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Along with this are a series of words that aim to describe the concept of the alcoholic through association. Rosler proposes that a photograph and text alone are not effective enough as descriptive systems however Solomon-Godeau questioned whether combining them would be sufficient enough. Solomon-Godeau identified that by avoiding the obvious mode of representation, Rosler prevented her work from being ‘mindlessly consumed’. The work consists of photographs which avoid the obvious visual representation, for example a instead of a photograph of an alcoholic, there is a photograph of the doorways they often spend time in. The limitations of photography as a descriptor is a concept Martha Rosler explored in her work ‘The Bowery in two adequate descriptive systems’. She poses the question ‘does a photographic representation constitute an effective intervention’.Ĭertainly in the case of sexuality there can be no objective or neutral approach because the concept is internal, photography in an art or reportage context can only depict the external appearance. However it is addressed by Solomon-Godeau that there is still a danger of the subject becoming an object or spectacle regardless of the approach from the photographer. This mode of photographing Solomon-Godeau refers to as ‘confessional’. In the case of Nan Goldin especially it was noted that her participants regarded her camera as ‘a part of her’, instead of establishing a distance between the subjects, it helped to provide ‘clarity’ and an ’emotional connection’. Posts about Abigail Solomon-Godeau written by cormac513273. The alternative introduced to objective representation is self representation a concept explored by photographer such as Nan Goldin and Larry Clark who are so involved in their subject matter that their work features self portraits. Rosler is aware of the outsider approach, a concept she labels ‘victim photography’. She introduces photographer and writer Martha Rosler as a practitioner who deals with the politics of photography. Solomon-Godeau goes on to describe Sontag as a ‘humanist’ who addresses the ethics involved in representation. Overall the impression taken is that in the case of Arbus, the outsider approach is considered bad, an insider approach would be good.

Sontag speculated that the camera frees the photographer from any responsibility towards the subject because of the distance it can create a photograph can be taken of a subject without any involvement with them or their culture at all. Solomon-Godeau refers to this Inside/Out debate as a binary couple this wording relates to Sausseure’s theory of language semiology. The viewer is not presented with an informed impression and ultimately takes an interpretation that is not accurate. Diane Arbus represents the outsider approach, the ‘objective’ nature however results in a voyeuristic, tourist-like, imperialistic representation. Solomon-Godeau considers Susan Sontag’s ‘On Photography’ to be a perceptive critique of Diane Arbus’ work in reference to colonisation and how this concept has impacted on photography. Solomon-Godeau proposes an idea relating to the approach a photographer takes in order to represent a subject, to be ‘Inside’ or ‘Outside’. The following text is the important parts I picked out which were relevant and could be included in my paper. Anthony then suggested I look at the book Basic Critical Theory for Photographers by Ashley la Grange, who has analysed this essay and posed some interesting questions. Abigail Solomon-Godeau was identified as an important aspect to research for my symposium, however I was struggling to find the particular essay ‘Inside/Out’ anywhere online or in a library.