A Photographer Confronts His World
Bruce Gilden’s shallow, narcissistic work and methods, thankfully come into the limelight. I respect Stacy Kranitz’s self-awareness and self-confidence to have written about it:
The past few days have been hard,” wrote Kranitz on Instagram on June 7th. “I have been on assignment with another photographer, Bruce Gilden. He and I are at odds with the way we make our work. I watched him make portraits and aggressively enter my shot to get his own, while telling me ‘this is my shoot, you are just here’ I listened as he said disparaging things about people, I listened to his dissatisfaction with people being to [sic] ‘plain’ and late last night I could no longer stand by and continue to feel good about being bullied. He humiliated me in front of a group of church goers and I feel that I may have taken a stand at the wrong moment. That I was not being considerate or mindful of my surroundings either. I don’t hate Bruce or his work but I think turning people into what you want them to be, turning people into ‘self-portraits’ of yourself is complicated and dangerous especially in a place with a history of extraction.
Eliza Griswold pens an entirely farcical and ahistorical piece for – of course, the New York Times. And though it is now becoming tiresome to point out how ridiculously, amateurish this newspaper has become a shill for war and propaganda, it still remains critical to continue to point it out. There are still too many people who take this publication seriously, and repeat its arguments thoughtlessly. This in fact was the key point that Glenn Greenwald made in a critical take-down of The New York Times recent, stenographic piece on the Edward Snowden leaks. Details »
A already complex, determined work gets more complex, and more determined. Matt Black once again sets a high standard of commitment and focus, bringing his sharp, searing eye to our hard, crippling reality.
By the end of the week, they had appeared on the covers of Newsweek, Time and US News & World Report. It was the first time in many years that one photographer had enjoyed such an honour.
Debate started to grow over what the US response should be. But it was only when George H.W. Bush, the then US president, announced an invasion and offered the events captured by my photographs as a justification, that I understood just what role photojournalism can play in such a conversation.
Ron Haviv, Al-Jazeera Magazine
All things are in the grip of inadequate causation; namely, they are partially determined to act by other, external things. The individualistic ethos, which is the continuation of the metaphysics of subjectivity, refuses to the last to consider such an idea. True, at stake is nothing less than its outright dissolution, and a habit of thinking and relating to oneself that is by now so entrenched will not easily give way. Except by the violence of a kind of conversion, the idea of full determination cannot readily defeat the deeply engrained belief in the faculty of self-determination on which individuals rest their identities as ‘subjects’. Yet…Spinoza discloses the genetic principle of this idea, that is, the mechanism of its begetting in the imagination: ‘men are deceived in thinking themselves free, a belief that consists only in this, that they are conscious of their actions and ignorant of the causes by which they are determined.’
Frederic Lordon, Willing Slaves of Capital; Spinoza And Marx on Desire
It’s remarkable that after all these years, and all the revelations to the media lies and propaganda that fed the build up and prosecution of this unjust, and unnecessary invasion of Panama, that a photojournalist like Ron Haviv can still brag about this work, and discuss it as if it ‘made a difference’. It is odd that he doesn’t realise that the US media, with its unquestioning repetition of government propaganda, instigated an invasion that cost the lives of many innocents! What surprises and dismays me about his statements – so entirely ahistorical, is his refusal to understand that his photo was used by the state, by the government propaganda machine, to serve a purpose that the state had already developed. His picture became a weapon of pre-emptive and planned war! Details »
You are the salt of the earth, but if the salt has lost its
flavour, with what will it be salted? It is then good for nothing,
but to be cast out and trodden under the feet of men.
Wim Wenders is a classic example of a man of bourgeois privilege blinds – possibly intentionally, to the violence and exploitation that creates his privilege. And as all such men & women, he is illiterate to the the idea of – one that Gambatista Vico so fabulously gifted mankind, that man makes the world and to understand it we must examine, with honesty and truth, man’s actions and decisions in it.
From handing prizes to embedded photojournalist James Nachtwey (yes, he does make amazing photos, but lets just also look at the interests and ideas that informs his politics shall we? I am working on a critique of Nachtwey’s life’s work that maps his ‘projects’ to the political ‘ethos’ of the time, looking to examine his close collusion with American imperial interests and the angles adopted in his Time magazine funded stories), to this white-wash of Salgado’s collusions with mining interests and his continued refusal to speak honestly about the devastating impact of unchecked capitalism, share-holder returns, outright corporate thievery and corruption, political bribery and ‘development’ and ‘growth’ addictions, Wenders embodies many of the presumptions of his class. As Laura Jaramillo points out:
Wenders is careful to shape Salgado’s interviews into a meditation on the human condition palatable for the international art-film market, not a meditation on the destructive effects of globalised capitalism. “Everyone should see these images to see how deadly our species is,” Salgado says over one particularly grisly set. Each event that feeds into his illustrious career is, not coincidentally, one of the greatest atrocities of the latter half of the 20th-century. Each is curiously disconnected from the last, presented without historical context.
disdain dismissal of most all photojournalists working on ‘immigration’ stories begins with this simple fact outlined in this excellent article titled The Story Behind The Stories, where author Rodney Benson argues that:
The complexity of the international causes of migration cannot be easily expressed as a melodrama. And mentioning them is ideologically sensitive: it suggests there could be something wrong about an economic system that most politicians — and journalists — take for granted. From the early 1970s to the mid-2000s — a time of neoliberal globalisation and bloody conflicts in Central America manipulated by the US — immigration stories that mentioned international causes fell from 30% to 12% in leading US papers. To their credit, French newspapers in the 2000s, just as in the 1970s, mentioned the global angle in 33% of their immigration news stories, mostly because of the greater prominence of anti-globalisation sentiment in French intellectual and political culture. Yet, too often, both French and US media fail to give the full picture on immigration. Their focus on emotion, and on individual stories, diverts attention from the fundamental political issues, and leaves the way open for the simplistic “solutions” advocated by the far right.
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