Photography as Critical Tool: Subjectivity and Documentary Forms

A new generation of artists, including Bruno Serralongue, extends the critical interrogation of documentary photography pioneered by Allan Sekula and Martha Rosler in the early 1970s. These earlier figures reinvented documentary practice by acknowledging the inadequacy of any medium to capture reality, rejecting submission to the "tableau form," and hybridizing multiple photographic conventions. Today's practitioners continue this work, paradoxically turning toward subjectivity to distance themselves from suspicions surrounding information.