The dissertation explores contemporary portraiture by two well-known photographers who have used an ethnographic approach to their work. Beach Portraits by Rineke Dijkstra and Signs That Say by Gillian Wearing are analysed using theories...
moreThe dissertation explores contemporary portraiture by two well-known photographers who have used an ethnographic approach to their work. Beach Portraits by Rineke Dijkstra and Signs That Say by Gillian Wearing are analysed using theories outlined by Roland Barthes, Richard Brilliant and Julian Stallabrass. The ethnography of the late 19th century is known to be objectifying resulting in the “control” of the subject. The role of ethnography within these contemporary portraits is also seen as objectifying. Regarding objectification, representation and identity this paper explores the methods, origins, and approaches within the artists work. A number of their images are compared and discussed answering the following questions, are the methods they have used an effective way of revealing the subject’s identity? How can we have a universal method deal with the specifics of an individual and unique identities? How can these groups of works overcome or salvage uniqueness out of seemingly shared identities? The paper shows that by using the ethnographic method it suppresses individuality under social masking and self-representation. To overcome this dilemma the investigation reveals that the subject’s handwritten text from Wearing’s Signs series adds individuality; in other words, it is the text that dilutes the universality of the pose revealing their unique identities.
