What is the evolving relationship between words and images in the
photographic essay? How do the purpose and form of the photographic
essay change over time? And how are relationships between the
contributors, subject, and readers communicated explicitly and
implicitly in both content and form? Klingensmith explores these
questions in In Appropriate Distance as she traces the development
of the photographic essay from the 1890s to the 1990s and beyond.
By examining classic examples such as How the Other Half Lives,
American Exodus, and Let Us Now Praise Famous Men, as well as more
contemporary projects including work by John Berger, Jean Mohr,
Wendy Ewald, and Zana Briski, Klingensmith examines the
codependence of words and images and the long-standing
collaboration required of creator and subject in this exploration
of the ethics of representation.
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