Photography is going through an exciting pivotal moment and I believe a major influence revealing adaptation is the idea of ‘collaborative images’.
A panel discussion was created by Magnum Foundation between experts from fields involving photography.
WITNESS is an international human rights organization. Their adapted curatorial technique is of interest to me as a photographer, especially while I am working through my current project where I have realized that today there is a necessity to sometimes hold back as the photographer and singular author, to incorporate others in telling a more informative and interesting story.
Photojournalists and reporters from Witness as explained in this video by Madeleine Bair, do still hunt for stories and physically enter war-torn locations, but instead of merely documenting and returning with their own photographs and information they convince members of the public to send their photographs and videos back to Witness so that they can be verified and published for the world to see.
Bair articulates that sometimes others can tell the story better than you can, given their situation, accessibility and relationship to the subject. There is not much point in reporter’s waisting their resources when they can collaborate with others and get a better result.
I think the same level of exchange is evident in many photographer’s practice’s, such as Fiona Jack who worked collaboratively in her project, Living Halls, resulting in some interesting outcomes.
I think through the dynamics of collaboration there is an unknowingness or uneasiness that poses challenges for the artist as these conflicts redefine what they are used to.
Fiona Jack Living Halls 2010. Govett-Brewster Art Gallery installation view
Photography, Expanded: Collaborative Images – New Models of Authorship & Aggregation
Julia Noe, 2007. Untitled [Photographs]. Collection of the artist.