Street photography: from Atget to Cartier-Bresson

Justin Carville draws on recent debates in relation to photography and the everyday in order to examine the role of street-photography in the cultural politics of religion as it was played out in the quotidian moments of social relations within Dublin’s urban and suburban spaces during the 1980s and 90s. The essay argues that photography was important in giving visual expression to the social contradictions within the relations between religion and the transformation of Irish social life, not through the dramatic and traumatic experiences that defined the nation’s increased secularism, but in the quiet, humdrum and sometimes monotonous routines of religious ceremonies and everyday social relations.

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Street Artists

London Labour and the London Poor ◽

10.1093/owc/9780199697571.003.0021 ◽

2012 ◽

Author(s):

Henry Mayhew

Keyword(s):

The West ◽

Street Photography

Street Photography Within the last few years photographic portraits have gradually been diminishing in price, until at the present time they have become a regular article of street commerce. Those living at the west-end of London have but little idea of the number of persons...

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Martha Rosler’s Protest

Arts ◽

10.3390/arts9030092 ◽

2020 ◽

Vol 9 (3) ◽

pp. 92

Author(s):

Stephanie Schwartz

Keyword(s):

Home Front ◽

Critical History ◽

Martha Rosler ◽

The Difference ◽

Modern Warfare ◽

Street Photography

This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?

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