2. In the 1980s-90s social documentary work continued to
interest photographers.
3. In the 1980s-90s social documentary work continued to
interest photographers.
By this time, photographers had gained:
– more control over their work.
– more exposure through exhibitions & books.
– less restrictions and deadlines if working
independently.
4. The view of documentary photographs was changing:
5. The view of documentary photographs was changing:
– In the past, documentary photography considered
different from other types of photography (art,
journalism, etc.)
6. The view of documentary photographs was changing:
– In the past, documentary photography considered
different from other types of photography (art,
journalism, etc.)
– New approaches to documentary work often
incorporate other styles and overlap with art
photography, street photography, fine arts,
journalism, fashion, etc.
7. The view of documentary photographs was changing:
– In the past, documentary photography considered
different from other types of photography (art,
journalism, etc.)
– New approaches to documentary work often
incorporate other styles and overlap with art
photography, street photography, fine arts,
journalism, fashion, etc.
– New approaches not always aimed at change.
Often just showing or revealing.
8. 12.27 Mary Ellen Mark, “Rat” and Mike with a Gun, Seattle, Washington, 1983.
9. 12.27 Mary Ellen
Mark, “Rat” and Mike
with a Gun, Seattle,
Washington, 1983.
Example: Mary Ellen Mark
10. 12.27 Mary Ellen
Mark, “Rat” and Mike
with a Gun, Seattle,
Washington, 1983.
Example: Mary Ellen Mark
The Streetwise series was not a
humanistic or sentimental view.
11. 12.27 Mary Ellen
Mark, “Rat” and Mike
with a Gun, Seattle,
Washington, 1983.
Example: Mary Ellen Mark
The Streetwise series was not a
humanistic or sentimental view.
Unlike previous social
documentary work showed, but
did not intervene.
12. 12.27 Mary Ellen
Mark, “Rat” and Mike
with a Gun, Seattle,
Washington, 1983.
Example: Mary Ellen Mark
The Streetwise series was not a
humanistic or sentimental view.
Unlike previous social
documentary work showed, but
did not intervene.
This approach created a more
realistic view, not one staged or
presented for social view.
14. New social representation was different from past. This
was strongly influenced by postmodernism.
Postmodernism brought criticism of modernist values
– Rejection of “family of man” romantic humanism.
– Rejection of optimism.
15. New social representation was different from past. This
was strongly influenced by postmodernism.
Postmodernism brought criticism of modernist values
– Rejection of “family of man” romantic humanism.
– Rejection of optimism.
Postmodernism showed an imperfect world.
– Human existence unpredictable.
– Human suffering a product of modern world.
19. 12.28 Chris Killip,
Youth, Jarrow,
1976.
Photographed post-
industrialized towns.
Industrialization was a
unsustainable approach, and
can be tied to modernist
idealism of industrialization and
capitalism.
Example: Chris Killip
20. 12.28 Chris Killip,
Youth, Jarrow,
1976.
Photographed post-
industrialized towns.
Industrialization was a
unsustainable approach, and
can be tied to modernist
idealism of industrialization and
capitalism.
Presenting the social effects is
a way to reject and criticize the
reliance on continual industrial
progress and expanding
capitalism.
Example: Chris Killip
23. 12.31 Eugene Richards,
Crack Plague in Red
Hook, Brooklyn, 1994.
Gelatin silver print.
The documentary style of
1980s and 90s had a different
visual style.
Example: Eugene Richards
24. 12.31 Eugene Richards,
Crack Plague in Red
Hook, Brooklyn, 1994.
Gelatin silver print.
The documentary style of
1980s and 90s had a different
visual style.
Not like FSA era photographs,
which were static, still.
Example: Eugene Richards
25. 12.31 Eugene Richards,
Crack Plague in Red
Hook, Brooklyn, 1994.
Gelatin silver print.
The documentary style of
1980s and 90s had a different
visual style.
Not like FSA era photographs,
which were static, still.
New approaches often more
blurred, tilted, rapid cut.
Example: Eugene Richards
26. 12.31 Eugene Richards,
Crack Plague in Red
Hook, Brooklyn, 1994.
Gelatin silver print.
The documentary style of
1980s and 90s had a different
visual style.
Not like FSA era photographs,
which were static, still.
New approaches often more
blurred, tilted, rapid cut.
Influenced by the portability
and use of 35mm. Camera.
Example: Eugene Richards
28. 12.32 Susan Meiselas, Street
Fighter in Managua, from her
book Nicaruga, 1981.
Example: Susan Meiselas
29. 12.32 Susan Meiselas, Street
Fighter in Managua, from her
book Nicaruga, 1981.
Less humanistic, less optimistic.
Bold colors, a vivid reality.
Example: Susan Meiselas
30. 12.32 Susan Meiselas, Street
Fighter in Managua, from her
book Nicaruga, 1981.
Less humanistic, less optimistic.
Bold colors, a vivid reality.
Melding documentation and
journalism.
Example: Susan Meiselas
31. 12.32 Susan Meiselas, Street
Fighter in Managua, from her
book Nicaruga, 1981.
Less humanistic, less optimistic.
Bold colors, a vivid reality.
Melding documentation and
journalism.
By this time, more emphasis on
the photographer as a journalist.
Ideas from the photographer are
more important.
Example: Susan Meiselas
32. 12.32 Susan Meiselas, Street
Fighter in Managua, from her
book Nicaruga, 1981.
Less humanistic, less optimistic.
Bold colors, a vivid reality.
Melding documentation and
journalism.
By this time, more emphasis on
the photographer as a journalist.
Ideas from the photographer are
more important.
Meiselas provided extensive
data and text to support the
photographic work in Nicaragua.
Example: Susan Meiselas
33. 12.34 Donna Ferrato, Cover
photograph of her book Living
with the Enemy, 1991.
Example: Donna Ferrato
34. 12.34 Donna Ferrato, Cover
photograph of her book Living
with the Enemy, 1991.
Provided extensive research
and documentation of all
aspects of domestic abuse.
Example: Donna Ferrato
35. 12.34 Donna Ferrato, Cover
photograph of her book Living
with the Enemy, 1991.
Provided extensive research
and documentation of all
aspects of domestic abuse.
Not presenting a victim. More
emphasis on observation and
learning about all aspects of
the issue.
Example: Donna Ferrato
36. 12.34 Donna Ferrato, Cover
photograph of her book Living
with the Enemy, 1991.
Provided extensive research
and documentation of all
aspects of domestic abuse.
Not presenting a victim. More
emphasis on observation and
learning about all aspects of
the issue.
An imperfect world. Emphasis
on awareness, but not always
on individual change.
Example: Donna Ferrato
38. Use of Color Photography
By this time color photography had become an
issue of controversy in documentary photography.
39. Use of Color Photography
By this time color photography had become an
issue of controversy in documentary photography.
Color was regarded as too distracting, while black
and white considered more contemplative.
40. Use of Color Photography
By this time color photography had become an
issue of controversy in documentary photography.
Color was regarded as too distracting, while black
and white considered more contemplative.
Some people denounced the use of color for
journalistic purposes. It was viewed as too closely
tied to art, and too pleasing to look at.
43. Color also signaled economic differences.
Color Photography
• More expensive.
Black and White
• Less expensive
44. Color also signaled economic differences.
Color Photography
• More expensive.
• Requires special equipment
Black and White
• Less expensive
• Basic equipment
45. Color also signaled economic differences.
Color Photography
• More expensive.
• Requires special equipment
• Reproductions more difficult
and expensive for news
publications.
Black and White
• Less expensive
• Basic equipment
• Process for reproductions
established and less
expensive.
46. Color also signaled economic differences.
Color Photography
• More expensive.
• Requires special equipment
• Reproductions more difficult
and expensive for news
publications.
• Often done by educated
photographers (western
photographers).
Black and White
• Less expensive
• Basic equipment
• Process for reproductions
established and less
expensive.
• Can be done by uneducated
photographers (self-taught).
47. Color also signaled economic differences.
Color Photography
• More expensive.
• Requires special equipment
• Reproductions more difficult
and expensive for news
publications.
• Often done by educated
photographers (western
photographers).
• Current digital trends
continue this pattern of
division
Black and White
• Less expensive
• Basic equipment
• Process for reproductions
established and less
expensive.
• Can be done by uneducated
photographers (self-taught).
• Poorer countries often left
out of photo education and
new technology.
48. 12.35 James Nachtwey, Rioters in Belfast, Northern Ireland, 1981, from his book Deeds of War, 1989.
49. 12.35 James Nachtwey, Rioters in
Belfast, Northern Ireland, 1981,
from his book Deeds of War,
1989.
Example: James Nachwey
50. 12.35 James Nachtwey, Rioters in
Belfast, Northern Ireland, 1981,
from his book Deeds of War,
1989.
Example: James Nachwey
Like Susan Meisalas, James
Nachtwey used color to
provide a more realistic view.
51. 12.35 James Nachtwey, Rioters in
Belfast, Northern Ireland, 1981,
from his book Deeds of War,
1989.
Example: James Nachwey
Like Susan Meisalas, James
Nachtwey used color to
provide a more realistic view.
Black and white can change
reality too much, make things
seem less real.
54. Neutral vision
With postmodernism, the concept of neutral vision was challenged.
The photographer is not neutral. There is no objective view. There
was acknowledgement that an outsider view is biased (example:
representations in the The Family of Man).
55. Neutral vision
With postmodernism, the concept of neutral vision was challenged.
The photographer is not neutral. There is no objective view. There
was acknowledgement that an outsider view is biased (example:
representations in the The Family of Man).
Cultures that were once documented by outsiders, now provide their
own counter document. It is a way to challenge representation and
promote an insider view.
56. Neutral vision
With postmodernism, the concept of neutral vision was challenged.
The photographer is not neutral. There is no objective view. There
was acknowledgement that an outsider view is biased (example:
representations in the The Family of Man).
Cultures that were once documented by outsiders, now provide their
own counter document. It is a way to challenge representation and
promote an insider view.
Postmodernism also brought acceptance of art approaches. There is
a crossover of documentary intent and art.
57. 12.36 Jolene Rickard, Untitled, adapted from the series Scientifically Unnatural, 1993. Ektachrome and
silver gelatin print with rubbings.
58. 12.36 Jolene Rickard, Untitled, adapted from the
series Scientifically Unnatural, 1993. Ektachrome
and silver gelatin print with rubbings.
Example: Jolene Richard
59. 12.36 Jolene Rickard, Untitled, adapted from the
series Scientifically Unnatural, 1993. Ektachrome
and silver gelatin print with rubbings.
Example: Jolene Richard
Not a neutral view.
60. 12.36 Jolene Rickard, Untitled, adapted from the
series Scientifically Unnatural, 1993. Ektachrome
and silver gelatin print with rubbings.
Example: Jolene Richard
Not a neutral view.
Embracing a subjective view.
61. 12.36 Jolene Rickard, Untitled, adapted from the
series Scientifically Unnatural, 1993. Ektachrome
and silver gelatin print with rubbings.
Example: Jolene Richard
Not a neutral view.
Embracing a subjective view.
Counteracting historic
stereotypes through self-
representation.
62. 12.36 Jolene Rickard, Untitled, adapted from the
series Scientifically Unnatural, 1993. Ektachrome
and silver gelatin print with rubbings.
Example: Jolene Richard
Not a neutral view.
Embracing a subjective view.
Counteracting historic
stereotypes through self-
representation.
Trying to balance self-
representation with an
internalized concept of own
culture that is derived from
historic outsider view
63. 12.38 Vladimir Kuprejanov, “The lights of the day extinguished,” from his series In Memory
of Pushkin, 1985.
65. 12.38 Vladimir Kuprejanov,
“The lights of the day
extinguished,” from his series
Another approach is to utilize
the same style as outsider
view.
Example: Vladimir Kuprejanov
66. 12.38 Vladimir Kuprejanov,
“The lights of the day
extinguished,” from his series
Another approach is to utilize
the same style as outsider
view.
Kuprejanov used the style of
neutral ID photographs.
Example: Vladimir Kuprejanov
67. 12.38 Vladimir Kuprejanov,
“The lights of the day
extinguished,” from his series
Another approach is to utilize
the same style as outsider
view.
Kuprejanov used the style of
neutral ID photographs.
The identifying information is
replaced with poetry.
Example: Vladimir Kuprejanov
68. 12.38 Vladimir Kuprejanov,
“The lights of the day
extinguished,” from his series
Another approach is to utilize
the same style as outsider
view.
Kuprejanov used the style of
neutral ID photographs.
The identifying information is
replaced with poetry.
It is a way to take (appropriate)
something and make it into
something new.
Example: Vladimir Kuprejanov
71. Subjective Social Documentation
A recurring theme in postmodernism is that there are few
boundaries and few definitions.
Under postmodernism, a work of art may take on the role of
expressing documentary themes. Often these approaches
do not address specific people.
72. Subjective Social Documentation
A recurring theme in postmodernism is that there are few
boundaries and few definitions.
Under postmodernism, a work of art may take on the role of
expressing documentary themes. Often these approaches
do not address specific people.
This approach was frequently used to address historic
documentation, and resituate historic knowledge through a
personal artistic view.
73. Subjective Social Documentation
A recurring theme in postmodernism is that there are few
boundaries and few definitions.
Under postmodernism, a work of art may take on the role of
expressing documentary themes. Often these approaches
do not address specific people.
This approach was frequently used to address historic
documentation, and resituate historic knowledge through a
personal artistic view.
The personal perspective represents larger cultural issues.
74. 12.45 Christian Boltanski,
Monuments (Les Enfants de
Dijon) (The Children of
Dijon), 1985. Installation.
Black-and-white and color
photographs, metal frames,
glass, light bulbs, wire.
75. 12.45 Christian Boltanski,
Monuments (Les Enfants de
Dijon) (The Children of
Dijon), 1985. Installation.
Black-and-white and color
photographs, metal frames,
glass, light bulbs, wire.
Example: Christian Boltanski
76. 12.45 Christian Boltanski,
Monuments (Les Enfants de
Dijon) (The Children of
Dijon), 1985. Installation.
Black-and-white and color
photographs, metal frames,
glass, light bulbs, wire.
Installations of photographs
that challenge the usefulness
of photography as an objective
medium.
Example: Christian Boltanski
77. 12.45 Christian Boltanski,
Monuments (Les Enfants de
Dijon) (The Children of
Dijon), 1985. Installation.
Black-and-white and color
photographs, metal frames,
glass, light bulbs, wire.
Installations of photographs
that challenge the usefulness
of photography as an objective
medium.
Instead of aiming at truthful
objectivity, Boltanski embraces
an exclusively expressive use
of photograph.
Example: Christian Boltanski
79. 12.46 Lorna
Simpson, Five-Day
Forecast, 1988. Five
black-and-white
prints in one frame
and ten engraved
plaques.
Simpson often utilized a neutral type photograph,
but altered the way it communicated by combinign
multiple photographs or adding poetry-like text.
Example: Lorna Simpson
80. 12.46 Lorna
Simpson, Five-Day
Forecast, 1988. Five
black-and-white
prints in one frame
and ten engraved
plaques.
Simpson often utilized a neutral type photograph,
but altered the way it communicated by combinign
multiple photographs or adding poetry-like text.
The combination of text and image communicates
more than either can do on it’s own. The use of a
poetic style enhances the subjective meaning,
rather than aiming to be objective.
Example: Lorna Simpson
82. Art as Social Critique
The new social documentary approach was often aimed at
commentary and criticism, rather than direct humanitarian
goals.
.
83. Art as Social Critique
The new social documentary approach was often aimed at
commentary and criticism, rather than direct humanitarian
goals.
Often, this type of work did not present a victim in the
traditional sense. Instead, the focus was often on the
situation rather than the individuals.
84. Art as Social Critique
The new social documentary approach was often aimed at
commentary and criticism, rather than direct humanitarian
goals.
Often, this type of work did not present a victim in the
traditional sense. Instead, the focus was often on the
situation rather than the individuals.
The new approaches are not restricted to straight forward
photography. A constructed situation can be as meaningful
as a real situation.
85. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Example: Martha Rosler
86. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Combined advertising images and
war photographs
Example: Martha Rosler
87. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Combined advertising images and
war photographs
Instead of documenting reality,
creates a new one, obviously fake.
Example: Martha Rosler
88. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Combined advertising images and
war photographs
Instead of documenting reality,
creates a new one, obviously fake.
Not about what happens physically.
More about what happens mentally.
Example: Martha Rosler
89. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Combined advertising images and
war photographs
Instead of documenting reality,
creates a new one, obviously fake.
Not about what happens physically.
More about what happens mentally.
Drawing attention to the conflict
between two worlds.
Example: Martha Rosler
90. 13.2 Martha Rosler, House Beautiful, c. 1967-72,
from the series Bringing the War Home. Collage.
Combined advertising images and
war photographs
Instead of documenting reality,
creates a new one, obviously fake.
Not about what happens physically.
More about what happens mentally.
Drawing attention to the conflict
between two worlds.
Shifting attention away from victim
and onto cultural cause (globalism,
consumerism, greed, etc.)
Example: Martha Rosler
91. More themes and examples
As we continue on, please be mindful that the postmodern
era was very diverse. There was no defined way of doing
things.
The themes we looked at today are only a few of the many
methods of expression. There were many other modes of
working, and many ways that individual photographers
combined those modes toward their own personal goals.
Over the remaining weeks, we will continue to explore
these themes, and the photographers involved. You can
also explore these photographers in depth by following
some of the links in our lessons.
