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Debate - Coggle Diagram

- - - - We sensationalize the photos, distracts from social and cultural value of the photograph. We have more meaningful and genuine discourse about photographs themselves without the unnecessary art fair
        
        If making them feel emotions is the goal, you are sensationalizing suffering
        
        Aestheticization can reduce the photographs to mere spectacles diminishing cultural and political value
  - - - To photograph smth is too appropriate it
- - - - Capturing n presenting the stories he becomes the signifier, narratives become d signified. Photographs not merely depictions but representations appropriated by Gabuco
        
        Bourdieu's concept of social capital emphasizes authority and influence dat infivs or entities hold representation of victims and their stories
        
        Gabuco not merely a documentarian but d shaper of these narratives
        
        Not only d works are in spotlight but also sharing it would be d artist shifts focus on depicted realities to artist as signifier. His outstandingness adds to d market dynamics weakening cultural and political sig
  - - - Deliberate installation elements, moves into objective of maximizing profitability
        
        Chair emphasis on eliciting sensationalized emotions for market apeal
        
        Semiotic plane: Influence of the market
        
        Market-driven context infleunces the artists choice of format and selection of medium
        
        Commericial nature of art fair marketability and appeal overshadow meaning and socio-political sig
        
        Market influence compromises autonomy of artistic expression. Pure most impactful form compromised
        
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- - - - Market-driven context introduces dynamics reminiscent of mass production
        
        Must appeal to a broad audience for max profit
        
        Commercial enviro transforms og photographs to commodities. Subject to market forces.
        
        Alters d og socio-political message in Gabuco's photographs
        
        Turns them to mere goods rather than reflections of socio-political realities
    - - Commercial pressure on artists to cater market appeal
        
        This dynamic potential to alter d og intent of photographs
        
        Acknowledge that its a dilemma for artists between preserving integrity of work and meeting commercial expectations
        
        This commitment of photojournalists diluted to make work more commercially viable. Authenticity compromised to sensationalize d content
        
        Market-driven landscape - Artists prioritize aesthetic appeal and sensationalize emotions to stand out
        
        Sacrificing d depth of storytelling for immediate visual impact caters market preferences
- - - - Photojournalism - appropriate photographs into sociopolitical context to shed light on social injustices. Photographer's responsibility to present these realities. In pure form, have its cultural and political value presented as it is. In market context photograph becomes commodity. Sources of attraction to gen capital. Market context, photograph appropriated or altered to suit preferences of those in art market
        
        Commodification increases potential for exploitation or manipulation in d presentation of photographs to fit market
        
        Instruments of social awareness to items of investment and prestige
        
        Screen artists to see if they fit requirements. Artists have to consider market trends and commercial interests. Results = og value can be misrepresented. Photographs are as much an interpretation of d world as paintings and drawings are
        
        This interpretation based on appropriations of market rather than photojournalistic lens
        
        Photography captures reality. Camera arm of consciousness. In market context, what does d artist want to acquire?
        
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