After reading this short discourse highlighting the place of photography in our modern-day society, there still remains a lurking ambiguity surrounding the distinguishing factors that set apart contemporary art photography from all others. We are informed early on that the discussion of individual photos as they relate to each chapter is riddled with shades of gray seeing as how many of the photos that we have seen could easily belong in any of the other chapters. However, this being said, Cotton suggests a single component that is important when considering this topic: a departure from form and a focus on content. "The central artistic act is one of directing an event specifically for the camera. This approach means that the act of artistic creation begins long before the camera is actually held in position and image fixed, starting instead with the planning of the idea. Many of the works here share the corporeal nature of performance and body art, but the viewer does not witness the physical act directly, as one does in performance, being presented instead with a photographic image as the work of art" (pg. 21).
This raises a question of ethics for me: if people have traditionally viewed the photograph as possessing an objective truth, adhering to real life conditions, wouldn't this mean that the photographer gains the power to manipulate any given situation?
So it can be said that this movement in photography redefines not only what constitutes a photograph, but the responsibilities of the photographer in creating it.
The images above are the work of Nikki S. Lee, who observes a variety of social groups in America; subjecting them to scrutiny by adopting their matter of dress and body language, and positioning herself in the photo with these very individuals. I found this approach very interesting because it challenges the traditional notion of a subject vs. object dynamic, ultimately blurring the distinction to the point where the photographer themselves becomes the subject of the piece. (Above left: taken from her Hispanic Series Project, right: Unknown)
I could relate this to my work because I have been going inside the community that I am taking pictures of and creating relationships with the subjects of my photos which takes on a similar effect. As the distinctions blur I question my role as well as the nature of my work. This can produce some very interesting results as the project takes on a life of its own.
Below we see a piece created by Gabriel Orozco, entitled Breath on Piano. What I liked about this selection is his subtle suggestion of a human presence. I have realized that it is not necessary to be completely literal when dealing with visual communication. I often talk of photo manipulation and it's potential to layer meaning, but over the course of our readings simplicity has shown to have a much greater power than I had originally thought. The type of representation shown here in Orozco's work makes us question our very Being by causing us to look at the byproducts of our existence.
