The prolific use of mobile phones, cameras, CCTV, and the internet has ensured that we are never alone or unwatched, and that each of us is cast as unwitting voyeurs ourselves. New technology has enabled us to become amateur artists and removed the cloak of innocence that used to shroud candid, amateur shots. The inherently invasive quality of the photograph is discussed by critics, typically from a more theoretical standpoint than an actual examination of the historical use of photography as a tool of investigation and documentation. Exposed: Voyeurism, Surveillance and the Camera , opens this summer at Tate Modern, and takes as a starting point the unwitting subject — the focal point of the photograph captured innocent and unaware.
Exposed: Voyeurism, Surveillance and the Camera
Smile! You're on my Cell Phone: Camera Phones and Privacy | jacinthpianostudio.com
British Broadcasting Corporation Home. Voyeuristic and invasive of privacy: is that photography today? When does photography tip over the line into surveillance? These questions are examined by a new exhibition at the Tate Modern in London. The show comprises work by a range of photographers, from the black-and-white reportage of Henri Cartier-Bresson, Walker Evans and Robert Frank to commercial work by Helmut Newton via the paparazzi shots of Ron Galella.
Smile! You're on my Cell Phone: Camera Phones and Privacy
Through photographs of private, candid, spontaneous, and secret moments, the exhibition explores the powerful and invasive role of the voyeur, provoking an array of uneasy questions about the relationship between photographer and subject. With some photographs and moving image works, Exposed is divided into five thematic sections—the unseen photographer, voyeurism and desire, celebrity and the public gaze, witnessing violence, and surveillance. The exhibition reveals myriad ways that photography has brought to light the forbidden and the taboo. Exposed also showcases examples of film, video, and installation work by artists such as Thomas Demand, Bruce Nauman, and Andy Warhol. Exposed has a particular resonance today, in an era marked by voyeurism, ubiquitous surveillance via security cameras and mobile phones, and instantaneous dissemination of images on the internet.
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