In, Around, and Afterthoughts
-”The Bowery, in New York, is an archetypal skid row. It has been much photographed, in works veering between outraged moral sensitivity and sheer slumming spectacle.”
-This reminds me of the most photographed barn we talked about last semester; also the fountain that was in someone’s work (I can’t remember whose).
-Rosler talked about how liberal documentary is equated with natural disasters. This kind of goes back to the beginnings of documentary in the FSA and in war photography.
- “Implores us to look in the face of deprivation and to weep.” So all those commercials we see on TV about children in Africa and, my personal favorites, the sad puppy and kitty commercials that make me cry every time.
-The beginning paragraph of section 3 is basically saying that the most well known documentary photography is literally ruin porn (and similar stuffs).
On the bottom of the second paragraph of section 3, Rosler talks about how Jim Hughes ran a “Man of the Year” story on W. Eugene Smith instead of the cover photo Smith had sent out. Was that Hughes just devaluing Smith’s intended message (and Aileen’s role in the making of the pictures)? Why did he assume that people didn’t want to hear about Minamata?
- “How to film natives so that they seem unconscious to the camera.” Jesus Kodak if that’s not immoral I don’t know what is.
- “Are photographic images, then, like civilization, made on the backs of the exploited?”
-As much as I want to say no I feel like photography, especially documentary images of exploited people, has played an active role in societal reform throughout the years.
- “The poor are ashamed of having been exposed as poor, that the photos have been the source of festering shame.”
- “Images can yield any narrative . . . and all meaning in photography applies only to what resides within the ‘four walls’ of the framing edges.” PERSPECTIVE and INTERPRETATION.
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