Martha Rosler
[Artist, b. 1943, Brooklyn, New York, lives in New York.]

 Women war photographers had to fight on two fronts: the bombs, and the men. 
 Any familiarity with photographic history shows that manipulation is integral to photography. 
 Documentary photography has been much more comfortable in the company of moralism than wedded to a rhetoric or programme of revolutionary politics. 
 Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.) 
 I’ve written about documentaries as a dead form. But without some reference to the real, there’s no place of departure. 
 Although there is nothing unprejudiced about any representation, in the modern era, attempts at a necessarily false objectivity in relation to meaning have periodically been made… Photography, dressed as science, has eased the path of this feigned innocence, for only photography might be taken as directly impressed by, literally formed by, its source. 
 If material conditions need to be redescribed, more painstakingly and in novel forms, in order to be reinvested with “believability,” then we can surely develop the form—and the means of dissemination—to do so. 
 It’s interesting that although the broader culture does still have room for documentary, it is becoming less transparent, less matter of advocacy, and more sensationalized or surrealistic, a kind of masquerade. I find that students have little interest in the concept of documentary as a moment of revelation in which real social relations are pictured; that’s totally flattened for them. They see the world as being made up of a vast sameness of interactions, basically rooted in the cash nexus. 
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