Photography: Theory & Criticism will examine historic and contemporary philosophical, aesthetic, and epistemological topics addressing the evolution of theories germane to contemporary photographic discourse. As a class, we will address structuralism, post- structuralism, deconstruction, semiotics, and the taxonomy of visual representation from simulacrum to social classification analysis. Conceptual understanding and the successful application of the topics addressed throughout this course are designed to further develop your photographic lexicon. The application of thoughtful, theory-based ideas can be employed to promote visual solutions to challenges in the design, execution, and creation of your work. Theories and topics discussed in the readings will be introduced with supporting imagery for discussion and debate. Active discussion and participation are core requirements of this course.
Monday, April 29, 2013
Readings: Apr. 29
Evidence, Truth and Order: Photographic Records and the Growth of the State by John Tagg
In, Around, and Afterthoughts (On Documentary Photography) by Martha Rosler
About the author: Born is 1949, John Tagg is a Professor of Art History and Comparative Literature at Binghamton University in NY. Source: http://www2.binghamton.edu/art-history/faculty/jtagg/
Notes:
John Tagg talks about how the state used a new developing technology of knowledge starting in the late nineteenth century to maintain social order. Photography was a part of that as it functioned as visual evidence. The photographic industry was divided between the domain of artistic property and the scientifico-technological domain. Tagg notices that the privilege of photography in the domain of artistic property was a function of its lack of power whereas its power in the scientifico-technical domain was a function of its renunciation of privilege. Taggs states that “Photography has no identity. Its status as a technology varies with the power relations which invest it.” He also explains that, just like the state, the camera is never neutral. Its power to see and record is, as Tagg points out, “the power of the apparatuses of the local state which deploy it and guarantee the authority of the images it constructs to stand as evidence or register a truth.” Said truth is designed to work with the ruling class’ ideology and is received within a pre-conditioned social context.
In, Around, And Afterthoughts (On Documentary Photography) By Martha Rosler
About the author: Martha Rosler, born in 1943, is a conceptual artist who works in video, photo-collage, installation, and performance. She writes about art and culture. Her work often contrast the domestic lives of women with international conflicts, repression and politics. Source: http://www.arthistoryarchive.com/arthistory/feminist/Martha-Rosler.html
Notes: Documentary photography, according to Martha Rosler, portrays the social conscience of liberal sensibility. She argues that oftentimes a group of socially powerless people are represented for the socially powerful. She talks about the work of Jacob Riis and Lewis Hine as social propaganda and explains that the issues they take on is part of the social system and therefore already tolerated. She adds that “Charity is an argument for the preservation of wealth, and reformist documentary [...] represented an argument within a class about the need to give a little in order to mollify the dangerous class below [the proletariat]...” She also mentions how in Edward Murrow’s liberal documentary “Harvest of Shame” poverty and oppression are equated with natural misfortunes. She raises questions of subject matter’s exploitation within documentary photography. For instance, she brings up Florence Thompson, whose photograph by Dorothea Lange is generating substantial revenue but is no way benefiting her - at least not directly. Rosler supports John Tagg’s thesis “in Evidence, Truth, and Order.” She asserts that photography has become part of the “cultural myth of objectivity” used along with the idea of “even-handed universality” by social institutions legitimating and justifying the ruling of one social class by another. She concludes by stating that the documentary granted cultural legitimacy is not about social relations but instead is transformed into generalizations about the human conditions.
Evidence, Truth and Order: Photographic Records on the Growth of the State
John Tagg A professor of art history at Bringhampton University in New York. Most of his books and readings relate to photography and power in society.
Summary Tagg says how photography became a role as evidence as time progressed. We now need to have photographic evidence during all court cases for them to proven right or wrong. Personally, I find this point to be invalid now due to the fact that, photographs can easily be manipulated so that no one notices a difference. He also says how the impression of the photograph is particularly dangerous when a photograph of a crime scene is used as evidence, because it carries extra weight onto the forensic evidence. Tagg also says how the camera is never neutral. It is simply a tool used to record. It creates a "power, in this new type of society, has drained deeply into the gestures, actions, discourses and practical knowledge of everyday lives."
Martha Rosler American artist in brooklyn New York, she works in video, photo-text, installation, and performance, as well as writing about art and culture.
Summary Rosler explains how in current times, documentary photography holds no truth. True documentary photograph has yet to be invented. Documentary photography has to ability to transcend, alter or change negative aspects of society. Rosler also brings up concern for subject matter exploitation with documentary photography. She uses the Florence Thompson example of the photograph of Dorethea Lange. She also mentions how documentary photography has fallen into two distinct categories: Liberal and Explorative. Liberal takes part in the past and "seeks to evoke pity in the viewer inviting them to help those depicted." Explorative is more present tense and "seeks to understand the feeling of alienation within the realm of sexism,racism and class consciousness."
Evidence, Truth, and Order
ReplyDeleteBy John Tagg
About the author:
Born is 1949, John Tagg is a Professor of Art History and Comparative Literature at Binghamton University in NY.
Source: http://www2.binghamton.edu/art-history/faculty/jtagg/
Notes:
John Tagg talks about how the state used a new developing technology of knowledge starting in the late nineteenth century to maintain social order. Photography was a part of that as it functioned as visual evidence. The photographic industry was divided between the domain of artistic property and the scientifico-technological domain. Tagg notices that the privilege of photography in the domain of artistic property was a function of its lack of power whereas its power in the scientifico-technical domain was a function of its renunciation of privilege.
Taggs states that “Photography has no identity. Its status as a technology varies with the power relations which invest it.” He also explains that, just like the state, the camera is never neutral. Its power to see and record is, as Tagg points out, “the power of the apparatuses of the local state which deploy it and guarantee the authority of the images it constructs to stand as evidence or register a truth.” Said truth is designed to work with the ruling class’ ideology and is received within a pre-conditioned social context.
In, Around, And Afterthoughts (On Documentary Photography)
ReplyDeleteBy Martha Rosler
About the author:
Martha Rosler, born in 1943, is a conceptual artist who works in video, photo-collage, installation, and performance. She writes about art and culture. Her work often contrast the domestic lives of women with international conflicts, repression and politics.
Source: http://www.arthistoryarchive.com/arthistory/feminist/Martha-Rosler.html
Notes:
Documentary photography, according to Martha Rosler, portrays the social conscience of liberal sensibility. She argues that oftentimes a group of socially powerless people are represented for the socially powerful. She talks about the work of Jacob Riis and Lewis Hine as social propaganda and explains that the issues they take on is part of the social system and therefore already tolerated. She adds that “Charity is an argument for the preservation of wealth, and reformist documentary [...] represented an argument within a class about the need to give a little in order to mollify the dangerous class below [the proletariat]...” She also mentions how in Edward Murrow’s liberal documentary “Harvest of Shame” poverty and oppression are equated with natural misfortunes. She raises questions of subject matter’s exploitation within documentary photography. For instance, she brings up Florence Thompson, whose photograph by Dorothea Lange is generating substantial revenue but is no way benefiting her - at least not directly.
Rosler supports John Tagg’s thesis “in Evidence, Truth, and Order.” She asserts that photography has become part of the “cultural myth of objectivity” used along with the idea of “even-handed universality” by social institutions legitimating and justifying the ruling of one social class by another. She concludes by stating that the documentary granted cultural legitimacy is not about social relations but instead is transformed into generalizations about the human conditions.
Evidence, Truth and Order: Photographic Records on the Growth of the State
ReplyDeleteJohn Tagg
A professor of art history at Bringhampton University in New York. Most of his books and readings relate to photography and power in society.
Summary
Tagg says how photography became a role as evidence as time progressed. We now need to have photographic evidence during all court cases for them to proven right or wrong. Personally, I find this point to be invalid now due to the fact that, photographs can easily be manipulated so that no one notices a difference. He also says how the impression of the photograph is particularly dangerous when a photograph of a crime scene is used as evidence, because it carries extra weight onto the forensic evidence.
Tagg also says how the camera is never neutral. It is simply a tool used to record. It creates a "power, in this new type of society, has drained deeply into the gestures, actions, discourses and practical knowledge of everyday lives."
In, around and after thoughts
ReplyDeleteMartha Rosler
American artist in brooklyn New York, she works in video, photo-text, installation, and performance, as well as writing about art and culture.
Summary
Rosler explains how in current times, documentary photography holds no truth. True documentary photograph has yet to be invented. Documentary photography has to ability to transcend, alter or change negative aspects of society. Rosler also brings up concern for subject matter exploitation with documentary photography. She uses the Florence Thompson example of the photograph of Dorethea Lange.
She also mentions how documentary photography has fallen into two distinct categories: Liberal and Explorative. Liberal takes part in the past and "seeks to evoke pity in the viewer inviting them to help those depicted." Explorative is more present tense and "seeks to understand the feeling of alienation within the realm of sexism,racism and class consciousness."