Abstract
In this article, we ask what makes photographs different from other kinds of historical source material. What can photographic images do that other documents cannot? And what traps lie in wait for the historian using the visual record? Our more fundamental concern, however, is with the capacity of photography to capture labor and capital. Photographs are of the concrete and specific; but capital abstracts, rendering equivalent that which was once concrete. Can photographs help us to see how capitalism works? Here we consider the ways that photography has been central to both the expropriation and exploitation of labor and to the artistic critique of these practices. We argue that photography documents and artistically refigures the various things—nature, work, and caring communities—that capitalism needs to continue generating surpluses in a finite world.
FAQs
AI
What unique insights can photographs provide into labor and capitalism?
The study reveals that photographs can encapsulate larger social and cultural processes that textual records cannot, elucidating the complexities of labor under capitalism while also highlighting emotional responses, as seen in Anita Semenas' recollections of familial photographs in the meatpacking community.
How does the indexicality of photography complicate historical narratives?
The research indicates that while photographs serve as historical documents, they also involve intentional framing, which complicates claims of unmediated access, necessitating a critical examination of their interpretative dimensions across iconic and symbolic registers.
What challenges arise when historians use the photographic archive?
Historians often overlook the interpretative potential of photographs, mistakenly treating them as unproblematic sources, thus failing to recognize the methodological complexities involved in deriving meaning from visual materials.
How did social documentary photography influence perceptions of labor during the Great Depression?
The archives from the Farm Security Administration documented labor conditions through a realist aesthetic, effectively portraying the lifestyles of ordinary workers and pressuring for significant sociopolitical reforms during the 1930s.
What is the significance of corporate photographic archives in labor history research?
Corporate collections, such as Harvard's Baker Library archives, contain over 32,000 photographs that document industrial labor practices globally, providing essential visual evidence for researching labor and capital’s historical evolution.
References (90)
- photography and that of Walker Evans; see, for example, Shloss, "Privilege of Perception," and Tagg, Disciplinary Frame, especially chapter 3. In contrast, Jeff Allred makes the argument that documentary photography in the Depression-era United States worked through an "interruptive aesthetic" in which photographers became self-aware producers of "plausible fictions of the real." See Allred, American Modernism, 16. 15. Library of Congress, "About This Collection."
- Ribalta quoted in Kouwenhoven, "Worker-Photography Movement."
- Lavrentiev, "Soviet Photography."
- Ribalta, "A Hard, Merciless Light," 1.
- See, for instance, the work of Allan Sekula, among others.
- Brecht, Threepenny Opera.
- In his discussion of what he calls "allegorical materialism," Jacob Emery puts the matter this way: "all work, including the photographic artwork, constitutes a trace of productive activity as well as an image of it." Emery, "Art of the Industrial Trace," 122.
- Sekula, "Eternal Esthetics," 25.
- Interview with Deborah Risberg, "Imaginary Economies," 243.
- Toscano, "Seeing It Whole."
- Dilnot, "Chris Killip's Portraits."
- Michaels, Beauty of a Social Problem, 28. Michaels is working within a larger analytic initially laid out by art historian Michael Fried. See Fried, Why Photography Matters. For a critique of Fried's anti-theatricality, see Moten, "Resistance of the Object," 233-54.
- Fried, Manet's Modernism, 336.
- Michaels, The Beauty of a Social Problem, see especially chapter 2, "Neoliberal Aesthetics."
- In his study of photography under the British Raj in India, Zahid R. Chaudhary shows how the camera changed sense perception. He argues: "If aesthetic form is a means of making sense of the world and a kind of habit and habitation, then in the scene of colonial photography in India, loss has necessarily underwritten aesthetic form." Chaudhary's account of form as akin to entrenched yet mutable habits of looking takes us still further from certain art historical discursive mechanisms for privileging some aesthetic objects over others. See Afterimage of Empire, 21.
- Raj Patel and Jason W. Moore describe "cheapening" as "a set of strategies to control a wider web of life." See History of the World, 3.
- Pinney, "Photos of the Gods."
- For an elaboration of Jain's notion of "proliferation of multiple cultures of capitalism," see Gods in the Bazaar, 37.
- Jason W. Moore develops the notion of "not-yet-commodified nature" in Capitalism in the Web of Life.
- De Leon, "Working the Kodak Zone," in this issue.
- Peterson, "Visual Culture," 213. See Peterson's footnotes for similar developments in Europe and the United States. For studies of the visual practices Mexico's labor movement, see Lear, Picturing the Proletariat.
- Quirke, "Imagining Racial Equality," in this issue.
- Ibid.
- Toffoli, "Capturing Capitalism's Work," in this issue. References
- Agee, James, and Walker Evans. 2001. Let Us Now Praise Famous Men. New York: Houghton Mifflin Company.
- Allred, Jeff. 2010. American Modernism and Depression Documentary. Oxford, UK: Oxford University Press.
- Andermann, Jens. 2007. The Optic of the State: Visuality and Power in Argentina and Brazil. Pittsburgh, PA: University of Pittsburgh Press.
- Azoulay, Ariella. 2008. The Civil Contract of Photography. Translated by Rela Mazali and Ruvik Danieli. New York: Zone Books.
- Azoulay, Ariella. 2012. Civil Imagination: A Political Ontology of Photography. Translated by Louise Bethlehem. New York: Verso.
- Baker Library, Harvard Business School. 2018. "Photographs and Prints." www.library.hbs.edu /Find/Collections-Archives/Special-Collections/Collections/Photographs-Prints (accessed January 28, 2018).
- Barthes, Roland. 1977. "The Rhetoric of the Image." In Image Music Text, edited and translated by Stephen Heath, 32-51. New York: Hill and Wang.
- Barthes, Roland. 1982. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang.
- Batchen, Geoffrey. 2000. "Vernacular Photographies." History of Photography 3: 262-71.
- Benjamin, Walter. 1969. "The Work of Art in the Age of Mechanical Reproduction." In Illuminations, edited by Hannah Arendt and translated by Harry Zohn, 217-52. New York: Schocken Books.
- Bowden, Charles. 2000. "Camera of Dirt: Juárez Photographer takes Forbidden Images in Foreign-Owned Factories." Aperture 159: 26-33.
- Brecht, Bertolt. 1994. The Threepenny Opera. New York: Grove Press.
- Bourke-White, Margaret, and Erskine Caldwell. 1937. You Have Seen Their Faces. New York: Modern Age Books.
- Carassai, Sebastián. 2008. "En busca del futuro olvidado: Notas para una crítica de la memoria en Walter Benjamin." El ojo mocho: Revista de crítica cultural y política 21: 81-89.
- Casid, Jill H. 2015. Scenes of Projection: Recasting the Enlightenment Subject. Minneapolis: University of Minnesota Press.
- Chaudhary, Zahid R. 2012. Afterimage of Empire: Photography in Nineteenth-Century India. Minneapolis: University of Minnesota Press.
- Cisneros, Sandra. 2017. "Kathya Maria Landeros." Aperture 226: 90-95.
- Coleman, Kevin. 2016. A Camera in the Garden of Eden: The Self-Forging of the Banana Republic. Austin: University of Texas Press.
- Davies, Thom. 2013. "A Visual Geography of Chernobyl: Double Exposure." International Labor and Working-Class History 84: 116-39.
- Dilnot, Clive. 2015. "Chris Killip's Portraits of the Pirelli Workforce." In Chris Killip: Pirelli Work, by Chris Killip, 65-85. Göttingen, Germany: Steidl.
- Edwards, Elizabeth. 2012. The Camera as Historian: Amateur Photographers and Historical Imagination, 1885-1918. Durham, NC: Duke University Press.
- Edwards, Elizabeth, and Royal Anthropological Institute of Great Britain and Ireland. 1992. Anthropology and Photography, 1860-1920. New Haven, CT: Yale University Press.
- Emery, Jacob. 2011. "Art of the Industrial Trace." New Left Review II, no. 71: 117-33.
- Fried, Michael. 1996. Manet's Modernism: Or, The Face of Painting in the 1860s. Chicago: University of Chicago Press.
- Fried, Michael. 2008. Why Photography Matters as Art as Never Before. New Haven, CT: Yale University Press.
- Garrido Castellano, Carlos. 2017. "Shadowy Presences: Mobility, Labor and Absence in the Work of Dominican Photographer Fausto Ortiz." Photography and Culture 10, no. 1: 3-18.
- Gürsel, Zeynep Devrim. 2016. Image Brokers: Visualizing World News in the Age of Digital Circulation. Berkeley: University of California Press.
- Hall, Stuart. 1996. "Introduction: Who Needs Identity?" In Questions of Cultural Identity, edited by Stuart Hall and Paul du Gay, 1-17. London: Sage.
- High, Steven. 2013. "Beyond Aesthetics: Visibility and Invisibility in the Aftermath of Deindustrialization." International Labor and Working-Class History 84: 140-53.
- Jain, Kajri. 2007. Gods in the Bazaar: The Economies of Indian Calendar Art. Durham, NC: Duke University Press.
- James, Daniel. 2000. Doña María's Story: Life History, Memory, and Political Identity. Durham, NC: Duke University Press.
- James, Daniel, and Mirta Zaida Lobato. Forthcoming. Berisso obrero: Class, Ethnicity, and the Construction of Identity in an Argentine Meatpacking Community.
- Kouwenhoven, Bill. 2011. "The Worker-Photography Movement." Aperture 205: 20-21.
- Kuhn, Annette. 2002. Family Secrets: Acts of Memory and Imagination. New York: Verso.
- Lear, John. 2017. Picturing the Proletariat: Artists and Labor in Revolutionary Mexico, 1908- 1940. Austin: University of Texas Press.
- Lavrentiev, Alexander. 2015. "Soviet Photography of the 1920s and 1930s in Its Cultural Context: The Photo Landscape of the Period." In The Power of Pictures: Early Soviet Photography, Early Soviet Film, edited by Susan Tumarkin Goodman and Jens Hoffmann, 50-71. New Haven, CT: Yale University Press.
- Library of Congress. 2018. "About This Collection-Farm Security Administration/Office of War Information Black-and-White Negatives-Digital Collections." Digital Collection. www.loc.gov/collections/fsa-owi-black-and-white-negatives/about-this-collection/ (accessed January 28, 2018).
- Metz, Christian. 1985. "Photography and Fetish," October 34: 81-90.
- Michaels, Walter Benn. 2015. The Beauty of a Social Problem: Photography, Autonomy, Economy. Chicago: University of Chicago Press.
- Moore, Jason W. 2015. Capitalism in the Web of Life: Ecology and the Accumulation of Capital. New York: Verso.
- Morris-Reich, Amos. 2016. Race and Photography: Racial Photography as Scientific Evidence, 1876-1980. Chicago: University of Chicago Press.
- Moten, Fred. 2003. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota Press.
- Mraz, John. 2012. Photographing the Mexican Revolution: Commitments, Testimonies, Icons. Austin: University of Texas Press.
- National Archives. 2016. "Guide to Federal Records in the National Archives of the United States," Records of the Bureau of Insular Affairs. www.archives.gov/research/guide-fed -records/groups/350.html.
- Olin, Margaret. 2009. "Touching Photographs: Roland Barthes's 'Mistaken' Identification." In Photography Degree Zero: Reflections on Roland Barthes's "Camera Lucida," edited by Geoffrey Batchen, 75-89. Cambridge, MA: MIT Press.
- Osborne, Peter D. "This Is Not a House." Edgar Martins, 2010. http://www.photizm7.co.uk /edgarmartins/wp-content/uploads/2013/06/Peter-Osborne-This-is-not-a-House.pdf.
- Patel, Raj, and Jason W. Moore. 2017. A History of the World in Seven Cheap Things: A Guide to Capitalism, Nature, and the Future of the Planet. Berkeley: University of California Press.
- Peirce, Charles Sanders. 1987. Collected Papers of Charles Sanders Peirce. Cambridge, MA: Belknap Press of Harvard University Press.
- Peterson, Larry. 1992. "Producing Visual Traditions Among Workers: The Uses of Photography at Pullman." International Labor and Working-Class History 42: 40-69.
- Peterson, Larry. 2005. "Visual Culture and Working-Class Community: Photography and the Organizing of the Steelworkers' Union in Chicago." In Looking for America: The Visual Production of Nation and People, edited by Ardis Cameron, 212-37. Malden, MA: Wiley- Blackwell.
- Pinney, Christopher. 2004. "Photos of the Gods": The Printed Image and Political Struggle in India. New Delhi: Oxford University Press.
- Poole, Deborah. 1997. Vision, Race, and Modernity: A Visual Economy of the Andean World. Princeton, NJ: Princeton University Press.
- Poole, Deborah. 2004. "An Image of 'Our Indian': Type Photographs and Racial Sentiments in Oaxaca, 1920-1940." Hispanic American Historical Review 84, no. 1: 37-82.
- Poole, Deborah. 2005. "An Excess of Description: Ethnography, Race, and Visual Technologies." Annual Review of Anthropology 34: 159-79.
- Ribalta, Jorge. 2018. "Recorrido por una luz dura, sin compasión. El movimiento de la fotografía obrera, 1926-1939." Museo Nacional Centro de Arte Reina Sofía. http://www .museoreinasofia.es/actividades/jorge-ribalta-recorrido-luz-dura-sin-compasion -movimiento-fotografia-obrera-1926-1939 (accessed January 28, 2018).
- Ribalta, Jorge. 2011. "A Hard, Merciless Light: The Worker Photography Movement, 1926- 1939." Museo Nacional, Centro de Arte Reina Sofía, Madrid. http://www.museoreinasofia .es/sites/default/files/exposiciones/folletos/brochure_a_hard_merciless_light_en.pdf (accessed April 18, 2018).
- Risberg, Debra. 1999. "Imaginary Economies: An Interview with Allan Sekula." In Dismal Science: Photo Works, 1972-1996, by Allan Sekula, 235-54. Normal: University Galleries, Illinois State University.
- Rose, Gillian. 1997. "Engendering the Slum: Photography in East London in the 1930s." Gender, Place, and Culture 4, no. 3: 277-300.
- Sekula, Allan. 1984. Photography against the Grain: Essays and Photo Works, 1973-1983. Halifax, Canada: Press of the Nova Scotia College of Art and Design.
- Sekula, Allan. 2014. "An Eternal Esthetics of Laborious Gestures." Grey Room, no. 55: 16-27.
- Shloss, Carol. 1980. "The Privilege of Perception." Virginia Quarterly Review 56, no. 4: 596-611.
- Strangleman, Tim. 2013. "'Smokestack Nostalgia,' 'Ruin Porn,' or Working-Class Obituary: The Role and Meaning of Deindustrial Representation." International Labor and Working- Class History 84: 23-37.
- Tagg, John. 2009. The Disciplinary Frame: Photographic Truths and the Capture of Meaning. Minneapolis: University of Minnesota Press.
- Thomas, Julia Adeney. 2009. "The Evidence of Sight." History and Theory 48, no. 4: 151-68.
- Toscano, Alberto. 2012. "Seeing It Whole: Staging Totality in Social Theory and Art." Sociological Review 60: 64-83.
- Tucker, Jennifer. 2016. "Moving Pictures: Photographs on Trial in the Sir Roger Tichborne Affair." In Documenting the World: Film, Photography, and the Scientific Record, edited by Gregg Mitman and Kelley Wilder, 23-44. Chicago: University of Chicago Press.