| Field |
Value |
Language |
|
dc.contributor.author |
Fahd, CR
https://orcid.org/0000-0002-3404-1535
|
en_US |
|
dc.contributor.editor |
Milne, P |
en_US |
|
dc.date |
2016-05-27 |
en_US |
|
dc.identifier.citation |
CCP Declares: On the Social Contract |
en_US |
|
dc.identifier.isbn |
9780987597694 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/122171
|
|
|
dc.description.abstract |
Shadowing Portraits is a series of 20 portraits/self-portraits exhibited in the curated exhibition "CCP Declares: On the Social Contract". This exhibition "examined and extended the idea of social contract theory; the idea that moral and political obligations and rights are bound upon an intrinsic agreement amongst the various constituents of a society." http://www.ccp.org.au/exhibitions.php?f=20160710_Gallery_1 |
en_US |
|
dc.format |
Photography |
en_US |
|
dc.publisher |
Centre for Contemporary Photography |
en_US |
|
dc.relation.ispartof |
CCP Declares: On the Social Contract |
en_US |
|
dc.title |
Shadowing Portraits |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Centre for Contemporary Photography |
en_US |
|
utslib.for |
1905 Visual Arts and Crafts |
en_US |
|
utslib.for |
1203 Design Practice and Management |
en_US |
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
closed_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.finish-date |
2016-07-10 |
en_US |
|
pubs.place-of-publication |
Centre for Contemporary Photography |
en_US |
|
pubs.start-date |
2016-05-27 |
en_US |
|
pubs.rights-statement |
Shadowing Portraits generates collaborative photography arising from the field of photographic portraiture, specifically the power relationship between photographer and subject when a portrait is made. Traditionally, portraiture positions the subject in an unequal relationship with the photographer as the camera is framed as an all-seeing device. This ‘panoptic’ model of Photography- photographer-power is derived from Foucault and is challenged by photo theorist Ann Marsh. Marsh suggests the power of the photographer may be negotiated. She argues that the subject may gain back control over self-representation if given an opportunity to fashion their pose. Photographer, Wendy Ewald has practiced this alternative in her collaborative work with children whereby she gives her subjects her camera and allows them to photograph themselves. This research tests Marsh’s argument by inviting 20 people (well known in the field of photography) an alternative to the photographer directing their subject. In this instance, it is the subject directing the photographer, creating a collaborative approach to the contract of portraiture. Each person is invited to stand on a plinth and to choose a pose that I must shadow from behind them. Here, the subject has equal power to the photographer, re-addressing the traditional power dynamic. This research was exhibited in the curated show, CCP declares: On the Social Contract at the Centre for Contemporary Photography in Melbourne and was also part of Melbourne Festival. It was supported by a Research Grant from Sydney College of the Arts research scheme. In 2017 it was published in a monograph titled A Portrait is a Puzzle published by M.33, Melbourne. |
en_US |
|
pubs.rights-statement |
Shadowing Portraits investigates the relationship between photographer and subject in the field of photographic portraiture. Traditionally, portraiture positions the subject in an unequal relationship with the photographer as the camera is framed as an all-seeing device. This 'panoptic' model of photography- photographer-power is derived from Foucault and is challenged by photo theorist Ann Marsh. In The Darkroom: Photography and Theatre of Desire (2003) Marsh asserts the power of the photographer may be negotiated. She argues that the subject may recover some control over self-representation if given an opportunity to fashion their pose. Photographer, Wendy Ewald has practised this alternative in her ground-breaking collaborative work where her subjects where actively involved in their portrait taking. This research tests Marsh's argument by inviting 20 people (well known in the field of photography) to explore and present an alternative to the traditional 'photographer-directed' subject. In this instance, the 'self-knowing' subject actively redresses the traditional power dynamic through determining their own pose and having the photographer shadow this process and attempt to capture it in a self-reflexive way. This research was exhibited in the curated show, CCP declares: On the Social Contract at the Centre for Contemporary Photography in Melbourne and was also part of Melbourne Festival. It was supported by a Research Grant from Sydney College of the Arts research scheme. In 2017 it was included in a monograph titled A Portrait is a Puzzle published by M.33, Melbourne. |
en_US |
|
pubs.rights-statement |
Shadowing Portraits investigates the relationship between photographer and subject in the field of photographic portraiture. Traditionally, portraiture positions the subject in an unequal relationship with the photographer as the camera is framed as an all-seeing device. This 'panoptic' model of power, derived from Foucault, is challenged by photo theorist Ann Marsh. In The Darkroom: Photography and Theatre of Desire (2003), Marsh asserts that the power of the photographer may be negotiated. She argues that the subject may recover some control over self-representation if given an opportunity to fashion their pose. Photographer, Wendy Ewald has practised this alternative in her ground-breaking collaborative work where her subjects where actively involved in their portrait taking. This research tests Marsh's argument by inviting 20 people (well known in the field of photography) to explore and present an alternative to the traditional 'photographer-directed' subject. In a departure from Ewald's approach, the 'self-knowing' subject actively redresses the traditional power dynamic through determining their own pose and having the photographer shadow this pose and attempt to capture it in a self-reflexive way. This research was exhibited in the curated show, CCP declares: On the Social Contract at the Centre for Contemporary Photography in Melbourne and was also part of Melbourne Festival. It was supported by a research grant from Sydney College of the Arts (USYD) research scheme. |
en_US |
|
pubs.rights-statement |
Shadowing Portraits investigates the relationship between photographer and subject in the field of photographic portraiture. Traditionally, portraiture positions the subject in an unequal relationship with the photographer as the camera is framed as an all-seeing device. This 'panoptic' model of power, derived from Foucault, is challenged by photo theorist Ann Marsh. In The Darkroom: Photography and Theatre of Desire (2003), Marsh asserts that the power of the photographer may be negotiated. She argues that the subject may recover some control over self-representation if given an opportunity to fashion their pose. Photographer Wendy Ewald has practised this alternative in her ground-breaking collaborative work where her subjects where actively involved in their portrait taking. This research tests Marsh's argument by inviting 20 people (well known in the field of photography) to explore and present an alternative to the traditional 'photographer-directed' subject. In a departure from Ewald's approach, the 'self-knowing' subject actively redresses the traditional power dynamic through determining their own pose and having the photographer shadow this pose and attempt to capture it in a self-reflexive way. This research was exhibited in the curated show, CCP declares: On the Social Contract at the Centre for Contemporary Photography in Melbourne and was also part of Melbourne Festival. It was supported by a research grant from Sydney College of the Arts (USYD) research scheme. |
en_US |
