‘Photography as a starting point for interaction’ – Part 1 – Introduction<\/p>\n
Alice Myers<\/a> introduced the theme through examples by –<\/p>\n J. T. Zealy<\/a> <\/strong> “… Very little is known of these pictures,and even less is known of what preceded their creation \u2013\u2013 of the meeting between the slaves and Agassiz, or the manner in which he examined them in order to select those suited to become his research samples, or the way in which they were told that they would be required to pose for photographs, or just how they arrived at the photographer\u2019s studio…”<\/p>\n The Civil Contract of Photography, Ariella Azoulay<\/a><\/p><\/blockquote>\n Walker Evans<\/a><\/strong> Martha Rosler<\/a><\/strong> “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. Why is the Bowery so magnetic to documentarians? It is no longer possible to evoke the camoflaging impulses to “help” drunks and down-and-outers or “expose” their dangerous existance.”<\/p><\/blockquote>\n Laurie Anderson<\/a><\/strong> “I decided to shoot pictures of men who made comments to me on the street. I had always hated this invasion of my privacy and now I had the means of my revenge. As I walked along Houston Street with my fully automated Nikon, I felt armed, ready. I passed a man who muttered \u2018Wanna fuck?\u2019 This was standard technique: the female passes and the male strikes at the last possible moment forcing the woman to backtrack if she should dare to object. I wheeled around, furious. \u2018Did you say that?\u2019 He looked around surprised, then defiant. \u2018Yeah, so what the fuck if I did?\u2019 I raised my Nikon, took aim, began to focus. His eyes darted back and forth, an undercover cop? CLICK.”<\/p><\/blockquote>\n Gillian Wearing<\/a><\/strong> “I decided that I wanted people to feel protected when they talked about certain things in their life that they wouldn\u2019t want the public that knows them to know. I can understand that sort of holding on to things\u2014it\u2019s kind of part of British society to hold things in. I always think of Britain as being a place where you\u2019re meant to keep your secrets\u2014you should never tell your neighbors or tell anyone. Things are changing now, because the culture\u2019s changed and the Internet has brought people out. We have Facebook and Twitter where people tell you small details of their life”<\/p><\/blockquote>\n Jim Goldberg<\/a><\/strong> Olivia Arthur<\/a><\/strong><\/p>\n One night I stayed in a women’s hostel “We’d love to help you” they said “but you couldn’t take any pictures of us unless we were wearing our abayas.”<\/p>\n Sometime I recorded private moments and was later asked not to show them. I needed a way to obscure the faces.<\/p>\n I rephotographed the little prints with a reflection and took them to show the girls. “That’s great” they said “but can’t you show a bit more of her eyes so people can see how beautiful she is.”\u00a0Olivia Arthur – Saudi Arabia<\/a><\/p><\/blockquote>\n Anthony Luvera<\/a><\/strong> Much of the work I undertake with people who have experienced being homeless is based on inviting the \u2018subject\u2019 to take part in creating a self-representation. It seems to me that forms of self-representation may go some way to broadening an understanding of individuals who are generally depicted through their experiences with charities, law and state services.<\/p><\/blockquote>\n Boris Mikhailov<\/a><\/strong> Phil Collins<\/a><\/strong> Rineke Dijstra<\/a><\/strong><\/p>\n \u201cI force my subjects hold their pose for so long that eventually they stop posing, the novelty of the camera forgotten. I am interested in photographing people at moments when they have dropped all pretense of a pose.\u201d The Power of Gaze in the Photography of Rineke Dijkstra, Artes Magazine<\/a><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":" ‘Photography as a starting point for interaction’ – Part 1 – Introduction Alice Myers introduced the theme through examples by – J. T. 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\nPortrait of Renty, African-born slave,1850.<\/p>\n
\nLet Us Now Praise Famous Men, 1941<\/a><\/p>\n
\nThe Bowery in two inadequate descriptive systems, 1974\u201375
\nMartha Rosler at the Whitney Museum of American Art.<\/a><\/p>\n
\nFully Automated Nikon, 1973.<\/p>\n
\nSigns that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say, 1992\u20133<\/p>\n
\nOpen See<\/a>
\nThe New Europeans<\/a><\/p>\n
\nPhotographs and Assisted Self-Portraits, 2002 \u2013 ongoing.<\/a><\/p>\n
\nSaatchi Gallery<\/a><\/p>\n
\nRamallah, 2004
\nShady Lane Productions<\/a><\/p>\n