<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>As Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.</p>
</abstract>

As Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.

Navigating Socially Engaged Documentary Photographic Practices

Nordicom Review

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

{"article-title":"Navigating Socially Engaged Documentary Photographic Practices"}

As Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their...

Navigating Socially Engaged Documentary Photographic Practices

Article Category: Surface Tension

Online veröffentlicht: 07. Juli 2020

Seitenbereich: 79 - 95

DOI: https://doi.org/10.1515/nor-2015-0031

Schlüsselwörter
socially engaged art, documentary photography, participatory photography, collaborative photography, Wendy Ewald

© 2015 Gemma-Rose Turnbull, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Figures 1

Figure 2

Figure 2

Figure 3

Figure 3a

Figure 3b

Figure 3c

Navigating Socially Engaged Documentary Photographic Practices

Article Category: Surface Tension

Online veröffentlicht: 07. Juli 2020

Seitenbereich: 79 - 95

DOI: https://doi.org/10.1515/nor-2015-0031

Schlüsselwörtersocially engaged art, documentary photography, participatory photography, collaborative photography, Wendy Ewald

© 2015 Gemma-Rose Turnbull, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Figures 1

Figure 2

Figure 2

Figure 3

Figure 3a

Figure 3b

Figure 3c

Schlüsselwörter
socially engaged art, documentary photography, participatory photography, collaborative photography, Wendy Ewald