How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?

Are we asserting the easy dominion of our civilization over all times and all places, as signs that we casually absorb as a form of loot?

Take the Money and Run? Can Political and Socio-Critical Art ‘Survive’?

The question at hand is the danger posed to truth by computer-manipulated photographic imagery. How do we approach this question in a period in which the veracity of even the straight, unmanipulated photograph has been under attack for a couple of decades.

Photography [can] be seen as a system of representation that you bring to bear on other systems.

I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.

The exposé, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism and metaphysics, trophy hunting - and careerism.