The notion of being human revolves around our perception of what it means to be an animal or beast – and this relationship is constructed through the medium of photography.
From the Magazine
Empty stages is a photographic project consisting of a series of digital prints that have been taken since 2003 and comprises of more than 100 photographs. Authors document empty stages in various parts of the world, such as conference halls, city and amateur theatres, concert stages, workers’ clubs or hotels.
Focussing on journalistic reports on terror attacks in Israel, the article’s aim is to investigate the operation of family photographs deployed as substitutions for explicit depictions of fatalities. It appears that whereas such photographs depoliticise the representation of death, they also work to politicise Israeli daily existence.
Since (capitalist) market is an abstract concept, photographic narratives about it are by necessity indirect, focusing on visual representation of its many manifestations. Through most of the 20th century, photographers have continuously been focusing on its most evident manifestation – labour.
So why continue to defend documentary? The short answer is, because we need it, and because it likely will continue, with or without art world theorizing. As the division widens between rich and poor in the United States and elsewhere, there is less and less serious analysis of the lives of those on the wrong side of that great divide.