| dc.description.abstract | As Documentary Photographers increasingly introduce the collaborative and participatory
methodologies common to socially engaged art practices into their projects (particularly
those that are activist in nature, seeking to catalyse social change agendas and policies
through image making and sharing), there is an increased tension between the process of
production and the photographic representation that is created. Over the course of the last
five years I have utilised these methodologies of co-authorship. This article contextualizes
this kind of transdisciplinary work, and examines the ways in which the integration of col
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laborative strategies and co-authored practice in projects that are explicitly designed to be
of benefit to a primary audience (the participants, collaborators and producers) might be
usefully disseminated to a secondary audience (the general public, the ‘art world’, critics
etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes
made in Melbourne, Australia, and The King School Portrait Project made in Portland,
Oregon, America | sv |
