Should photojournalism be responsible to the people it visualizes, or do you believe that there is such thing as “objective” image-making?
1. In the article by Aushana & Pixley (2020), the authors describe the complex anti-Black histories that structure the role of photojournalism in our contemporary moment today (e.g. pandemics, protests, etc). In 170 words, please describe the authors’ thesis statement, and argue for or against it: do you agree with the authors, or do you disagree with their claims? Should photojournalism be responsible to the people it visualizes, or do you believe that there is such thing as “objective” image-making? Finally, find a recent image in the news that constitutes “protest photography” and describe whether or not you believe the photo is “ethical” or not in its portrayal of the subjects in the photograph. Please include this photo within the body of your response (do not attach it, but rather embed the image in your response). Make sure to provide a photo credit next to your photograph (example: “Photo by Tara Pixley” or whoever it is).
Christina Aushana and Tara Pixley, “Protest Photography Can Be a Powerful Tool For and Against Black Lives Matter,” Nieman Reports. (Nieman Foundation, July 13, 2020),
https://niemanreports.org/
2. In Justin Wright’s ethnographic poem, he describes his experience visiting the National Memorial for Peace and Justice, informally known as the National Lynching Memorial, in Montgomery, Alabama. In 170 words, describe how Wright’s self-described “Black ’Bama Body” navigates and reconciles both past and present at the site of the museum, and the surrounding architectures. What do you think poetry does in this piece to describe the visual culture of the lynching museum?
Justin D. Wright (2020), “The National Lynching Memorial Speaks to My Black ‘Bama Body OR Imma Be Here Forever, You Gon’ Remember This: An Autoethnographic Journey,” SAPIENS. (April 7, 2020). https://www.sapiens.org/
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