{"id":2449,"date":"2010-06-03T06:22:06","date_gmt":"2010-06-03T06:22:06","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=2449"},"modified":"2010-06-03T06:22:06","modified_gmt":"2010-06-03T06:22:06","slug":"exposed","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/exposed\/","title":{"rendered":"Exposed at the Tate Modern"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/06\/exposed_weegee_lovers-at-the-movies.jpg?resize=420%2C452&#038;ssl=1\" alt=\"exposed_weegee_lovers-at-the-movies\" height=\"452\" width=\"420\" data-recalc-dims=\"1\" \/><span class=\"photo_copyright\"><br \/><\/span><\/div>\n<p><span class=\"photo_copyright\">Weegee (Arthur Fellig) &#8211; Lovers at the Movies (detail) c1940, SFMOMA<br \/>\u00a9 Weegee \/ International Center of Photography \/ Getty Images<\/span><\/p>\n<p>Regular readers of <em>Heat<\/em> magazine will no doubt have enjoyed a recent spread of&nbsp; \u2018Exclusive Pics\u2019 of Charlotte Church enjoying a \u2018boozy girls\u2019 night out\u2019 following a hard day\u2019s work recording <em>Over The Rainbow<\/em>. The images are low-resolution and starting to pixellate; they look to have been made with a mobile phone; and Charlotte appeared unaware that a fellow-clubber was recording her for posterity, and a few quid. Inasmuch as they result from nefarious snapping by an unobserved perp, and to the extent that they constitute a peculiarly modern form of intrusive (citizen) surveillance, the pictures could qualify for inclusion in Tate Modern\u2019s latest photography gusher, <em>Exposed &#8211; Voyeurism, Surveillance and the Camera<\/em>. Those who survived <em>Street and Studio\u2019s<\/em> (Tate\u2019s 2008 \u2018urban history of photography\u2019) sprawling inclusiveness will be well-placed to negotiate this vast survey comprising albumen stereographs, DVD projections, prints of every description, daguerreotypes, a CCTV installation, newspapers (\u2018Diana Dead\u2019), cameras, video, and so on&#8230;<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/06\/exposed_callahan.jpg?resize=470%2C310&#038;ssl=1\" alt=\"lo_Exposed_Callahan_\" height=\"310\" width=\"470\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">Harry Callahan &#8211; Untitled (Atlanta) 1984, Dye transfer print, SFMOMA<br \/>\u00a9 The Estate of Harry Callahan, courtesy Pace\/MacGill Gallery, New York&nbsp;<\/span><\/p>\n<p>That said &#8211; thematically speaking, <em>Exposed<\/em> is better conceived and more sharply focused than previous Tate blockbusters, <em>Cruel and Tender<\/em>, <em>Street and Studio<\/em> or <em>How We are<\/em>. The premise here is that the camera has facilitated, encouraged or licensed various forms of (previously) illicit, voyeuristic looking. Voyeurism is only loosely defined as a form of invasive&nbsp;spectatorship thereby allowing its application to a wide range of photographic genres roughly corralled into five sections. \u2018The Unseen Photographer\u2019 collates examples of (mainly) surreptitious documentary and street work ranging from snatched nineteenth century streetcar interiors, and Walker Evan\u2019s oblivious subway passengers, to the more elaborate and controlled <em>Heads<\/em> series by Philip-Lorca diCorcia. Something of the moral ambiguities involved can be gleaned from a display of antique tools of the trade, including a shoe and walking cane with concealed cameras.&nbsp;<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/06\/lo_Evans_Street_.jpg?w=400&#038;ssl=1\" alt=\"Walker Evans, Street Scene New York 1928\" data-recalc-dims=\"1\" \/>&nbsp;<\/p>\n<p><span class=\"photo_copyright\">Walker Evans &#8211; Street Scene, New York,1928, Gelatin silver print<span class=\"photo_copyright\">, <\/span><\/span><span class=\"photo_copyright\">SFMOMA<\/span><br \/><span class=\"photo_copyright\">\u00a9 Walker Evans Archive, The Metropolitan Museum of Art<\/span><\/p>\n<p>Moving on, \u2018Voyeurism and Desire\u2019 undertakes to examine photography\u2019s role in codifying an \u2018intrusive, and sometimes forbidden, view of sex, either for private delectation or to share and perhaps profit from it.\u2019 Though there are one or two examples of nineteenth century porn, the insistence that &#8211; to some degree &#8211; the photography must be intrusive has tended to rule out inclusion of consensual, commercial work. So instead we get Miroslav Tichy poking his dirty lens at the swimming pool bathers; Susan Meiselas\u2019 hard-working Carnival Strippers; and Kohei Yoshiyuki\u2019s infra-red scenes of groping Tokyo doggers &#8211; truly alarming for anyone not from Essex. Of course, some photographers resist categorisation more effectively than others &#8211;&nbsp; neither Goldin nor Mapplethorpe (both included) would agree that their work was invasive or voyeuristic. Nor is it immediately apparent that Helmut Newton explored voyeurism as a theme&nbsp;except in the most pedestrian, albeit well-heeled, manner.<\/p>\n<p>\u00a0<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/06\/exposed_weegee_marilyn-monroe.jpg?resize=470%2C571&#038;ssl=1\" alt=\"lo_Weegee_Marilyn\" height=\"571\" width=\"470\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">Weegee (Arthur H. Fellig) &#8211; Marilyn Monroe, ca. 1950s, Gelatin silver print, ICP, New York, Gift of Wilma Wilcox, 1993 <br \/>\u00a9 Weegee \/ International Center of Photography \/ Getty Images<\/span><\/p>\n<p>Light relief is provided in the form of \u2018Celebrity and the Public Gaze,\u2019 an untroubling historical foray into the world of paparazzi provocation and tabloid excess. \u2018Witnessing Violence\u2019, by contrast goes to the heart of the exhibition\u2019s argument that photography&nbsp;has been instrumental in&nbsp;building an&nbsp;appetite for the consumption of what previously would have been&nbsp;literally &#8216;obscene&#8217; &#8211; \u2018We look at sex or death with the same prying curiosity, knowing that these were once privileged views.\u2019 At the same time the point is made that violent images need not necessarily appeal only to the voyeuristic, passive&nbsp;spectator; iconic photos from the Vietnam era &#8211; including Malcolm Browne\u2019s self-immolating monk, Eddie Adams Viet Cong execution, and Nick Ut\u2019s children fleeing napalm &#8211; all testify to photography\u2019s <em>productive<\/em> potential.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/i0.wp.com\/www.foto8.com\/live\/wp-content\/uploads\/2010\/06\/exposed_strangerno2.jpg?resize=470%2C474&#038;ssl=1\" alt=\"lo_Exposed_Yokomizo\" height=\"474\" width=\"470\" data-recalc-dims=\"1\" \/><br \/><span class=\"photo_copyright\">Shizuka Yokomizo &#8211; Stranger No. 2, 1999, Chromogenic print, SFMOMA, Accessions Committee Fund purchase <br \/>\u00a9 Shizuka Yokomizo<\/span><\/p>\n<p><span class=\"photo_copyright\"><br \/><\/span><\/p>\n<p>Finally, \u2018Surveillance\u2019 compiles examples of official covert (and sometimes overt) information-gathering and, more recently, pictures by photographers who have used the look or thematic of such work as a resource for their own images. Amongst the latter we find Jules Spinatsch watching the detectives at Davos; Sophie Calle snoops on hotel guests while disguised as a chamber maid; Shizuka Yokomizo rather creepily&nbsp;writes to strangers requesting they pose at nightime windows;&nbsp;Jonathan Olley documents the British Army\u2019s Castles of Ulster; and Sophie Ristelhueber flies over the scarred landscapes of post-Gulf War Kuwait, in the name of art not surveillance, mind.<\/p>\n<p>\u00a0<\/p>\n<p>There is of course plenty here: each of the show\u2019s categories might readily have furnished enough material for an exhibition in their own right, but that\u2019s not Tate style. This more closely approximates military aerial reconnaissance &#8211; an encompassing magisterial overview of sometimes disputed territory. Essential viewing.<\/p>\n<p>Guy Lane<\/p>\n<p>\u00a0<\/p>\n<p>Exposed: Voyeurism, Surveillance and the Camera<\/p>\n<p>Tate Modern. 28 May &#8211; 3 October<\/p>\n<p>Admission \u00a310<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The premise of<em> Exposed<\/em> \u2013 better conceived and more sharply focused than previous Tate blockbusters \u2013 is that the camera has facilitated, encouraged or licensed various forms of (previously) illicit, voyeuristic looking. Guy Lane reports.<\/p>\n<div>\n","protected":false},"author":1,"featured_media":2444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[19],"tags":[1260],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Exposed at the Tate Modern - FOTO8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.foto8.com\/live\/exposed\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Exposed at the Tate Modern - FOTO8\" \/>\n<meta property=\"og:description\" content=\"The premise of Exposed \u2013 better conceived and more sharply focused than previous Tate blockbusters \u2013 is that the camera has facilitated, encouraged or licensed various forms of (previously) illicit, voyeuristic looking. 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With a large-format Speed Graphic camera and piercing flash bulb his photographs recorded tenement infernos, car crashes and gangland executions. 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