This episode did not catch my interest as much, mainly I think because this style of photography does not appeal to me personally as much, not that I cannot see the merit in it or the talent that these artist had, it is just not for me.
This episode was entitled "We are Family". We are Family is about what happens when photography translates personal relationships into photographic ones, when strangers, celebrities, lovers and children get fed to the camera. It's also about what happens when photographers turn their cameras on themselves—what they choose to reveal, and just what they try to conceal.
The chronological heartland of the programme is the 'me" decades of the 1970's and the 1980's. From Diane Arbus' freaks (we meet Colin Wood, the manic boy clutching the hand grenade in Central Park) to Richard Avedon's confrontations with celebrities like Marylin Monroe, from the confessional diaries of Larry Clark and Araki, to the uncomfortably intimate family portraits of Sally Mann and Richard Billingham, the series takes a photographic journey into some of the most intriguing ideas of the photographic self, including an unforgettable encounter as Nan Golding photographs Joey the transsexual.
This episode was entitled "We are Family". We are Family is about what happens when photography translates personal relationships into photographic ones, when strangers, celebrities, lovers and children get fed to the camera. It's also about what happens when photographers turn their cameras on themselves—what they choose to reveal, and just what they try to conceal.
The chronological heartland of the programme is the 'me" decades of the 1970's and the 1980's. From Diane Arbus' freaks (we meet Colin Wood, the manic boy clutching the hand grenade in Central Park) to Richard Avedon's confrontations with celebrities like Marylin Monroe, from the confessional diaries of Larry Clark and Araki, to the uncomfortably intimate family portraits of Sally Mann and Richard Billingham, the series takes a photographic journey into some of the most intriguing ideas of the photographic self, including an unforgettable encounter as Nan Golding photographs Joey the transsexual.
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