| Summary: | The representation of the world of labour in contemporary photography raises the question of the visibility of the 'working class' today. It also reactivates a series of aesthetic problems that have been continuously present in the history of photography, whether documentary or not, since entering the era of artistic modernism in the early twentieth century. So as to try and understand it, my reflection revolves around a series of twenty-four contemporary photographs by French artist Dominique Delpoux in 2010, which was part of a "corporate photography" order but was intended to belong to the realm of contemporary art and exhibition, through a subsequent specific formatting. This dual function, as both a document and work of art, is worth considering as it enables us to consider not only the world of labour but also the functioning of the image in the space organising reception and aesthetic perception.
|
|---|