Archive for February, 2010

PhotoPhilanthropy in the field: observations from Haiti

This week, PhotoPhilanthropy founder Nancy Farese is in Haiti, documenting the work of NGO’s as they provide disaster relief. She sent us this bulletin:

I am here shooting on behalf of the IRC (International Rescue Committee).  Their primary expertise in emergency response is water and sanitation, though they are quickly laying the groundwork for partnering with Haitian agencies to provide Gender Based Violence prevention programs in the settlements, child-friendly playing areas, and family identification databases to help people find their loved ones.

In Piste Camp a man collects rebar to straighten out and reuse.

There are approximately 500 spontaneous settlement camps in Port au Prince; people gathered out of the desperation of having lost everything in the crumbles of their house, or the simple fear of sleeping under concrete structures identical to those in ruins around them.  There was a 4.5 aftershock on Monday night, followed Tuesday by a 4.7 earthquake from a new source, that had us all running from our beds.

Spontaneous Settlement camp in Port au Prince

Spontaneous Settlement in Villambetta

The settlements are crowded and desperate; erected on every piece of available open land in the city  from parks to golf courses, out of any material at hand. Giant bladders indicate that the French Red Cross and UNHCR are supplying water, and  a cluster of people waiting in lines near a settlement indicates a distribution of tents or food vouchers.  The IRC and UNICEF are quickly building latrines with the help of campers where space is available, but they readily admit that the urban disaster constraints of this many people displaced in such tight confines is unique and challenging. Everyone fears the outbreak of disease if the latrines are not built quickly and used effectively, and everyone knows that each additional day spent in a camp means more resistance to a transfer to a safer, more physically intact location as communities develop and nearby jobs are secured. Everyone fears the onset of rain.

So what is going right?  The compassion and resilience of these remarkable Haitian people.  You can’t help but admire their strength. By far the most positive thing that we see is an openness, warmth, and a desire to connect. People want to talk with me, to tell their story, to hold my hand, to have a few words. There is much appreciation by locals for the help from people around the world.

Spontaneous Settlement in Villambetta

And children are playing in the camps; making kites out of plastic sheeting, toy trucks out of trash, playing soccer barefoot amidst the rocks and debris of an abandoned field.

In Piste Camp a man sells phone charging time, powered off of a generator.

Spontaneous Settlement in Villambetta, a girl takes a quiet moment to read. The schools are all closed, some physically collapsed in the quake killing hundreds of children.

February 28, 2010 at 4:59 am 2 comments

Radical bland: unfolding the New Topographics

My first encounter with the New Topographics did not go well. I was 20, and in college, and stumbled into the Robert Adams show at the Yale University Museum of Art in 2002 when I was there to attend a lecture.

Robert Adams, Pike's Peak Park, Colorado Springs, 1970

I wandered up and down the walls of what seemed like endless, terrifyingly boring black and white images of ugly houses, cul-de-sacs, clear-cutting, and mines. I could not figure out what these pictures were really about, or why anyone would want to look at them. When I looked at them, I just felt depressed.

Robert Adams, untitled, Denver, 1970-74

Ah HA, I now want to say. Hey, Eliza, that WAS the point! That’s what makes them so interesting and disarming and beautiful. We are building a boring world for ourselves. Which, when you realize it, is searingly painful to witness and be a part of. Eliza, Eliza, wake up!

Robert Adams

But Eliza, junior-in-college, is utterly impervious to my shouts. It was not until a few years later, when I found myself in Arizona, a whole new part of the American West than I had previously experienced, that I began to really feel what those pictures are talking about.

It helped that I met and studied with Bill Jenkins, the curator responsible for the New Topographics exhibition in 1975, and Mark Klett, one of the foremost landscape photographers working in the U.S. Their personal experiences and their view of life in the Sonoran Desert, fast disappearing beneath box stores and condo complexes, reshaped my connection to landscape photography, particularly photographs of the western U.S.

Robert Adams

And now, when I think about the New Topographics, I think about that group of artists as some of the most serious, purposeful social change photographers that I know about.

One of the things that interests me about them is that they use images in a different way than I might have expected. They use images to create social change by helping their viewers understand what society is, in the first place. They aren’t showing just what’s wrong with it, or what it would look like if things were better—they are showing me what my own culture is. They are telling me stories about myself.

I love that! To me, that is so often what makes a great work of art—the ability of the artist to articulate how I feel, or how life feels, in a way that I’ve never been able to.

And social change is such an ambiguous phrase, and such a nuanced and many-layered process—what a great idea it is to start change by understanding where you are (in space, in time, in community-building) in the first place.

A new show reproducing the original selection of artists, with a few additions, opens this week at the Center for Creative Photography in Tucson, Arizona, with an artist’s talk at the opening reception, given by Bill Jenkins, Joe Deal and Frank Gohlke. There is also a catalogue available, which I just bought. Details below, taken from the CCP website.

Longmont, Colorado, about 1982

New Topographics, February 19 – May 16, 2010
The exhibition New Topographics: Photographs of a Man-altered Landscape, held in 1975 at George Eastman House, signaled the emergence of a new approach to landscape photography. A new version of this seminal exhibition re-examines more than 100 works from the 1975 show, as well as some 30 prints and books by other relevant artists to provide additional historical and contemporary context. This reconsideration demonstrates both the historical significance of these pictures and their continued relevance today.

Opening Reception and Artists’ Talk, Friday, February 19, Reception at 5 p.m., Discussion at 6 p.m.
Join Bill Jenkins, the curator of the original 1975 presentation of New Topographics and exhibiting artists Joe Deal and Frank Gohlke as they discuss the origins and impact of that seminal project. Moderated by Britt Salvesen, Department Head and Curator of the Wallis Annenberg Department of Photography, and the Department Head and Curator of Prints and Drawings at the Los Angeles County Museum of Art.

February 19, 2010 at 11:29 am Leave a comment

Image as oppressor

What if you had never seen a picture of yourself before? What if you had only seen pictures of yourself that someone you barely knew had taken? As someone who has photographed and been photographed all her life, it is difficult to imagine. But, in that situation, what kind of power does a photograph (and therefore, a photographer) have?

Continue Reading February 11, 2010 at 4:18 am 1 comment

Incarcerated: from Guantánamo to Cape Town to San Quentin, what do we see when we look behind bars?

When we vilify people, there are negative repercussions. Making terrorists look like “terrorists” does not help us understand their motives or perspective. It does not help us find peace. It fuels war.

We are fueling our own wars, not just with money or weapons or soldiers, but with images that do not promote understanding or compassion.

A week or two ago, NPR’s On the Media did a story about a series of images that the International Committee of the Red Cross made of the prisoners at Guantánamo Bay detention camp. The ICRC made pictures of the prisoners to send to their families, and allowed each prisoner to choose which particular image would be sent. Naturally, the images the prisoners collaborated in making are very different from the images we’ve seen of them in the news.

What shocked me is that the reporters (Bob Garfield of On the Media, and Carol Rosenberg of the Miami Herald, who broke the story) seem mystified at the power these images have. How can reporters be so unaware of how images work?

And I also wonder, in terms of mapping tangible social change made by images, would Guantánamo be closed now if more people had seen images like these? Is it open specifically because we haven’t seen these images before?

Images can have a hugely negative, divisive impact. They are powerful. And understanding that power, and controlling it, is extremely important. Photographs can create positive social change, but they can also create extremely negative actions, perceptions and social structures. Think of the most famous propaganda film of World War II, Leni Reifenstahl’s Triumph of Will.

Photographs can not represent “the truth” because both photographs, and the truth, are moving targets, built from human perception that is diverse and ever changing. Photographs change depending on the equipment you use, the context in which they are shown, the way they are made, the way they are printed, the mood of the person who sees them. They are unfixed. So why do we cling to the idea that they are either “true” or “untrue,” journalism or art, real or fake, posed or unposed?

Prison photographs are a great way to explore this issue, because they force us to confront some of our most basic assumptions about other people.

Take the artist Mikhael Subotzky. He grew up in Cape Town, and has made astonishingly beautiful and provocative images of prisons, prisoners and ex-prisoners in South Africa. The people he photographs are both assailants and victims. They have murdered, pillaged and raped, but they have also been subjugated, humiliated, discriminated against, overlooked, and physically harmed by individuals, institutions and social systems.

Human conflict, whether it’s one nation against another or one man against another, is complex. And Subotzky’s images acknowledge and explore that complexity. They embrace it.

Because Subotzky’s images ackowledge the complexity of these prisoners’ lives, he does not vilify them. He gives them dignity. He asks provocative questions about human society, rather than pointing a finger at an individual.

It is no different to look at the prisoners of Guantanamo and see fathers, brothers, friends and lovers in them. No person is simply a villain. As much as we love that idea.

Human beings like simplicity. We want to understand ourselves and our surroundings. We want control. All of our biggest and best fantasies are simplistic—good vs. evil. Think of The Lord of the Rings, Harry Potter, and now Avatar. (I hate Avatar.) All those villains are Pure Evil. Easy to hate. And they never have families.

But the “villains” in South Africa’s prisons, and in Subotzky’s photographs, do have families. They do have relationships. They are part of communities. And their lives are complicated and real. When we look through his eyes, we don’t see villains at all. We see incarcerated men.

Similarly, Peter Merts does a wonderful job of documenting prisoners in a prison-based arts program at San Quentin State Prison in California. His images do not have the sweeping intensity of Subotzky’s, but his aim is different to begin with. Rather than documenting the way a society treats its prisoners, Merts is documenting the way a small nonprofit program functions. His scope is modest, but he also treats his subjects with dignity and tenderness.

His approach also sounds very similar to Subotzky’s. I had the pleasure of meeting him last week at the PhotoPhilanthropy Activist Awards celebration, and the way he described going to visit the Prison Arts Project sounded very much like the long term nature of Subotzky’s projects.

And that is a component of social change photography that I think many people underestimate. It takes time, and the relationships you build while working with people are as important as the images you make. I read a simply stunning piece by Charles Schultz for Vewd magazine, and he expressed this idea so well. Talking about Subotzky, he wrote:

There is no way of getting around skin colors in a society where segregation remains a predominant aspect of everything from city planning to daily social interaction. In such a racially charged, environment I would think it takes a tremendous amount of courage and compassion for an affluent white male to step outside of his social strata and willfully engage and make genuine connections with imprisoned black men. And to do so over and over again displays a level of commitment and integrity that underlies all great social change.

In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level.

The fact that Schultz recognizes that, and articulates it so well, lifts me up. That process of integrating image-making with relationships, with community building, with breaking down the barriers we have built between ourselves as people—that process feels so right to me. And I think that we need to be looking at “our enemies,” whomever they may be, in a way that maintains their humanity.

February 5, 2010 at 1:33 am 6 comments


"In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level." --Charles Schultz on Mikhael Subotzky

PhotoPhilanthropy’s blog is written by Eliza Gregory

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