Browsing Tag: PhD chat

    photography

    Book: Photography After Capitalism, by Ben Burbridge

    February 18, 2021

    Publisher: Goldsmiths Press // Pages: 240 // Date: Dec 2020

    In 2011, a contemporary artist and a US council of war both made use of a series of photographs taken from satellite imagery. The artist was Mishka Henner; his Libyan Oil Fields appropriated the aerial views of petroleum extraction in that country which are freely available on Google Earth. The facilities appear high res, and, as has been noted, there are less interesting locations in the Libyan desert yet to warrant so much photographic detail. Henner was only the first to make use of these shots. The same year there was a US strike on some of these targets with some 110 Tomahawk missiles.

    The same year, another contemporary artist, Andrew Norman Wilson, got interested in the activities of Google, by filming employees in and around the corporate headquarters in California. One important role was to make digital photographs of books for Google Scholar, but those workers were only given ‘white badge’ status, and hence lost out on some of the privileges (free food, etc) given freely to their colleagues. Though his 11 minute film, Workers Leaving the Googleplex, has a wry connection with early cinema (See Workers Leaving the Lumière Factory, 1895), its more straightforward purpose is to draw attention what happens when photography becomes menial work.

    In Enjoy Poverty: Episode III, a 2008 film by Renzo Martens, we meet a group of Congolese wedding photographers who, instigated by the artist, attempt to boost their income by selling images of conflict to Médecins Sans Frontières. Their considerable efforts are rejected in what makes for a very uncomfortable scene in which the artist acts as broker with the client. And it appears that only Western photojournalists can be permitted to make reportage.

    What these three projects have in common, besides inclusion in the book Photography After Capitalism, is a concern with the more sinister aspects of contemporary imaging. From oil to systemic poverty via the digital academy, photography is everywhere. Artists who churn out examples of so-called poverty porn in order to condemn capitalism are not doing enough. It appears here that artists need to address photography’s role at the heart of capitalism, and Burbridge demonstrates page after page that fortunately many already do.

    But even that might not be enough. Critical art also enables left-leaning fans of critical art to feel that merely by consuming politically engaged art they are doing something. This issue is grappled with by many artists today. Yet even the high earning players in the art market have a critical edge, without which they would lose status and stock. It’s a problem. Burbridge does not call for the storming of the Googleplex, but he does agitate for more incisive photography projects and new social models which photography can facilitate.

    Renzo Martens, for example, has been instrumental in the establishment of a white cube gallery at a former plantation in Lusanga, DRC. Will it change much? The implication of its inclusion within these pages is that, locally, it makes a difference. And indeed once you’ve seen those pictures, and once you’ve read this galvanising book, you need never look at a photography exhibition at your own local white cube in the same way again.

    Photography After Capitalism documents the loss of innocence given rise to by ubiquitous images, the digital era, and mining for the components of smart phones. But the book also points to the experiences of photography, those projects of resistance, which might one day grant us innocence afresh.

    Purchase Photography After Capitalism from The Photographers’ Gallery Bookshop here.

    tourism, Uncategorized

    Be a rambler

    July 31, 2020

    In the late 90s, Diesel ran an ad campaign promoting tourism. It was the age of cultural missions in advertising, and the fashion brand encouraged you to “Be a tourist”. Diesel’s target audience were taking gap years and backpacking in the Far East with a dog eared copy of Alex Garland’s 1996 novel The Beach. They were self-avowed travellers not just sight seers. But hey, the ads were too funny.

    20 years later, we are still falling over ourselves to eschew tourism. But why? For my PhD I’ve been reading a bit about tourism and discovered the theory that tourism is the quintessential human condition, for post-industrial westerners. Dean MacCannell, who founded the discipline of tourism studies, has argued that we assert our modernity by gazing on evidence of the past. We do this because we cannot allow ourselves to identify with our oft tyrannical ancestors.

    Ironically, travel (not tourism) is one aspect of our premodern past. Tourism evolved from travel, and not vice versa. With roots in the 16th century notion one could complete one’s classical education with a Grand Tour of classical Europe. The world’s first travel package, from Thomas Cook as it happens, was a chartered train to a rally in support of temperance. Why would you want to go back to either of those travel propositions.

    So I was stopped in my tracks, in my hometown, on the beach, where I was neither tourist nor traveller by the exhortation on the side of BTN Bike Share hire bikes. You can read it in the photograph above. Unlike the most iconic Diesel campaigns from the nineties, it was not clear to me who was being addressed here. Surely no one living in Brighton. Day trippers are most likely, but it’s incredibly pretentious to consider yourself a traveller in a town set up to cater for hedonistic Londoners.

    Of course, Brighton does have its fair share of travellers. But most of those are parked up on the edge of Preston Park in converted horse trucks. I’m not sure they’re the corporate, app-driven, bike hire types.