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Course: Tate > Unit 2
Lesson 3: Documenting Conflict- Conflict, time, and photography
- The Berlin Wall and industrial England: Don McCullin's conflict photography
- Kurt Schwitters' wartime portraits
- Traces of illegal migration in Mexico: Mark Ruwedel
- Shai Kremer in an Israeli military training stage
- Burke and Norfolk: Photographs from the war In Afghanistan
- Hrair Sarkissian: Syria's "Execution Squares"
- Key Points
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Key Points
In this tutorial, we've seen artists and their works that engage with conflict in one particular way: by documenting it, primarily through the use of photography. Art has the unique power of being able to capture conflict and its effects for posterity, and photographs would appear at first glance as the most straightforward way of achieving this.
But we've also seen that photographs have the power to document and capture far more than just images. What else can photographs encapsulate, depict, or relay?
For artists like Don McCullin, the camera can reveal the untold truths of a society. It also serves as a tool for healing, allowing the photographer to not only capture an image through its lens but to engage with its subjects in a unique way. Would you agree? Do you think a camera can change the way you see things?
And finally, we've seen artists create work around the effects of conflict on those beyond the field of battle.So do you think artists have in documenting not just conflicts and events, but also the societies they belong to?
Want to join the conversation?
- Where are these pictures taken?(2 votes)
- Given that the camera is a faster way of collecting information about our world, what do we say about "quality" or "value" of some images over others?(1 vote)
- It depends on the person. Some people enjoy the stories behind the pictures, others their aesthetic beauty. Some may not like photos at all. That's why it's art, its value differs from person to person.(1 vote)