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-represented an ordinary scene of peasant life in his native village in Artois - here the gleaners are leaving the fields - despite the presence of a few more realistic details such as the ragged garments or bare feet, the painter has completely idealized the scene - gleaning is the act of collecting leftover crops from farmers' fields after they have been commercially harvested or on fields where it is not economically profitable to harvest so the poorest of peasants undertake this activity -landscape and workers not viewed so much in relation to their work and its realistic conditions but painting seeks visual confirmation of a timeless Arcadia (an unspoiled, harmonious wilderness and its inhabitants/worker)

-depicts three peasant women gleaning a field of stray grains of wheat after the harvest. - some cultures promoted gleaning as an early form of a welfare system - according to the Holiness Code in the Old Testament farmers should leave the corners of their fields unharvested, and they should not attempt to harvest any left-overs that had been forgotten - according to the Holiness Code, these things should be left for the poor and for strangers -the painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society; this was received poorly by the French upper classes. -Their gaze does not meet the viewer, and their faces are obscured. -In the background, bountiful amounts of wheat are being stacked while a landlord overseer stands watch on the right. - Millet has chosen to center the women and paint them with a greater contrast - earthy figures blend into the color of the piece, ingraining them well into the scene. - through the misalignment of vanishing points (the women looking down away from a horizon line or metaphorical a future unlike the watchman, Millet conveys the message that while the lowest-class women occupy the same canvas the figure in the background, they occupy their own space - commentary on the lower classes' inaccessibility to another class

- a documentary about things we leave behind or throw away, the leftover, cleaning, what is left, what means picking, selecting, chosing and giving - film tracks a series gleaners as they hunt for food, knicknacks, and personal connection - film does not only present field gleaners, but also urban gleaners and those connected to gleaners

-Degass interest in laundresses can be traced to 1869 -His paintings do not emphasis individuality but rather a general generality of profession -He focuses on the physical demands of the trade, which is strenuous and poorly paid

- a way to offer commentary on social and political life in France in the 19th century - offered an insight into the plight of city workers - Daumier's Laundress epitomises a social type characterized by gruelling repetitive toil - attention given to the figures reveals the toll it took on souls and bodies - mixture of resignation and tenderness between mother and child - little girl seems destined to carry on her mother's task

- seemingly neutral image is subject to the problematics of representation - large group photograph (typical of that time) in which Union armys hirarchy pose before the camera -- presents the strict codes based on traditional military hirarchy of rank and significance -- the general is centre of attention and placed in middle of photographic space - his position is reinforced by the way the rest of group defer to him - Potters hairstyle and stance are reminiscent of the way Napoleon was painted so reaffirms his courage and strenght -- vertical structure of image reinforces the obvious code of authority and distinction, merging the straightness of the trees behind with presence of the figures - Potter only figure who wears no hat, further distinguishing him from the group and increasing his singular status - image confirms the values of a military world and the significance of distinguished individuals within this profession

- another Civil War image but the reverse of the official portrait - this image is literally the underside of formal advertising and reveals the Potter-Image as propagandist and mythologized - single figure is isolated, at the margin of the world depicted and at the bottom of hirarchy --the smallest objects in image reflect his social position: rubbish, thrown-away cans

-photograph of the heir to the throne and prime ministertwo figures at the very center of British power and influence - discusses their social status inherent in their profession but nothing about the private index of them as individuals - everything in the image is as measured, and as calculated, as their dress and bearing - each is given equal spaceon either side of the cross on the floorsuggestive of a sharing of power and influence - their feet placed in suggestive stances towards the cameraevocative of their own sense of power and self-confidence - each slightest difference suggests a distinction which has its place, its meaning, in a context outside the photograph - result is a complex intertextuality between photographic significance and the social and cultural codes which define status and power

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-Bill Brandt (1904-1983) was one of the acknowledged masters of 20th century photography - between the wars, he became the great documentarian of British cultural and social life, exposing the vivid contrasts in society in his books he English at Home (1936) and A Night in London (1938) -'The extreme social contrast, during those years before the war, was, visually, very inspiring for me. I started by photographing in London, the West End, the suburbs, the slums. 'Bill Brandt - the book contained a number of pointed social contrasts, such as the high life presented on the front cover and a poor family shown on the back cover

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- The English at Home is now seen as a rare example of artistic photojournalism - David Levi Strauss wrote, 'The English At Home' may look like a fairly conventional self-congratulatory celebration of 'the English'...[but] as the book proceeds, the strictly divided class structure of England is increasingly reflected in the layout, with an image of a desolate street...juxtaposed with children in fine clothes looking bored...and a group of upper-class Brits in top hats and tails at the races contrasted with a mother and her three children in a dirty, cramped room in a village of East Durham in Northern England.

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- Lewis Wickes Hine (1874 1940) was an American sociologist and photographer - used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States. - freelance work for the National Child Labour Committee (NCLC) - Hine's photographs of child workers helped the organisation prove that there was widespread abuse of the laws against child labour

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-William Eugene Smith (1918-1978) was an American photojournalist best known for his work for Life Magazine - brutally vivid imagery -The Country Doctor photo essay was an intimate portrait of life and death in the a small rural town of Kremmling, Colorado - Ernest Ceriani was the doctor that Smith shadowed for 23 days, capturing the drama in everyday events in the small town -Smith achieved this extra- ordinary intimacy by, in his own words, fading into the wallpaper -the published essay became a benchmark for picture essays and photojournalism in the 1940's and 50s

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- Dr. Ceriani stitched the girl's wound to minimize scarring, but must now find a way to tell the parents that her eye cannot be saved and they must take her a specialist in Denver to have it removed - image of finishing a surgery, Dr. Ceriani stands exhausted in the hospital kitchen with a cup of coffee and a cigarette - Eugene Smith's empathy as a photographer, as well as his capacity for capturing on film the tumult of emotions endured by his subjects, were hallmarks of his work and continue to astound and influence photographers to this day -powerful, intimate images capture in poignant detail the emotional and physical challenges faced by this modest, hard-working rural physician and gradually reveal the inner workings

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-August Sander (1876 -1964) was a German portrait photographer - Sander's Face of our Time was published in 1929 - contains a selection of 60 portraits from his series People of the 20th Century - Sander's book Face of our Time was seized in 1936 and the photographic plates destroyed because his subjects did not adhere to the ideal Aryan type - portraits of his sociological study of German people to show universal types in each social and professional class

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- complex and expansive attempt to photograph an entire social arc - for Sander humans are above social beings - defined by their profession or lack of it, they take their place in a dense hierarchy of meaning established through social difference and distinction - the individual is always referred to a larger frame of social identity not by name but by occupation: a boxer, an accountant, baker, lawyer, brick layer - created a typological catalogue of people - objective and scientific character of their project and 'straight' aesthetics following the movement of Neue Sachlickeit or The New Objectivity - -Neue Sachlichkeit: Sachlichkeit should be understood by its root, Sach, meaning "thing", "fact", "subject", or "object." Sachlich could be best understood as "factual", "matter-of-fact", "impartial", "practical", or "precise"; Neue Sachlichkeit "matter-of-factness -their black-and-white images are all taken in the same clinical manner -Neue Sachlichkeit characterized by sharp focus, clear lighting, the absence of distortion and a seeming un-emotionality

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- When I first saw the beach at Lynemouth in January 1976, I recognized the industry above it but nothing else I was seeing. The beach beneath me was full of activity with horses and carts backed into the sea. Men were standing in the sea next to the carts, using small wire nets attached to poles to fish out the coal from the water beneath them. The place confounded time; here the Middle Ages and the twentieth century intertwined.

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- Anna Fox born 1961 has been working in photography and video for over twenty years - a study of London office life in the late 80s, a critical observation of the highly competitive character of working life in Thatchers Britain

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- shows environment as highly competitive - Swedish photographer Lars Tunbjrk creates more comical images - looking for strange, absurd situations the workplace

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-Rineke Dijkstra 1959 is a female Dutch photographer --Dijkstra concentrates on single portraits, and usually works in series, looking at groups such as adolescents, clubbers, and soldiers -her subjects are often shown standing, facing the camera, against a minimal background - during a visit to Portugal in 1994, she made portraits of four bullfighters immediately after the fight - captures the vulnerability and physical self-consciousness

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-his portrait images often revolve around South African migrants living and working conditions - observes the living conditions of these people and their work condition -his stunning portraits powerfully frame black South Africans as dignified and defiant, even under the duress of social and economic hardship. - his work challenges the conventions of both Western documentary work and African commercial studio photography, marking a transition away from the visually exotic and diseasedor Afro-pessimism, as curator Okwui Enwezor has referred to itand employing a fresh approach marked by color and collaboration

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- commission assignment the for the National Portrait Gallerys commissions on the preparations for the 2012 - photographed disparate collections of people all involved in the Olympics -Griffins images are shot in offices and the Olympic site itself

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-in 1971 Smith and his new Japanese/American wife, Aileen, moved back to Japan to begin his final and probably greatest work, Minamata. -Smith and his wife moved to a small Japanese fishing village called Minamata. T -the people of the village were suffering from a strange disease later named, Minamata disease. -This disease was proved to be coming from a local chemical company who was dumping their mercury waste into the bay by the village. -Smith and his wife spent four years in the village documenting the struggle by the chemical disease victims to gain compensation from the chemical company for their destroyed lives - Smith and his wife, who was also a photographer, created many articles, essays, and traveling exhibitions that showed the struggle of the victims. In 1975 Smith and his wife published the book, Minamata . An overview of their work in Minamata. This book had a world wide impact on the public awareness of this disease and pollution.During the coverage of a press conference dealing with the disease Smith was beat up by the chemical companys guards and severely injured. This only helped to gain even more sympathy for the victims of the disease. Of the many photographs shot in Minamata, one special photograph of a mother and her child became the symbolic photograph of their work. It also has become one of Smiths best known images. This photograph has been called the Pieta of the 20th Century. Shelly Rice in her article W. Eugene Smith, A Dream of Life wrote about this photograph: The only light shines on the mother and the child, whose deformed body is stretched horizontally as she lies, helpless in the tub. Yet in spite of Tomokos malformed limbs, in spite of the problems her condition has caused, her mother, seated vertically, holds her gently, intimately, as she looks at her with maternal tenderness. Life may have delt these two women an excruciatingly bad hand, and government and Chisso officials may have treated them with neglect and abuse, but the emotional bonds that link Tomoko and her mother, and their courage to live and love, have survived intact.

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-Smith and his wife, who was also a photographer, created many articles, essays, and traveling exhibitions that showed the struggle of the victims. -In 1975 Smith and his wife published the book, Minamata . -This book had a world wide impact on the public awareness of this disease and pollution of chemical waste -Of the many photographs shot in Minamata, photograph of a mother and her child became the symbolic photograph of their work. - It also has become one of Smiths best known images. -Shelly Rice in her article W. Eugene Smith, A Dream of Life wrote about this photograph: The only light shines on the mother and the child, whose deformed body is stretched horizontally as she lies, helpless in the tub. Yet in spite of Tomokos malformed limbs, in spite of the problems her condition has caused, her mother, seated vertically, holds her gently, intimately, as she looks at her with maternal tenderness. Life may have delt these two women an excruciatingly bad hand, and government and Chisso officials may have treated them with neglect and abuse, but the emotional bonds that link Tomoko and her mother, and their courage to live and love, have survived intact.

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-Chittagong, the second largest city in Bangladesh, has become the main place in the world for dismantling large ocean going ships and oil tankers, a massive recycling industry commonly known as shipwrecking - Chittagong shipyard complex consists of approximately ten kilometers of flat beaches and sand-banks where ships are stranded and, after any usable equipment is removed, broken down for their steel - thousands of people work there in hazardous conditions, without proper training and gear, using simple, manual tools, gas torches and primitive jacks - black and white photographs show men and even children dwarfed by the giant vessels suggesting the vulnerability of the workers and the former beauty of the now polluted beaches

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-- has been photographing the people and landscape of an expansive dump of obsolete technology in Ghana - wasteland, where people and cattle live on mountains of motherboards, monitors and discarded hard drives, is far removed from the benefits accorded by the unrelenting advances of technology - reminder of the alien circumstances that are imposed on marginal communities of the world by the Wests obsession with consumption and obsolesce - consumption and the artefacts of our waste on individual, local and national level have an interconnected relationship with people in other parts of the world

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- notions of time and progress are collapsed in these photographs. - elements in that refer to an apocalyptic end of the world yet strolling cows recall a pastoral existence that rewinds our minds to a medieval setting -cycles of history and the lifespan of our technology are both clearly apparent in this cemetery of artifacts from the industrialized world - reminded of the fragility of the information and stories that were stored in the computers which are now just black smoke and melted plastic

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- work is centred on the exploration of various places through performance in relation to the camera - playful experiments with dcor, costume and photographic communication, her tendency is to misbehave or challenge prescriptive use of place - camera to somewhat counter its historical role of specifying structure and regulation; here this staging does not harmonize the relations between body and architecture - clothing is recycled in that she uses the clothes of the people inhabiting the spaces -figure is not presented as whole and the clothes of the other conceals often her identity - the figure appears self-contained, and perhaps in metamorphosis

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- abandoned clothing to construct eerie suits, which he then wears in these life-sized portraits to become Them. - dressing up in the suits for the final portraits, Treacy appears faceless and enveloped, both threatening and vulnerable - looming out of the black background the figures could be urban warriors or mythical beasts.

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- Them: what circus is this? What strange ghosts are they that loom out of the darkest black, the last place in our dreams? They are us and they are Them. They are the work of Danny Treacy. They are the figments of his imagination and desire. They are made from recovered clothes, collected from those lonely places - the woods, the wasteland, the car-parks. They are re-stitched and re-fashioned: re-modeled into junk monsters. They are nightmares of the catwalk, prowling around the outskirts of style's dumb extravagance. They belonged to the unknown, the anonymous, the lost, the drunken, the deranged, the sexually driven, and who knows, the dead. They are the sinister carnival playing in the street. They are the music we dread to hear. They confront us. They defy us. They take a chance in our presence. They take a chance on existence. They are Danny Treacy dressed-up. They mask his identity. They become the confined space of his transgression. They are charged in this way. They are places where he is close to Them. They are awkward, contorted. They are the body harnessed, the body pinched, the body stitched-up. They have those Frankenstein stiff-legged poses. They are 'B' movie cut-outs. They are Dada and they are Pop. They are the friends of Surrealism, shouting anarchy, whispering perversion. They are sampled pieces; cross-dressed collages, mix-gendered melodramas, part nasty, part nice. They are the suits, the jeans, the rubber gloves. They are the workers; they are the dancers. They are the porno tea-break, the sexed-up secrets. They are the rough trade. They are the soldiers. They have the armour and the equipment. They are medieval, the spice of old England. They are the dangermen, the shit-kickers. They are ready. They are tooled up. They are tight and they are fit. They are soiled and stained and perfectly formed. They are the shapes around which menace lingers. They are intimate and they are a violation. Thet are the victors and the victims. They are true and they are false. David Chandler, 2007

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