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Summary for Part 2, Other

Part 2, Other, began by looking at how photography has played its part in violence against the other, siting Victorian photography as one example of asserting colonial power over weaker subjected peoples of other ethnic and cultural societies. Artists such as Mark Sealy have been addressing these troubling histories with work and exhibitions such as Human Rights, Human Wrongs.

I looked at how today’s National Press still uses photography to express the idea of the other when representing one group (the subject) to another group (the readers). I learned that there are three possible audience responses to an intended message, Dominant, Negotiated and Oppositional (see Reflection Point 2.1).

I looked at how photographs can be used or re-used beyond the control of the photographer and his/her original intentions, a photograph by Jeff Mitchell that was used by UKIP was sited as an example. The point being made is that a photograph can be a very powerful tool for both good and ill. I looked for another example of how one photograph had presented a powerful message and made a great and lasting impression. (Research Point.)

I was asked to consider groups that may be ignored or forgotten in society or the wider world for possible reasons of politics, guilt or ignorance. (Exercise 2.2,) and how images can possibly be used to manipulate (Exercise 2.3).

I looked at an example where artists are not immune from critical racism justifiable or not. (Reading Task-a, Reading Task-b, Exercise 2.4.)

As a photographer I was asked to consider my position of privilege over the subject that I may be photographing. (Exercise 2.5, Reading Task.)

In exercise 2.6, I was asked to photograph some portrait of a willing subject in basic studio conditions, firstly in full control of posing the subject then relinquishing control to the subject and comparing the difference in portrait results.

My Tutor’s written report:


Reading Task – White Privilege: Unpacking the Invisible Knapsack​ by Peggy McIntosh., Mark Sealy – Conversation, ‘Afterimage: why representation matters.’, Research Point – Propaganda in an image., Cindy Sherman, Photographic Archival Intervention in the Edward Chambre-Hardman Collection., ‘Getting Changed’ – 2.5 mins extract from 17 mins video work by Rosy Martin, Peter Mansell – Paralysis Unseen, Four image-repertoires – Roland Barthes, Questioning Identity: Gender, Class, Nation.,

Published by shauncn512659

Hi, I am an OCA student studying for an Art degree in Photography , my student number is 512659. My e-mail is:

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