‘Mother Frackers’ (2015)
A few months ago I posted a piece asking why there is so little photography of austerity? The last five years have seen the widespread closure of public services, the scapegoating of the weak, and the wholesale promotion of a degenerate, hypocritical set of values that have spread beyond individual parties and which seem to permeate almost the entire political establishment. And yet beyond a few heavily repeated topics, photographers have done relatively little to document (let alone protest) the current direction of British politics.
When I first wrote that piece I have to admit that in the back of my mind was the thought that it was hopelessly overdue. I knew that a general election was in the offing and like many I suspected (or perhaps just hoped) it would result in a victory that would reverse many of the regressions we have seen taking place over the last five years. Now that election has been and gone, and we know now that the longed for reversal will not materialise. Indeed depressingly the champions of an ‘age of austerity’ are now in an even more powerful position from which to pursue their destructive agenda.
Little good can be said about this state of affairs. The only thing that I can draw from it at the moment is the knowledge that there will be plenty of new regressions coming in the next few years that will need to be highlighted, challenged and resisted. Different people will do this in different ways, but for me this remains in large part the purpose of what I do with photography, writing and other media. Loathe as I am to admit it, my sense of what art is and how it should be used has been in great part a product of spending almost all my formative years under a succession of governments I profoundly disagreed with, from the neo-Thatcherism of Blair to the austerity of Cameron. Once again I think we need to call for an ‘art of austerity’ to counter this ‘age of austerity’.
I know as well as anyone that it can sound deeply naïve to talk about photography and art as a force for change, and in and of themselves they very rarely are. With odd exceptions the only thing the arts can be said to really change are people’s thoughts, but this cognitive change is the essential first step which leads to those affected by it to agitate for real change. To be a dour realist again, I also know that most arts and photography projects reach only small audiences and preach largely to the converted, this is partly the result of complacency on the part of those in the arts, and we need to look for ways to change this.
Whatever else happens over the next five years I hope other photographers and artists will recognise and embrace the power they possess, however slight it might be, to draw attention to injustices and challenge official narratives. Drop all this artistic self-referentialism, this pathetic pandering to ingrowing cliques of curators and critics. This stuff is beyond irrelevant. Speak to the people who have a power to shape more than just your career. Art is a voice, sometimes quiet, sometimes loud, but it should always be raging.