(Waiting Room, Poplar DHSS, East London, 1985, from the series Beyond Caring, 1985)

two. He attempted to portrays the social realities of the world with
brutal honesty; his "work distinguishes itself by retaining a firm and full commitment to life as it unfolds" ("Introduction").
(Baby and Interview Cubicles, Brixton DHSS, Soth London, 1984, from the series Beyond Caring, 1984)
(End of an Age, 1996-98)

(Untitled, New Orleans 2004)

These images shown to the left were chosen for their narrative properties; imagine, if you will, how the message might have be different had I flip-flopped the presentation of them. To lend you some background information, these images were taken from a selection of photos that Graham had captured while on a road trip across the country. He was looking to "lend dignity to life's tiny moments" (Deitcher). For these particular photos, Graham had met this woman while he was visiting pre-Katerina, New Orleans. Initially their simplicity was used to show the normalacy of life, as it was experienced by the poorest sector of the state's population. However, taken in the context of present day history, following the events that occured with Hurrican Katerina, they can almost be said to deliver a much more hopeful message/ narrative, life goes on.

(American Night, 2002)
This photo stands in stark contrast to the photo on the left, which depicts a quiet suburban home. This collection is taken from a very powerful series of photos, which depict the harsh division between the impoverished portions of society and those who possess a greater portion of the wealth. The white cast of the first photo makes these people appear to be almost invisable, reflective of their role in actual society. However, Graham dare's us to take a closer look, but only if we choose to do so.
Graham is considered to be very experimental with his approach (which I hope to have conveyed through my selections thus far), however these next two images are worth noting. The first is a photo of some writing that Graham found on the inside of a bathroom stall, which was taken from the context of several images similar in nature. This one was the least obscene of the group (hence why I chose it, figured that I would try to keep it PG-13). However it begs the question, what makes a photograph or in this case, could this be considered art? Based on our inquires into the study of the photo as contemporary art thus far, what do ya'll think, is this art?

(Photos courtesy of the Paul Graham Archive: www.paulgrahamarchive.com)
Bibliography:
Books
Marien, Mary Warner. Photography: A Cultural History. 2nd ed. Great Britain: Laurence King
Marien, Mary Warner. Photography: A Cultural History. 2nd ed. Great Britain: Laurence King
Publishing, 2006. Print.
Weski, Thomas. Click Doubleclick: The Documentary Factor. Walther Konig, 2006. Print.
Articles
Deitcher, David. "Paul Graham." Artforum May 2009. Web. 25 Sept 2010.
Weski, Thomas. Click Doubleclick: The Documentary Factor. Walther Konig, 2006. Print.
Articles
Deitcher, David. "Paul Graham." Artforum May 2009. Web. 25 Sept 2010.
Frischkorn, Shauna. "American Night." Library Journal. 129.1 (2004): 102.
Woodward, Richard B. "Photography: Stories Found in the Streets." Wall Street Journal 19 Mar 2009,
Woodward, Richard B. "Photography: Stories Found in the Streets." Wall Street Journal 19 Mar 2009,
Eastern: D.9. Print.
Websites
"Introduction." Paul Graham Archive. Gallery Press Release, 2006. Web. 20 Sept 2010.
Websites
"Introduction." Paul Graham Archive. Gallery Press Release, 2006. Web. 20 Sept 2010.
<http://www.paulgrahamarchive.com/introduction.html>.
"P.S.1 Contemporary Art Center: Exhibitions: Paul Graham: American Night." MOMA PS1. 12 Oct.
"P.S.1 Contemporary Art Center: Exhibitions: Paul Graham: American Night." MOMA PS1. 12 Oct.
2003. Museum of Modern Art. 12 Sep 2010. <http://ps1.org/exhibitions/view/1 98>.
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