| Field |
Value |
Language |
|
dc.contributor.author |
Fahd, CR
https://orcid.org/0000-0002-3404-1535
|
en_US |
|
dc.contributor.editor |
Reingold, S |
en_US |
|
dc.date |
2016-10-18 |
en_US |
|
dc.identifier.citation |
Street View in Anonymx, The End of the Privacy Era |
en_US |
|
dc.identifier.isbn |
9789655350463 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/122325
|
|
|
dc.description.abstract |
The Dancers is a photographic series emerging from the genre of documentary photography. Specifically, the series addresses the complex nature of looking and the 'voyeurism' inherent in the viewing of material uploaded to online video platforms such as Youtube in this case. Traditionally, domestic space was considered private space. Its recording was usually saved for the intimate sphere of family photo and video archives. Today the private dimension of the 'home' is complicated when for instance young girls video themselves dancing in their bedrooms, living rooms and even kitchens. This material when uploaded to Youtube attracts a faceless audience of 'lookers'. In making this work I am implicated in the act of 'voyeurism'; I sit in my kitchen trawling through videos of girls dancing, making screen grabs or photographing my laptop screen in order to freeze their frenetic moves and portray a snippet of the dance. This research asks a speculative somewhat ethical question: "who else may be watching these young girls and is there a darker social problem here?" Further, the series captures the micro details of each dancer's domicile; family photographs on the walls, laundry baskets filled with unfolded washing, wardrobes ajar revealing clothing, notes on the fridge. All the detritus of everyday domestic life is made public to millions of anonymous lookers. |
en_US |
|
dc.format |
Photography |
en_US |
|
dc.publisher |
Haifa Museum of Art |
en_US |
|
dc.relation.ispartof |
Street View in Anonymx, The End of the Privacy Era |
en_US |
|
dc.title |
The Dancers |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Haifa Museum of Art, Israel |
en_US |
|
utslib.for |
1203 Design Practice and Management |
en_US |
|
utslib.for |
1905 Visual Arts and Crafts |
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 |
2017-10-15 |
en_US |
|
pubs.place-of-publication |
Haifa Museum of Art, Israel |
en_US |
|
pubs.start-date |
2016-10-18 |
en_US |
|
pubs.rights-statement |
The unprecedented rise of digital media in everyday life has contributed to the diminishing boundary between private and public space. Questions around the gaze and surveillance, active within the field of visual representation for the last few decades, have now shifted focus to the insidiousness of the digital gaze and the ease of surveillance, with issues such as exhibitionism, narcissism and voyeurism becoming prominent. The Dancers addresses the complex nature of contemporary looking, particularly the 'voyeurism' inherent in the viewing of uploaded material to public sites such as youtube. Traditionally, the recording of domestic space was usually saved for the intimate sphere of family archives. Today the private dimension of 'home' is complicated. The Dancers' investigates the ease of self-representation where young girls video themselves dancing in their bedrooms, living rooms and even kitchens. The series captures the micro details of each dancer's domicile - family photographs on the walls, laundry baskets filled with unfolded washing, wardrobes ajar revealing clothing. This research asks a speculative, ethical question: 'who else may be watching these young girls and is there a darker social problem here?' In making this work I am implicated in the act of 'voyeurism'; I sit in my kitchen trawling through videos of girls dancing, making screen grabs or photographing my laptop screen in order to freeze their frenetic moves and portray a snippet of the dance. This work was included in a major international exhibition, AnonymX: The End of the Privacy Era at the Haifa Museum of Art, Israel. |
en_US |
|
pubs.rights-statement |
The unprecedented rise of digital media in everyday life has contributed to the diminishing boundary between private and public space. Questions around the gaze and surveillance, active within the field of visual representation for the last few decades, have now shifted focus to the insidiousness of the digital gaze and the ease of surveillance, with issues such as exhibitionism, narcissism and voyeurism becoming prominent. The Dancers addresses the complex nature of contemporary looking, particularly the 'voyeurism' inherent in the viewing of uploaded material to public sites such as youtube. Traditionally, the recording of domestic space was usually saved for the intimate sphere of family archives. Today the private dimension of 'home' is complicated. The Dancers investigates the ease of self-representation where young girls video themselves dancing in their bedrooms, living rooms and even kitchens. The series captures the micro details of each dancer's domicile - family photographs on the walls, laundry baskets filled with unfolded washing, wardrobes ajar revealing clothing. This research asks a speculative, ethical question: 'who else may be watching these young girls and is there a darker social problem here?' In making this work I am implicated in the act of 'voyeurism'; I sit in my kitchen trawling through videos of girls dancing, making screen grabs or photographing my laptop screen in order to freeze their frenetic moves and portray a snippet of the dance. This work was included in a major international exhibition, AnonymX: The End of the Privacy Era at the Haifa Museum of Art, Israel. |
en_US |
