Week 2- Strategies of Mediation
This week’s topic looked at remediation and appropriation on all mediums within the arts. I found it very interesting as it’s something I don’t really think about in my practice. As I’m an employed RAF photographer, everything I take comes under MOD Crown copyright and its very rare if I even receive a credit if an image is used. Crown copyright only states that it has to display “© Crown copyright 2018”.(https://www.gov.uk/government/publications/mod-copyright-licensing-information)As I venture into the photographic world as Laura Wing rather than an RAF photographer it is good practice for me to consider the ethics and responsibilities (if any) when deciding to appropriate ideas or imagery.
Firstly, when remixing the original source I think it’s important to always list the source of which you took inspiration from, I think otherwise you a claiming that its original. I am always flattered by anyone using my images especially if it is not just used for a current news piece but maybe for advertising or commercial photography. I once took an image of an Aircrew member standing at the back of a Hercules aircraft looking over the water. A couple of months later I saw it on the side of recruitment van, no credit of course but I loved seeing my image being used. What happens though if your image has been appropriated and taken out of context of its original meaning and you don’t agree with it? That’s something I have read this week with the article “On the rights of the Molotov Man”. (http://www.firstpulseprojects.com/On-the-Rights-of-Molotov-Man.pdf) Very interesting read where both artists discuss their sides of appropriation on the Molotov Man image.
Joy Garnett seems very innocent on the selection of this image, trying to dissociate any context of the original image. Garnett did agree to mention a credit to the source after the involvement of lawyers. For Meiselas she discusses many points and starts off diplomatic but draws down to her main point. Which is Meiselas’ disappointment of her work being decontextualized “Joy’s practice of decontextualizing an image as a painter is precisely the opposite of my own hope as a photographer to contextualize an image.” (Meiselas, p56, Harper’s Magazine)
I think I can relate and appreciate Meiselas more, there should be more thought given on the importance of keeping the original context intact. I also think Garnett just took the image without given a second thought to the context’s richness and after affects once appropriated.
In my current practice I always list sources in which I have used and looking forward this could become more important as I draw my attention to archive imagery and the possibilities of curating it with my current work.
Critical Research Journal 