Q: In one sentence, what is the central argument of
this essay?
The essay
discussed the huge impact of an emerging influential group of black
photographers in the 1980swho disturbed and upset the status quo of established
photographic practices and subjects.
Q: The discussion in regard to photography is set
within a larger socio-political framework.
Do you fee this is justified by the evidence presented?
the authors of
the essay were both highly respected and influential photographers and
culturists and were closely involved in the emergence and promotion of black
photographers in Europe, the USA and the Caribbean. There was undoubtedly great turmoil and then
progress in the areas of equality and anti-discrimination led in no small way
by Ken Livingstone, the then leader of the Greater London Council. It is no surprise therefore that this change
and movement should be felt in the world of photography which has always been
regarded as pioneering and quicker to react than many other art-related
areas. The changes could not, in my
opinion, have occurred without the impetus of movement in the wider
cultural/artistic work. This is because
photography per se was still largely unrecognised as an art form.
Q: To what extent is the argument limited to Britain
in the 1980s, and do you think it would be useful to refer to related movements
in other countries?
The essay
concerns itself to no small extent with the work of black or sympathetic to
black issue photographers, ie, Robert Mapplethorpe and Ratim Fari-Kayode. Although the latter lived in the UK, he was
also greatly influenced by the arts scene in New York where he knew
Mapplethorpe. In focusing on these two
photographers, the essay undoubtedly shows the influence of the UK and the USA
in this field. Before this movement and
also in the wider field of the arts, both countries were more traditional and
mainstream and perhaps the unison resulted in greater possibilities for change
and exploration to rock established views.
Q: The essay raised the issue of eligibility – in this
case, whether or not a photographer of black subjects should be black
themselves. What are your views on
this? What are the wider implications of
this issue?
The promotion
and encouragement of black-related cultural and art issues should not, in my
view, lead to separatism between the races/ethnic groups. That was the traditional problem for so man
centuries. Rather, it should lead to
greater integration and understanding which then permeates out into the wider
world away from the sometimes-elitist arts fields. It can only be a force for good and for these
reasons, it would be unacceptable to accept black photographic subjects only
from black photographers. Art is art
from whatever sauce and the challenging of traditional views, although
uncomfortable at time, can only broaden the minds of those who see or are
touched by this body of work.
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