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Walker Evans’ artistic documentary photography is re-drawn as theatrical sets on the computer. Specifically of the Burroughs family, Evans’ portraits are often considered to be quintessential examples of social documentary photography, but heavily framed by the operator. These images place the audience in a ‘once removed’ position, a Brechtian ‘verfremdungseffekt’, in order to produce an analytical (rather than empathetic) position.

(click on thumbnails on right to view)