David Campany’s - Aftermath/Late Photography – ‘Safety in Numbness’
Edmund Clark: War of Terror on at the Imperial War Museum
Edmund Clark is an award winning artist with awards from the Royal Photographic Society in which he received the Hood Medal for his outstanding photography work for public service, The British Journal of Photography International Photography Award and was shortlisted for the Prix Picket under the category of Power. He links his work with history, politics and representation. Clark’s work has been published and exhibited worldwide and acquired for international collections including his native Britain. His works have been showcased at The Imperial War Museum, The National Media Museum and The National Portrait Gallery. …show more content…
Mainly of the photographer being there when the event is happening to the present state where they go after the event has occurred. This has resulted in the term ‘Aftermath’ emerging. An example of one such artists work is of Edmund Clark’s ‘Negative Publicity’ which is a culmination of photographs and documents which give the viewer the ability to engage with the experiences of observation, detention and disorientation created by the systems of control he explores. The majority of the photographs depict unassuming locations; office buildings, airports, a hotel room to name a few. These are all traces, fragments, empty buildings and empty streets which have become symbolic in defining the term aftermath photography. The aforementioned images are often static with no movement or people present which has made them an ‘aesthetic of utility’ that is closer to forensic photography because the aim is to learn from these images whereas photojournalism is to tell the viewer about the image. When looking at these images the viewer learns that these are the sites which facilitate extraordinary rendition. The documents accompanying the photographs by Clark were collected by Crofton Black an investigator for the human right NGO Reprieve. Most of the documents and photographs showcased are unobtrusive; there are flight invoices, court …show more content…
Resulting in there being international outrage at the U.S.A. Due to this many photographers documented the remnants of Kuwait which was a culmination of destroyed tanks, scarred desert and burning oil fields as well as bodies within mass graves resulting in the photojournalistic practice being described as elegiac, poetic and muted. This was mainly due to it communicating the feeling of being outside the time of history, of events and of politics. Resulting in a sense of removal due to us seeing the destruction after the
Edmund Clark: War of Terror on at the Imperial War Museum
Edmund Clark is an award winning artist with awards from the Royal Photographic Society in which he received the Hood Medal for his outstanding photography work for public service, The British Journal of Photography International Photography Award and was shortlisted for the Prix Picket under the category of Power. He links his work with history, politics and representation. Clark’s work has been published and exhibited worldwide and acquired for international collections including his native Britain. His works have been showcased at The Imperial War Museum, The National Media Museum and The National Portrait Gallery. …show more content…
Mainly of the photographer being there when the event is happening to the present state where they go after the event has occurred. This has resulted in the term ‘Aftermath’ emerging. An example of one such artists work is of Edmund Clark’s ‘Negative Publicity’ which is a culmination of photographs and documents which give the viewer the ability to engage with the experiences of observation, detention and disorientation created by the systems of control he explores. The majority of the photographs depict unassuming locations; office buildings, airports, a hotel room to name a few. These are all traces, fragments, empty buildings and empty streets which have become symbolic in defining the term aftermath photography. The aforementioned images are often static with no movement or people present which has made them an ‘aesthetic of utility’ that is closer to forensic photography because the aim is to learn from these images whereas photojournalism is to tell the viewer about the image. When looking at these images the viewer learns that these are the sites which facilitate extraordinary rendition. The documents accompanying the photographs by Clark were collected by Crofton Black an investigator for the human right NGO Reprieve. Most of the documents and photographs showcased are unobtrusive; there are flight invoices, court …show more content…
Resulting in there being international outrage at the U.S.A. Due to this many photographers documented the remnants of Kuwait which was a culmination of destroyed tanks, scarred desert and burning oil fields as well as bodies within mass graves resulting in the photojournalistic practice being described as elegiac, poetic and muted. This was mainly due to it communicating the feeling of being outside the time of history, of events and of politics. Resulting in a sense of removal due to us seeing the destruction after the