Quote Originally Posted by blansky
I think that when a photographer decides to make a social documentary with their photographs, it may be a different thing than when a photographer with their built in prejudices and points of view, takes random picture of subjects than interest them.
To a degree I think it was a mistake on my part to have introduced the Greenfield shot, for exactly the reason that it's journalism -- it's not meant to hang on a wall except when embedded in a show -- it's meant to be seen in a book, in the company of its sister shots.

The other shots I've quoted, though, are sold in galleries. The lower one is a lovely platinum print and was available at Fraenkel here in San Francisco earlier this year. The upper one is in the collection of Deutsche Bank and is by Gillian Wearing:
It's a photo that's highly-connected to its contexts, both explicit and implied. Like the Greenfield, it carries some dependance on its examination of social roles, roles that extend beyond the framelines of the shot and into the world of the viewer. It requires the viewer to bring with them a host of expectations about what "portrait" means, about the expected social settings for black-tie outfits, etc.

The explicit context (which imo is hugely transformative) comes when the title is added: "Self Portrait as My Father Brian Wearing"