unconcerned but not indifferent

 

 

http://www.broombergchanarin.com/unconcerned-but-not-indifferent-text/

“The tremendous development of photojournalism has contributed practically nothing to the revelation of the truth about conditions in this world. On the contrary photography, in the hands of the bourgeoisie, has become a terrible weapon against the truth. The vast amount of pictured material that is being disgorged daily by the press and that seems to have the character of truth serves in reality only to obscure the facts. The camera is just as capable of lying as the typewriter”

– Bertolt Brecht,1931

western ‘concerned’ news imagery

Dario Mitidieri - Lost Family Portraits - World Press Photo Prize - Syrian Refugee Crisis

Dario Mitidieri – Lost Family Portraits

 

Photographs furnish evidence

http://www.theguardian.com/commentisfree/2015/sep/06/photograph-refugee-crisis-aylan-kurdi

‘… do extreme and distressing images of human suffering make us more aware of the reality of that suffering or desensitise us to it?

When she wrote On Photography, Sontag thought the latter, but when she revisited the topic in a later book, Regarding the Pain of Others, her view had shifted. “As much as they create sympathy, I wrote, photographs shrivel sympathy,” she mused. “Is this true? I thought it was when I wrote it. I’m not so sure now.”’

On June 8, 1972, AP photographer Nick Ut took this photo of 9-year-old Kim Phuc as she ran from an aeral napalm attack.

On June 8, 1972, AP photographer Nick Ut took this photo of 9-year-old Kim Phuc as she ran from an aeral napalm attack.


 A Turkish police officer stands next to the body of the young boy. Photograph: Reuters

A Turkish police officer stands next to the body of the young boy. Photograph: Reuters

Bronx Documentary Center response about Chris Arnade in ‘Altered Images’ exhibition

http://bronxdoc.org/post/124190567599/the-bdc-responds-to-criticism-of-chris-arnades

© Chris Arnade. *Face digitized by the BDC

© Chris Arnade. *Face digitized by the BDC

© Chris Arnade. *Face digitized by the BDC

© Chris Arnade. *Face digitized by the BDC

 

“In every interview I have seen, Mr. Arnade emphasizes the sacrifices he has made for his subjects: giving them $10 to buy heroin; taking them to a detox appointment; even showing prostitutes the stars through his telescope. In one interview he laments that he must sell his multimillion-dollar home in Brooklyn Heights so he can continue to photograph prostitutes and drug addicts: “I’m earning no money, and I’m about to sell my house and move upstate so I can keep doing this.” Lamenting a multi-million dollar real estate deal to continue photographing women who perform oral sex for $10 bespeaks an astonishing level of self-involvement.

Another way to look at it is this: On the backs of these women, Mr. Arnade has gone from faceless Wall Street banker to no small degree of fame; he has an army of followers; his work is published around the world; he sits on panels with respected photographers. To paraphrase JFK, it’s not what Mr. Arnade has done for poor prostitutes and drug addicts, it’s what poor prostitutes and drug addicts have done for Mr. Arnade’s renown.

Finally, and at its root, Mr. Arnade’s work is about power. His photographic “project” utilizes naked women because he has power over the women—power in the form of money to gain access, power to portray them in vulnerable and demeaning positions, power to publish these photos to further his reputation and following.”