the way in which it symbolizes how “his works depict urban loneliness, disappointment, even despair” (Peacock, 2017). The identification the viewer feels, especially for those in mid-20th century America, likens itself to photography as viewers understand images through their own experiences and associations.
In addition, the use of windows is not only seen in Hopper’s paintings and Alpern’s photographs, but also in film. A key example of this window-based voyeurism is in American Beauty (1999) directed by Sam Mendes and Amélie (2001) by Jean-Pierre Jeunet. Moreover, in Hitchcock’s Rear Window (1954) the viewer sees how the use of windows are key to the plot; “by sharing this voyeuristic activity with the audience, Rear Window shows Hitchcock’s view on voyeurism that is a universal pleasure that all human beings pursue” (Hopkins in Saporito, 2015). These similarities reflect how important the concept of observation is within wider visual culture. (Figure 25, Figure 26 & Figure 27)
Figure 25: Sam Mendes (1999) Jane Undressing Window Scene from American Beauty
Figure 26: Jean-Pierre Jeunet (2001) Amélie Watching Mr Dufayel At His Window from Amélie.
Figure 27: Alfred Hitchcock (1954) Rear Window Opening from Rear Window.
Also related to voyeurism within painting, Karin Jurick’s ArtistZ (2006) series (Figure 28) depicts observations regarding how viewers look at artwork in the gallery context. In a similar way to Hopper, Jurick’s painterly observations reflect a photographic nature and cause viewers to second-guess what they are seeing, due to the expectation of them being photographs. Jurick herself comments “I still can’t get enough of it” (in Fauntleroy, 2010) in regards to painting. I believe that photographers possess this same drive to capture, as well as a voyeuristic nature, which causes them to continue working.
Moreover, Jurick’s paintings reflecting photographic tendencies are evidenced by likeness to Thomas Struth’s Museum Photographs (1989-2001). As shown in Figure 29 and Figure 30 their works are relative mirrors of one another existing in different mediums. Regarding the gallery space of his work, Struth commented “it’s not defined like a football stadium or a concert venue. I wanted to capture that interim sense of place” (in O’Hagan, 2011). I think that this links to voyeurism due to the way that viewers are curious about people looking, especially in a gallery space which has the purpose of displaying works to be seen
Figure 29: Thomas Struth (1990) Art Institute of Chicago I from Museum Photographs
Figure 30: Karin Jurick (2006) Renoir from ArtistZ
Linking these works back to Hopper, Goodrich commented “after his early years his oils were composed by a process of imaginative reconstruction in which both observation and memory played parts” (1978: 129) which I think relates to the topic of voyeurism overall. In my opinion, Hopper and Jurick’s works hold familiarity as the viewer is able to identify the representation of the real. The understanding that they have witnessed, and are able to witness, something similar to what is depicted suggests the way in which the works hold a feeling of personal memory. Moreover, I believe that Hopper and Jurick’s styles are evidence in the way in which paintings can possess a voyeuristic nature and make the viewer question purposes of looking, alike to photography.
In summary, surveillance exists and is beneficial in public safety and control. I think we find surveillance photography more acceptable, compared to voyeuristic photography that brings awareness of invasive looking to the forefront. In my view voyeurism offends, as it subverts our learned behaviour.
Moreover, I believe there needs to be improved regulation and public education of surveillance techniques and storage, particularly related to social media, where information has become monetarily valuable to companies. In reference to literature, “as Neil Postman wrote in Amusing Ourselves to Death, comparing the dystopian theories of George Orwell and Aldous Huxley: ‘Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.’ Unfortunately both seem to have been right” (Ritchin, 2009: 90). I agree due to the way the public is unaware of the degree of surveillance and social media’s irrelevance in distracting us. In addition, I have acknowledged photography’s voyeuristic nature and painting’s ability to be. Also, I’ve discussed how visual culture contains the theme of looking and how this is often inherent.
Finally, looking forward to the future of our surveillance society, it brings into question the possibility of a totalitarian state. Lyon commented “if Giddens is right to say that ‘Totalitarianism is, first of all, an extreme focusing of surveillance’ then the enhanced role of new technology within government administration and policing should give us pause” (1994: 11). Whilst the increased prevalence of surveillance is leading to increased regulation questioning, Los commented “the multi-site governance of security, multiple hierarchies and preponderance of networks may not constitute an effective barrier to totalizing forces” (in Lyon, 2006: 74) in reference to widespread use of surveillance. Therefore, I think it’s important to acknowledge, that the omnipresence of surveillance may inevitably be uncontrollable, immeasurable and irregulated, which I think photographic practitioners and theorists will continue to comment upon indefinitely.
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Dinu Li is a multi-disciplinary artist and Senior Lecturer at Falmouth University who has exhibited internationally for both solo and collaborative shows. His practice delves into his engagement with his Chinese heritage, the socio-political conditions of place, as well as the intangibility of memory. This interview is a dissemination of a number of key areas ranging from his migration to the U.K and his discovery of photography, through his projects as a professional and his insight into the current educational climate.
LS: You mention your first encounter with photography and how you could read the images. Is this something you have found with producing works of your own, that you could communicate beyond language barriers?
DL: I have been surrounded by photographs since my childhood, growing up in Hong Kong. My dad came to the UK when I was a few months old, and so my understanding of him came via photographs of him displayed on my mother’s dressing table. There were images of him posing in Trafalgar Square, or standing in a snow filled park, or standing next to his car. Those snapshots were placed next to photographs taken in China of my aunt, uncle and cousins. As the photographs were quite small, I paid a lot of attention to observing all the details contained within the compositions, creating my own narratives around what I saw.
I then came across the photographers Chris Killip and Joseph Koudelka by accident whilst wandering around a bookshop in my early-twenties. Up until then, I hadn’t taken photography seriously. I walked randomly inside the store, and casually arrived into the arts department, stopping at bookshelf ‘K’. Without thinking, I pulled out two books, In Flagrante by Killip and Exiles by Koudelka. Using my intuition, I was able to dissect the images to make sense of the world as seen through the eyes of both photographers. I guess my formative years looking at my family photographs must have helped, as I seem to have been able to read those images as if reading text.
LS: Your work delves between contrasts of barriers as well as unity within humankind. Has emigrating as a child caused these themes to have significant prevalence in you work? Especially as you navigated through various cultures and sub-cultures as you settled in England?
DL: Working class families in Hong Kong live in densely populated environments, and neighbours can appear as if they are literally living besides you. As we didn’t have a television at home, I spent my childhood peering through the cracks and gaps of closed shutters or venetian blinds, so I could watch tv programmes from other people’s televisions. My understanding of popular culture was one of half experiences or half satisfactions, as I never got the full picture from looking through those gaps.
I was brought up in Hong Kong when it was still part of the British colony, and so the sounds coming from my neighbour’s television sets was a melting pot between Chinese opera and American detective series depending which channel those families were watching. At one time, I recall going to the cinema twice in one week, watching Snow White and the Seven Dwarfs one day and Chinese revolutionary ballet on another day
I moved to the UK as a seven-year old, but settling here was not easy, as the locals were unwelcoming to foreigners. Within weeks of my arrival, two boys living a few doors away pounced on me one day, as I was about to set off for school. They pushed me against a wall, slapped me around a few times, and filled my pants with handfuls of soil. As they ran off, they shouted “get back to where you come from”. As disturbing as it was, that memory has been a catalyst to some of my work in my art practice. It has been a paradoxical concept to imagine a backwards walk to one’s birthplace, with a trail of British earth leading from a point of departure to a final point of destination.
LS: We Write Our Own History is a photographic body of work that consists of arrangements constructed by demonstrators from the 2014 Hong Kong protests, displaying incidents they experienced. When looking at this work classical painting, particularly works from the Dutch Golden Age, come to mind as unassuming objects carry metaphorical significance. Did you ever think of the work in this way when it was produced?
DL: I have a deep appreciation of painting from the Dutch Golden Age, and it is ironic how my images from We Write Our Own History shares similar tensions to one particular painter of that period called Clara Peeters. For example, it is noticeable in so many of Peeters’ paintings that her table top items are often placed on the very edge of the table, as if on the verge of tipping over. This causes a sense of unease that I hope is also apparent in my photographs.
Another striking feature is the incongruous manner by which items are placed, as if going against traditions of still-life painting. In her painting Still Life with Flowers, Goblet, Dried Fruit and Pretzels (1611), Peeters places a large goblet not only at a central vantage point, but also in front of much smaller items. This is unusual, as such items had historically been placed at the back of a large arrangement, to avoid blocking an overview.
LS: When studying under you, you encouraged collaboration with others. Does this advice stem from your own experience engaging with art institutions or projects in which you have made investigations in conjunction with people? Or is there another reason you stress the importance of collaboration and partnerships?
DL: The status of art and artists was put in question by Duchamp, who acted as agent provocateur, provoking deeper critical engagement in the arts, and as a challenge to systems, institutions and traditions. I share Duchamp’s sentiments in challenging the status quo, and wish to be considered a verb, rather than be labelled by a noun.
By verb over a noun, I mean it is not important for me to be classified as an artist. It is only important to me that I have actioned something or made something. When my work is good, it maybe classed as art or otherwise. Since post-modernity, the status of art has been questioned further, and so the emergence of sharing that status by participation, collaboration and community engagement was inevitable.
The post-modernist American architect Buckminster Fuller wrote the book I Seem to be a Verb (1970), in which he states “I live on Earth at the present, and I don’t know what I am. I know that I am not a category. I am not a thing – a noun. I seem to be a verb, an evolutionary process – an integral function of the universe.” By that account, and being an integral function, it is no accident that I seek to share the production or delivery of art making with others. At times, my function is simply as facilitator.
LS: Memory and narrative are consistent themes within your works, in particular your trilogy of films within TheAnatomy of Place, and your project The Mother of All Journeys. Why is this? Is it an engagement with your native culture or is it a way of providing physicality to an otherwise intangible that may otherwise one day become forgotten?
DL: Yes, I think you’ve guessed correctly. Perhaps the best way to answer your question is to elaborate on another artist, the sculptor Rachel Whiteread. Her sculptures take the form of resin casts, allowing Whiteread to give space a physical presence. What we bypass and ignore everyday are our spaces, as space is invisible. But by giving space a substance, not only does it become visible, but they occupy more presence, more prominence. One of my favourite pieces by Whiteread is also one of her earliest works called Shallow Breath (1988) in which she casted the intimate space directly underneath her father’s mattress, as if Whiteread is making visible, the invisible breaths by her father, breaths that could have infiltrated into the underside of his own bed.
LS: In regards to your trilogy of films (Ancestral Nation, Family Village and Nation Family) was it due to having extensive time working on an off with one subject that the work was concluded as a trilogy or was it more than this?
DL:The genesis to my trilogy came about because I was interested in the word ‘country’ in its Chinese written form. In Chinese, that word can be expressed in three different ways, partly depending on the evolution of the Chinese lexicon, partly due to personal circumstance and so on. For example, in ancient China ‘Ancestral Nation’ would have been used to express the word for ‘country’. People who leave China to emigrate to far away countries often use the words “Family Village” due to its nostalgic undertone. However, Nation Family is the most common way to express the word for ‘country’.
I simply used those three terms as titles for each of my trilogies, and made work in response to the words. For example, for Ancestral Nation, some of the work took place in Qufu, the birthplace of Confucius, the philosopher generally understood to have helped shape the Chinese characteristics. For Family Village, I examined vernacular architecture in contemporary China. And for Nation Family, I interrogated a specific period in the life of a cousin, by using an old black and white photograph of him as my starting point. It is one of the photographs I looked at as a child growing up in Hong Kong.
LS: During The Mother of All Journeys there is an emphasis on memory, and its relationship to actual time and space. Was the use of photography for you essential given its almost institutionalised place as an artefact of record and its own connection to time and space?
DL: In that project, I was interested in interrogating the authenticity of memory itself and to also problematise photography as a form of documentation. I guess the work started all the way back to those years when I used to form my own narrative about family members through their photographs displayed on my mother’s dressing table. In those years, my mother told my stories related to each photograph, which mixed in with my own imagination about the lives of my relatives. The Mother of All Journeys was an attempt to piece together a jigsaw puzzle of my mother’s life experiences, using old family snapshots to aid our journeys.
By the time I was ready to make this work, my mother was already in her 70’s and being forgetful about memories she has instilled in me. Our collaboration involved me recounting my mother’s memories back to her, in order for us to locate the site of her memories. The work involved a lot of missteps, as our combined memories as reliable sources slipped in-between moments of clarity and other moments of uncertainty.
LS: When The Mother of All Journeys was exhibited at the Amelia Johnson Contemporary there seemed to be a clear emphasis on the spatial configuration of the work, and how it was situated both on the walls as well as within the gallery space itself. What influenced this presentation?
DL: Due to the complexities of the project, we divided the exhibition into three parts, using walls as demarcations to define geographic differences. The work involved journeys to China, Hong Kong and parts of Northern England, and so their separation in terms of exhibition display felt necessary.
LS: Do you think it is important for photographic work, work that is typically flat surfaced and wall supported, to be displayed in a more spatially configured and engaging way? And are there particular kinds of spaces you like to work with?
DL: I think it is important to work with a given space, responding to the architecture in site specific ways. I find it exciting to display my work in different ways depending on the site, and how the light moves across that space over the course of the day. Sometimes a long wall lends itself to displaying work in a linear fashion. Other times, if a space has a variety of rooms, the same body of work can be reconfigured in other interesting ways.
One of the most interesting spaces I have enjoyed working in recently is Birkenhead Market, where I occupied several market units to display my trilogy and several other pieces. I was so excited to install my work in such a context, as market aesthetics always reminds me of my childhood, since the place I grew in was stones-throw away from Hong Kong’s famous street markets.
LS: After having first-hand experience studying under you at Falmouth University, where you are Senior Lecturer in Photography, I know how you really push students to produce unique and meaningful work. Do you ever find that being in your position, surrounded by students, that you look at things differently based on conversations you have with them or work you see?
DL: I am beginning to see more students working on projects but unable to discuss the meaning behind what they have spent months doing. in their works, there is a trend in projects that appear autobiographical; political without recognising that’s what they are doing; and most recently, a return to documentary traditions in landscape photography. These themes and trends do not feel incidental to me.
From my vantage point, the reason why I think students find it difficult to articulate their projects is very much related to Brexit. There is so much uncertainly to being a student today. They question the value of their work, they are unsure if they are making good work, they are concerned about their futures and they don’t know how to feel about leaving the EU. It is no wonder they find it difficult to discuss the meaning behind their images. Brexit has formed an invisible backdrop to the contexts surrounding the times by which today’s students are being educated.
LS: Given your position you must of course pay close attention to how the arts are viewed by the wider educational sector, and indeed the government. What does the current climate look like for educating students within creative subjects?
DL: I hope educational establishments continues to allow creative subjects to keep pushing the boundaries of what art is. I worry about the professionalisation of creative courses and just hope we allow students the space to be inquisitive, the time to find their voice, and the freedom to try out new ideas. I go back to the notion of identity and wanting to be understood as a verb rather than a noun. In that sense, I hope our students will develop the kind of inquisitive minds that allows them to be more fluid in the way they operate.
Stephen Fry once said “Oscar Wilde said that if you know what you want to be, then you inevitably become it – that is your punishment, but if you never know, then you can be anything. There is truth to that. We are not nouns, we are verbs. I am not a thing – an actor, a writer – I am a person who does things – I write, I act – and I never know what I am going to do next. I think you can be imprisoned if you think of yourself as a noun.”
LS: And finally, as for your personal practice is there anything you are currently working or investigating?
DL: I am developing new work, something autobiographical, delving into my own youth, when I was immersed in black youth culture. I’m looking at developing work connected to reggae and dub music.
The White Gaze: it is a phrase that resonates in black American literature… The White Gaze: it traps black people in white imaginations (Grant, 2015)
Edward Said (1978) discussed this in Orientalism, a concept later referred to by Elizabeth Kaplan (1997) as the ‘Imperial Gaze’. Essentially: do we still view and construct the world through a white (eyed) perspective?
Is this white gaze still alive and well today? And, more specifically, is it the same in visual culture? Or, indeed, in exhibition culture?
Let us first consider the Family Of Man exhibition (MoMA 1955) as a point of reference, we should still consider, if, when and how contemporary exhibitions might maintain unequal power relations within the white walls of the gallery. Are these are entitled to the same critique as acts of ‘aesthetic colonialism’? (Sekula, 1981, p.15), even of ‘universalising’ [racial] expereinces (Barthes, 2009, p.121). Do these minority voices remain ‘silenced’ by the imposed narrative of the curator? (Phillips, 1982, p.62).
Like Phillips (1982), I view Steichen as an egocentric puppeteer; his decontexulisation of the artist’s works gave him the power to choose how photographers voices were silenced, and particularly how People of Colour (PoC) were represented, that ultimately served as this ‘instrument of cultural colonialism.’ (Sekula, 1981. p.15) Theophilus Neokonkwo (1995 in Sandeen, p.155) also furthers this point, that non-western people, were depicted as ‘social inferiors, half clothed’ as well as victims of poverty and despair – and (as such, he argues) were exploited. He goes on to discuss the way that Western peoples were presented in ‘dignified cultural states’. Sound familar? Think National Geographic.
The ignominious lack of inclusivity, out of 256 works exhibited only 12 were from non-westerners (Tīfentāle, 2018)
So thus, viewing essentially becomes voyeuristic. In ‘Regarding The Pain of Others’ Susan Sontag voices photography’s inability to accurately capture experiences not lived by the participant, in short, we have ‘no right to experience the suffering of others at a distance, denuded of its raw power’ (Sontag, 2004, p.73). Unequal treatment and visibility amongst the marginalised remains a prevaelent issue today. Whilst we might legitimately point the finger of blame at Western media, another might be a continuing (but shifting) exclusivity rooted deep in museum culture. Ali Meghji (2018) states cultural institutions are dominated by white consumers, that a discourse of ‘inclusion’ is promoted simply to avoid charges of racism, therefore PoC’s artwork is segregated and mainly only exhibited annually as a form of tokenism (Meghji, 2018)
‘Curatorial control has remained in the hands of white westerners.Third world writers and artists have had little say in the ways in which they were represented in these exhibitions and have only been able to react’ (Obguibe, 1999. p.158)
For example, the three winning photographs of 2018’s Taylor Wessing Portrait Prize depicted PoC, yet the images were captured by white photographers. Though, Khairani Barokka is interested in National Geographic – how far can we take this? Do we see again here a suggesstion that their ‘lives [are] classifiable, capturable, translatable only through the white gaze’? (Barokka, 2019). Are subjects are maintained in a position of objects of curious observation and consumption, victims of a gaze fixated on their ‘essentialist difference or desirable otherness’ (Ramirez in Ferguson et al, 1996. p.32)
‘What is often called the black soul is a white man’s artefact’ (Fanon, 1994. p.11)
Carol Duncan (1995) situates art museums as ‘species of ritual space’ to which provide a sanctuary for the contemplation of artworks (Duncan, 1995, p.5). Yet, I would argue that this sanctuary is unfairly monopolised by white practice, while this ‘ritual’ is confined to ensuring that the ‘comfort of white people, whether participants or observers, [is] paramount to anyone else’s’ (Burge, 2019). Meanwhile, Duncan goes on to suggest that a multiracial ‘dichotomy has provided a rationale for putting westerns and non western societies on a hierarchical scale’ (Duncan, 1996. p.5).
Next time you visit a group exhibition at a major gallery, count the number of minority practitoners included. It may open a whitewashed eye.
Does this so-called White Gaze really help service the views of PoC? Or, is it merely tokenism or a portrayal of ‘Otherness’ and as still fantasised objects, silencing artistic milestones and capacity to represent oneself.
Defining mental health will continue to be dynamic and fluid and will grow and change as context and cultural influences change (Goldie, 2010 p.36)
‘Seeing these observations of myself from an outsider’s viewpoint prompted me to revisit those times in my life through my own visual archive. I have always turned to photography to express the feelings of a fragmented identity, of my mind splitting apart and into something destructive, something unknown. Working with self-portraits taken on or close to the date of the medical record I have disrupted the image by digitally inserting those texts that are too personal for the public into the photographic image. The result is a corrupted portrait of the broken self, a metaphor for the shattered identity’ (Daniel Regan, 2015)
Defining mental health will continue to be dynamic and fluid and will grow and change as context and cultural influences change. These statements interact directly with the line of thought and questioning here. They provide an opening and understanding to the ideas of what mental health is, to explore the means by which photographers might capture the essence of that in photographs.
One thing is immediately apparent in much of this practice. A sense of invisibility, or of retreating from the world; both visually and physically.
Rather than acting as portraits, they are transformed into metaphors. One can easily feel the sense of suffocation, of panic, anxiety and claustrophobia providing our first look at photographs bringing attention to the daily struggles of people with mental illness. Similarly, Michal Macků developed his own artistic technique to best tell stories through his photography. Calling it ‘gellage’ he moves the gelatinous emulsion around on film negatives and alters their appearance in dramatic ways. In these images, the subject seemingly rips himself apart, not unlike the feelings that depression and anxiety can bring.
However, with panic, anxiety and claustrophobia also comes despair, depression and the feeling of being alone.
The darkness which surrounds Alex Bland’s man in a box in Fragile (2015) shows an abyss that one can be pushed into and feared, or, find a sense of comfort for escape. As Goldie (2010, p.36) points out, we are essentially social beings and mental health can be socially created and socially destroyed. In which case, the push into an abyss can be confirmed as a social behaviour or result thereof. It is important to note, that mental illnesses can easily stem from forced social hardships, behaviours, abuse which we should all be mindful of when interacting with other people. A similarly metaphorical approach is to be found Liz Osban‘s practice, a photographer who went through depression and used her images to show this. She secluded herself into unfamiliarity and deserted spaces that were blue and gloomy. She beautifully shows mental illness in her works which evoke a sense of empathy from an audience, immediately relating back to creating an understanding space for the normalization of mental illness in public.
‘The dormant bodies create a sense of melancholy serenity, matched by scenery that is fixed, purgatorial. Wind-swept hair, paper planes, birds in flight and floating balloons act as an unsettling precedent for figurative journeys: the animation, it would seem, is projected outwards by the thoughts, fears and hopes of the individual, left unresolved and trapped within their sedentary vignettes’ (Aesthetica, 2015)
Goffman argues that the stigma of mental illness, is usually considered to be an undesirable attribute in terms of social normality. But what is social normality when it comes to mental illness? It is understanding that mental illness is an invisible threat that surrounds us all and to be more accepting when it comes to opening up about the struggles of life. Liz Osbert‘s project Dualities goes a long way in terms of normalising this by exploring people in their homes living their ordinary lives. She shows the different moods associated with daily routines. It provides insight on ways that mental illness can have different effects in different ways. It is not always a continuous moment or feeling, but rather a series of good and bad days. The everyday aspect of ordinary people helps normalize societies views of mental illness.
‘It opens the door for more artists to make work about their personal experiences and share it with a wider audience. Since photography is a relatively democratic and accessible medium, now it means that there are greater opportunities for people to explore photography as a medium to process, document, and conceptualise inner states in a therapeutic manner’ (Regan in Campbell, 2019)
Society can be a cruel place for mental illnesses and healthy lifestyles. Sean Mundy‘sNescience illustrates a dead body amidst hurrying strangers. No one taking a glance or slightly curious with the scene before them. Everyone is so caught up in their own path that they forget to notice when someone is in dire need of help. The stigma and discrimination faced by people with a mental illness is widespread and offers a key public health challenge to stereotypical society views. (Goldie, 2010, p.215). Photography offers us an important gateway to challenge and change these stigmas.
‘A society where feminine beauty is defined not by the human self on genuine intellectual and sentimental grounds, but by a computer software on the grounds of economic interest, is more dead than alive. It is a society of human bodies, not human beings’ (Naskar, 2017)
When we really consider the all too ubiquitous digital retouching / altering of models’ appearances, such as the removal of blemishes and changing of body shapes, we must also think about whether this is merely to aid the sale of an item, or promote a beauty ‘standard’. Or both? In our image world, these types of images are more easy to come across than ever, with a combination of social media, magazines, billboards and advertisements, the exposure to these types of representations of ‘woman’ are nearly inescapable.
Does this create unattainable expectations for bodies / create a market for products and services that could aid an individual to get closer to a so called feminine ‘ideal’. What is the morality of retouching models? How does it effect those who view these images? Is this ‘ideal’ a myth in itself?
A study by Kleemans et al (2016) on the impact of manipulated / perfected Instagram images on young women, concluded that indeed, manipulated images were more favourably viewed than their un-manipulated counterparts. Interestingly, the participants in the study also struggled to detect when the model’s body had been slimmed down. This causes concern, as this lack of awareness might suggest that there is a culture of doctored images as ‘reality’, and that young women may start comparing their body to these fictitious myths.
‘Exposure to manipulated Instagram photos directly led to lower body image’ (Kleemans et al, 2016)
Bingham (2015) writing in The Telegraph reported that 90% of teenage girls ‘digitally enhance’ photographs of themselves before posting them online (Bingham, 2015). I believe this statistic wouldn’t be as high if this ubiquitous (but all to often hidden) use of retouching was lessened. In allowing young women to see other women with thier true blemishes and larger stomachs and thighs, a healthier body image will be developed, as the pull to change their bodies to resemble the (published) ‘myth’ of the model is made more realistic.
‘Retouching or otherwise altering pictures, to make them appear thinner, for example, has become the “new normal” for young people’ (Bingham, 2015)
This is clearly a dangerous game, particularly if young woman perceive these doctored images as ‘reality’, and as a result start comparing their body to fictitious ones, which can lead to the development of poor self-esteem and eating disorders. As Sarah Marsh (2019) proposes, ‘There has been a dramatic rise in hospital admissions for potentially life-threatening eating disorders in the last year, prompting concern from experts about a growing crisis of young people experiencing anorexia and bulimia’ (Marsh, 2019).
Is this directly related to a ‘myth’ of an ‘ideal’ woman / an ‘ideal’ body?
In 2006, Dove created an advert that depicted a woman preparing for a photoshoot, and subsequently being heavily photoshopped; with her neck lengthened and her eyes enlarged. Whilst this advertisement was praised for highlighting how drastically retouching can change appearances, it was also condemned, due to the company using it as a marketing tool. Dove were also selling ‘Intensive Firming Cream’ at the time (Traister, 2005) which aimed to improve the appearance of cellulite. This created a contradiction in what the company were saying vs thier simultaneous financiaal gain, which, when it came down to it, was still profiting from telling women that they needed to change their bodies.
Companies are slowly starting to alter their models less, which is shown through multiple fashion retailers such as H&M and Missguided halting their use of this practice. This encourages people who are concerned about the ethics of retouching to shop at these stores also. Whilst this is a step in the right direction, more companies need to join these retailers on their body-positive advertisements to make a larger impact
‘(Photography) promises a view of the world, but it gives us a flattened object in which wrecked reminders of the world are logged’ (Elkins, 2011, p.17)
Doug Rickard produced his series A New American Picture, by utilising the vast visual archive of Google Street View. He iimportantly reminds us to challenge preconceptions about what photography, or ‘photographies’ can be, especially when it comes to digital imagery. Rickard spent an extensive amount of time (2009-2011) exploring stereotypically ‘subordinate’ urban neighbourhoods and rural areas across the USA, from the comfort of his own computer desk. He would then photograph the composition on his computer screen with a digital SLR. Whilst many photographers aim for the most transparent process possible, Rickard includes blurred faces, pixelated distortion and warped perspective which reveal the digital origin of his photographs.
Perhaps Rickard’s process reflects the beginning of an age where human beings are reduced to data, constantly being observed, being monitored?
Yet, paradoxically, Rickard returns humanity to this data by picking out individual stories and adding them to the overarching and ongoing narrative of the American working class. The sense of distance provided by Rickard’s multi-layered technique adds weight to the images- reminding us of how distant we might be from these people and places; both on a geographical, cultural and socio-economic level. And so, Rickard is no more of a visual appropriator than any more ‘traditional’ photographer: he is simply photographing from within a digitally reconstructed environment, as opposed to the world outside. The images included in A New American Picture only became photographs (dare we say ‘art’?) once they were selected, framed, curated, contextualised and published by Rickard.
‘Doug Rickard… is interested in the American content and its haunting, visceral power. “I was interested in photographing America in the same context, with the same poetry and power, that has been done in the past” (in Appleyard, 2011)
Rickard’s work blurs the lines between technology and reality, the image and the world around us. His practice challenges our view of what photography is, and could be in this new, digital age.
Although Rickard is drawing from a collection of images which have already been ‘taken’, His practice, to me, cannot be considered to be a ‘pure’ form of artistic appropriation (despite appropriation being a completely valid way of producing powerful work, which can eloquently distil a cultural mood). The original mages within Google Street View are not, in my opinion, photographs. They were objectively, methodically collected by a vehicle-mounted camera driven down every street; they have no nature of subjective selection.
Rickard is no more a visual hunter-gatherer than any photographer. he is simply photographing from within a digitally reconstructed environment, as opposed to the world outside which is, itself, layered with constructed imagery.
Szarkowski’s (1966) discussion of photography focuses on the idea of selection. A photographer chooses what to include within a frame, and what to leave out. It is impossible for the ‘photographer’ to be truly objective, as a truly objective image is not a photograph, it is only visual data. so where does that leave Rickard, or indeed, his source material? A New American Picture only became subjective photographs once they were selected, framed, curated, contextualised. One might even liken his work to that of a ‘readymade’ sculptor; he turns something completely banal and utilitarian into a different practice merely through recontextualization. But yet paradoxically, despite its source material, we should still frame this practice in the tradition of Walker Evans, Robert Frank, Stephen Shore, William Eggleston, Paul Graham – or even Edward Hopper, as an equally visual / critical and subjective commentary on the state of thier own America.
‘Any doubts as to the artistic – rather than ethical or conceptual – merits of this new way of working were definitively settled by Rickard’s pictures. It was William Eggleston who coined the phrase “photographing democratically” but Rickard has used Google’s indiscriminate omniscience to radically extend this enterprise – technologically, politically and aesthetically’ (Dyer, 2012)
The idea of photography as an accurate representation of the real world is mythological. Whether it be an artist’s concept, a news story, a memory, an advertisement, an illustration or investigation, all photographs feed into a false narrative of some kind. Yet, Rickards photographs are aesthetically pleasing, insightful, emotive and harrowing. The sense of distance provided by his multi-layered technique adds weight to the images, reminding one of how distant we really might be from these people and places, on geographical, cultural and socio-economic levels.
(T.S. Eliot, The Love Song of J. Alfred Prufrock, 1915)
‘A magazine can open peoples eyes at the same time it closes them’ (Mason in Goldberg, 2018, p.8)
In April 2018, National Geographic reflected on thier representations of race and indigenous / non-Western people. This session aims for participants to interrogate racial / objectifying / mythological stereotypes that the magazine / visual culture might project, and to take a more critically reflective approach to such representations. It is appropriate to be used as a more theoretical / case study presentation based session or could have an associated visual response regarding the nature of visual stereotyping as it ‘becomes’ fact.
‘The photographer is super tourist, an extension of the anthropologist, visiting natives and bringing back news of their exotic doings and strange gear’ (Sontag, 1977, p.42)
To investigate the ethics of the representation of racial difference in visual culture
To reflect on positive / negative / stereotypical representations and consider the impact of these
To consider the percieved ‘truth’ of such representations
Participant Outcome: Research and identify 2 positive / truthful representations and 2 negative / sterotypical representations of people of colour
1: Presentation Ideas: 19th century / 21st century?
‘Every empire tells itself and the world that it is unlike all other empires, that its mission is not to plunder and control but to educate and liberate. These ideas are by no means shared by the people who inhabit that empire’ (Said, 2003)
The content of images may seem natural. But representational and interpretive processes are cultural in that they are anchored in aesthetic conventions. Photographs substitute for direct encounter; they act as surrogates, mediating that which was seen through the camera viewfinder’ (Wells, 2011, p.6)
Photographs are ubiquitous. We devour them daily and perhaps we do ignore the way they act as surrogates for our understanding and knowledge of the world. Since the first issue of National Geographic was published in 1888, it has provided a powerful yellow bordered window on a world beyond our reach. Yet, perhaps, it is more of a mirror, and at that, one which only reflects ourselves. The West. On the the 100th anniversary of the publication its editor positioned the magazine in an inherently (and uniquely) truthful context – ‘These covers mark a century of holding up to the world our uniquely objective publishing mirror’ (Garrett, 1988, p.270). is it really unique? is it really objective? indeed, can any photograph claim such veracity? Despite the popularity of National Geographic, and the respect it still seems to attract, Grundberg (1988) and Mason (2018) take less optimistic views, that it doesn’t show us anything new.
Does it merely recycle and reproduce a colonial gaze – merely reflecting already known stereotypes of The Other. Does our Western gaze still remain rooted in 19th Century tradiion?
‘Besides presenting our culture’s attitudes and preconceptions as if they were universal, or even nonexistent, the photography of the National Geographic produces a pictorial iconography that tends to reduce experience to a simple, common denominator (Grundberg, 1988)
Ask partticipants to read Andy Grundberg (1988) ‘A Quintessentially American View of the World’ in The New York Times (18th September 1988) available here
Ask participants to read Susan Goldberg (2018) ‘For Decades Our Coverage Was Racist. To Rise above Our Past, We Must Acknowledge It ’ in National Geographic (April 2018) available here
Ask partticipants to read Kianaz Amaria (2018) ‘National Georgaphic’s November Cover Falls Back On Racist Cliches’ in Vox (18th November 2018) available here
2: Presentation Ideas: The survival of the stereotype?
‘If photography is perceived as reality, then modes of representations will themselves enhance that reality, in other words the photograph is perceived as ‘real’ and ‘true’ because that is what the viewer expects to see: this is how it should be, becomes this is how it is / was’ (Edwards, 1992, p.8)
‘From the beginning of Western speculation about the Orient, the one thing the Orient could not do was to represent itself. Evidence of the Orient was credible only after it had passed through and been made firm by the refining fire of the Orientalist’s work’ (Said, 1978, p.283)
In 1915, National Geographic’s official policy statement was threefold; (in Lutz & Collins, 1993, p.26)
‘Beautiful, informative and artistic illustrations’
‘Nothing of a partisan or controversial character is printed’
There was no acknowledgement of a potential inconsistency between these aims – such as a tension between accuracy and aesthetics – an approach which is so easily recognised in contemporary photographic practice today – and often used very successfully to create contemplation / action in the viewer. Clearly not, in the case of National Geographic. In 2012, thier position had not changed: ‘Only what is of a kindly nature is printed about any country or people, everything unpleasant or unduly critical being avoided’ (Foster, 2012, p.2). In November 2018, only 6 months after thier public ‘apology’ in The Race Issue (April 2018) their cover / Instagram coverage maintained these colonial myths – in thier representation of The Cowboy / Native Americans – and this was even within thier own shores.
Is National Geographic still replicating a Western (or even white American) worldview? Think about Western ideas of Africa, North Korea, Columbia, Saudi Arabia. Does National Geographic merely reproduce what we already think we know?
‘The myth transforms history into nature’ (Barthes, 1972, p.154)
Ask partticipants to brainstorm some stereotypes of different countries and people
Find 2 visual examples which perpetuate these stereotypes (photographs, films, adverts, painting etc)
Find 2 examples which present a more truthful / positive view or less stereotypical viewpoint
3: Presentation Ideas: A (visually) superior simulation?
‘We are moving towards a culture of simulation in which people are increasingly comfortable with substituting representations of reality for the real’ (Turkle, 1996, p.23)
‘Animals are anthropomorphized shamelessly…National Geographic seems less involved in conveying information about its subject, than in being perceived pictorially’ (Grundberg, 1988)
‘The simulacrum is never that which conceals the truth, it is the truth which conceals that there is none. The simulacrum is true’ (Baudrillard, 1994, p.1)
‘The colonized is elevated above his jungle status in proportion to his adoption of the mother country’s cultural standards. He becomes whiter as he renounces his blackness, his jungle. (Fanon, 1986, p.18)
It is clear that 19th Century images might reflect the stereotype that readers in the industrial world expected to see. It was separate from the personal experience of its viewers and could only be read within the context of other images of its time – in relation to images taken by soldiers, anthropologists, missionaries and diplomats – who all had an imperialist agenda of thier own. However, when non-Western lands and people are represented as developed by National Geographic, it is all to often, an iconic ‘semi-developed’ stereotype that is created, a clash between traditional and new, Western and non-Western that can be almost comic. Again, the visual clash is of exotic tradition, timelessness, lack of development and change, which reminds us of an idea of a lack of development without Western intervention. In essence, in the National Geograpic view of the world, non -Western lands are more frequently pictured as unchanging and timeless, whereas images of the West seem to celebrate scientific and industrial achievement.
Today, does this position non-Western lands (and thier people) as backward / in need of Western / American intervention? Are non Western people simple aggregated into a similar category of Other – without any visual acknowledgement of individual customs and practices? Does a timeless mythical identity of Other, create an equally fabricated identity of a (so called) perfect and developed West?
‘A way of viewing the world as something fundamentally separated from the observer. Knowability in advance and sustainability were proofs of the power of one’s system of viewing, but they also include a destructive power over what is observed’ (Pinney, 2011, p.28)
‘Humankind lingers unregenerately in Plato’s cave, still reveling, it’s age old habit, in mere images of the truth’ (Sontag, 1977, p.3)
National Geographic (April 2002)
suggested Session Outline:
Ask participants to critically evaluate any racial stereotypes they percieve in the IKEA (2018) Wonderful Everyday advert below.
‘All photographs, be they of people with disabilities or of other subjects, contain visual rhetoric, patterns of conventions with a distinct style that cast the subject in a particular way’(Bogden, 2012, p.1)
This session encourages a comparative and ethical approach to advertising campaigns / visual approaches which aim to promote disability awareness. Participants are encouraged to consider the potential for the objectification (or not) of disability, as well as the importance / function of text to potentially anchor our interpretation.
‘The body becomes the signifier of difference for disabled people’ (Hevey, 1992, p.30)
‘Movies have tended to show disabled people as objects of pity or even comedy, a different breed whose condition subjects them to isolation’. (Cox, 2012)
Aims & Outcomes:
To investigate the ethics of the representation of disability in advertising / visual culture
To reflect on positive / negative / stereotypical representations
To visually consider the impact of these at provoking our ‘concern’ and action
To explore the role of text within the adverts to convey / support the message
Participant Outcome: 1 x A3 print advert
‘The impairment is what limits and thus defines the person. The focus here is on the failure of the individual to adapt to society as it is, and thus the impairment is regarded as the cause of disability’ (Evans, 1999, p.274)
The text constitutes a parasitic message designed to connote the image, to ‘quicken it’ with second order signifieds’ (Barthes, 1977, p.25)
You will need:
A selection of visual adverts and representations of disability
Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
Access to computers (or laptops) and imaging software
An Introductory Brief & Presentation (below) for participants to outline the ideas and provide examples
A booked room to critique participants work (either via a projector or via print)
Blue tack to pin the work
Costings and Risk Assessments
‘By defining that person wholly by their impairment, the charities speak for disabled people implying they cannot speak for themselves’ (Hevey, 1992, p.26)
‘Only disabled persons, constructed as a particular kind of people, are subject to a process of image specialisation advertising, as such their image can be constitutied as a transaction in the public sphere. Charities are advertising a product who happen to be people’ (Evans, 1999, p.279
Ask participants to read Jessica Evans (1999) ‘Feeble Monsters: Making Up Disabled People? in The Visual Culture Reader (Hall & Evans eds. 1999) available here
Ask participants to read BBC (2016) Disabled models and athletes outraged by Brazilian Vogue Paralympic campaign photo (26th August 2016) available here
Ask participants to read Tara Campbell (2019) ‘Exploring Mental Health Through Photography’ in Creative Review available here
Ask participants to investigate the artists interviews available though fragmentary.org available here
Ask participants to watch and discuss Pro Infirmis (2013) ‘Becasue Who is Perfect?’ available here
Ask participants if they have thier own digital cameras and cards
Make sure you have access to computers / image editing software
Make sure there are enough team members to support participants (never assume thier prior knowledge)
Decide whether you will project the work or print it.
If you are printing it make sure Reprographics are aware and be aware of timekeeping so they have space to print the work – or use A3 colour photocopiers.
*If you are running this session off campus, make sure there is access to printers or projectors
‘The focus [on] the ability not the disability’ (Barnes & Mercer 2003, p.98)
‘The implications of this is that for charity advertising to be successful in its aim of raising funds, it may be undermining another objective: to ensure people are afforded civil rights and seen as of equal value to others’. (Bender, 2003, p. 124)
‘Imagining disability as ordinary, as the typical rather than the atypical human experience, can promote practices of equality and inclusion that begin to fulfil the promise of a democratic order’ (Thompson, 2001, p.360)
‘Why can’t Down Syndrome people be exaggerated or wear too much makeup if they like it? You see all kinds of people expressing themselves with fashion or makeup that is more or less a costume. It’s a common habit’ (Krüger in Griffin, 2014)
‘We can stare at these portraits in a way that we couldn’t stare at these women and girls if we met them on the street. We can be fearful and curious and safe all at once. They areOther’ (Dorfman, 2009)
suggested Session Outline:
Ask participants what knowledge.they have about disability (both physical and non physical) Remind participants that not all disabilities are visually discernable.
Give the Presentation above. Invite participants to compare the adverts? What are the similarities and differences? Pay attention to the time they were made / positive or negative messages and use of text as message. Is is successful? Which adverts / images are more positive? Why?
Brainstorm ideas and (stress) ethical concerns about the images. *Participants might make a more ‘positive’ versison of a pre-existing advert / image / character etc.
individually / in groups make an advert (include text) which aims to inspire change and makes a positive representation of the individuals / issue.
Print / Project and critique the images with these intents / ethics / aesthetics / use of text in mind and considering how we might overcome compassion fatigue and the visual objectification of the differently abled.
‘They had me stand in leg braces and they told me the caption was going to be: ‘If I grow up, I want to be a fireman.’ I was 6 years old. I was told I had a normal life expectancy at that point and I did not want to be a fireman. So I was quite upset… I knew I couldn’t be a fireman. That was absurd… It felt untrue. It felt exploited’ (Mattlin, 2012)
‘A way of certifying experience, taking photographs is also a way of refusing it – by limiting experience to a search for the photogenic, by converting experience into a souvenir (Sontag, 1977, p.9)
This session aims to consolidate ideas of the Picturesque and introduce ideas of the ‘image world’ / simulacra through critical analysis of vernacular tourist and postcard imagery. It encourages in depth research into Corrine Vionnet’s practice and the recycling of photogenic imagery as it ‘becomes’ the truth. It asks participants to be critical about the presumed truth of such imagery and position thier own practice accordingly.
‘Every day the urge goes stronger to get hold of an object at very close range by way of it’s likeness, it’s reproduction’ (Benjamin, 1936, p.23)
‘It seems positively unnatural to travel for pleasure without taking a camera along. Photographs will offer indesputable evidence that the trip was made, that the program was carried out, that fun was had’ (Sontag, 1977, p.9)
‘Postmodern culture is often characterised as an era of ‘hyper-representation’ in which reality itself begins to be experienced as an endless network of representations’ (Mitchell, 1995, p.16)
Aims & Outcomes:
To consider vernacular / stereotypical postcard representations of the land / local environment / landscape
To investigate the relationship between postcards and more subjective photographic practices as it applies to representations of place / landscape
To understand the nature of the vernalular postcard as it ‘tames’ and transforms the land into an advert
To introduce the idea of an ‘image world’ / simulacra
Participant Outcome: 1 10×8 digital print
‘It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real’ (Baudrillard, 1994, p.2)
‘Photo Opportunities tries to speak about our collective memory and the influence of image through films, advertisements, postcards, the Internet, etc. It attempts to raise questions about our motivations to make a photograph and our touristic experience. It tries to speak about our image consumption and how ubiquitous images actually are’ (Vionnet in Jones, 2013)
You will need:
Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
Access to computers (or laptops)
Flashguns if you plan to practice lighting techniques
An Introductory Brief & Presentation (below) for participants to outline the ideas and provide examples
A booked room to critique participants work (either via a projector or via print)
Blue tack to pin the work
Costings and Risk Assessments
‘Hinde hoped to create a visual rendition of happy holiday memories – seen now, the postcards seem to indicative of a breezy post-war optimism’ (smythe, 2018)
Research: The work of Corrine Vionnet
‘Famed landmarks appear to float gently in a dream-like haze of blue sky. Each construction espouses the ‘touristic gaze’, its distorted visual referent functions as a device for memory transport by funneling many experiences into one familiar locale.’ (Yale, 2018)
Find a number of postcards / tourist information / vernacular representations of the local environment / landscape / place
Ask participants to read Gregory Jones (2013) ‘Corrine Vionnet and the Democratic Snapshot’ in The Inbetween 23rd February 2013 available here
Ask participants to read Diane Smythe (2018) ‘Picture Postcard Perfection with the John Hinde Collection’ in The British Journal of Photography 29th August 2018 available here
Ask participants to read Jonas Larsen ‘The Aspirational Tourist Photographer’ in Either / And available here
Ask participants to watch Tony Ray Jones & Martin Parr: Only In England (2014) in National Science & Media Museum available here
Ask participants if they have thier own digital cameras and cards
Make sure you have access to computers / image editing software
Make sure there are enough team members to support participants (never assume thier prior knowledge)
Decide whether you will project the work or print it.
If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
*If you are running this session off campus, make sure there is access to printers or projectors
Presentation Ideas: the Photogenic or the real?
‘The most grandiose result of the photographic enterprise is to give us a sense that we can hold the whole world in our heads, as an anthology of images’ (Sontag, 1977, p.3)
suggested Session Outline:
Show participants a number of postcards / tourist iconography of famous / local scenes. Have they visited them? Why do they recognise them?
Give the Presentation (above). Invite participants to compare the tousist work with its reality. What are the similarities and differences?
Provide participants with a list of local areas / and postcards of these (or they can think of thier own). Identify the key elements of the scene and its aesthetic. Is it authentic?
Identify how these might be translated in new / more realistic ways
Sketch out / brainstorm initial ideas
Location lighting induction. How does light colour / black and white / aesthetics influence the scene?
Shoot the image individually / in groups
Print / Project and critique the images with the original tourist ‘scene’ in mind / on view and considering aspects of a subjective response / aesthetics / audience respsonse