Intersection of Gazes

Haley Morris-Cafiero (Photographer)

Research output: Non-textual formExhibition

Abstract

Visceral images from Haley Morris-Cafiero document her response to the negative feedback and online bullying generated by her previous series, Wait Watchers, where Morris-Cafiero captured passerby gawking at her physical appearance. In The Bully Pulpit, she responds to the vitriolic language by researching images of the bully, dressing up like them and incorporating their insults into the picture. By turning a mirror back on the bully as well as creating a physical, real-life response to the insult, she meets the gaze of her attackers by gazing right back. In contrast, Mona Kuhn’s photographs from Native present intimate images of nude subjects that signal safety and security. Working in a naturalist community with less commodification and more acceptance of the human form, Kuhn develops long term and deep relationships with her subjects. Together they work as a team to create the images and in so doing, Kuhn deepens the relationship between subject and photographer extending power outside of its traditional scope.

Fingerprint

Insult
Acceptance
Pulpit
Human Form
Negative Feedback
Safety
Physical Appearance
Language
Bullying
Physical
Watchers
Commodification
Nude
Real Life
Naturalists

Cite this

@misc{c571b69e4bf148d28cf8f2e12ef0ee4e,
title = "Intersection of Gazes",
abstract = "Visceral images from Haley Morris-Cafiero document her response to the negative feedback and online bullying generated by her previous series, Wait Watchers, where Morris-Cafiero captured passerby gawking at her physical appearance. In The Bully Pulpit, she responds to the vitriolic language by researching images of the bully, dressing up like them and incorporating their insults into the picture. By turning a mirror back on the bully as well as creating a physical, real-life response to the insult, she meets the gaze of her attackers by gazing right back. In contrast, Mona Kuhn’s photographs from Native present intimate images of nude subjects that signal safety and security. Working in a naturalist community with less commodification and more acceptance of the human form, Kuhn develops long term and deep relationships with her subjects. Together they work as a team to create the images and in so doing, Kuhn deepens the relationship between subject and photographer extending power outside of its traditional scope.",
author = "Haley Morris-Cafiero",
note = "Euqinom Gallery in San Francisco, California USA",
year = "2018",
month = "9",
day = "5",
language = "English",

}

Intersection of Gazes. Morris-Cafiero, Haley (Photographer). 2018. Event: Intersection of Gazes, EUQINOM Gallery, San Francisco, CA, United States.

Research output: Non-textual formExhibition

TY - ADVS

T1 - Intersection of Gazes

A2 - Morris-Cafiero, Haley

N1 - Euqinom Gallery in San Francisco, California USA

PY - 2018/9/5

Y1 - 2018/9/5

N2 - Visceral images from Haley Morris-Cafiero document her response to the negative feedback and online bullying generated by her previous series, Wait Watchers, where Morris-Cafiero captured passerby gawking at her physical appearance. In The Bully Pulpit, she responds to the vitriolic language by researching images of the bully, dressing up like them and incorporating their insults into the picture. By turning a mirror back on the bully as well as creating a physical, real-life response to the insult, she meets the gaze of her attackers by gazing right back. In contrast, Mona Kuhn’s photographs from Native present intimate images of nude subjects that signal safety and security. Working in a naturalist community with less commodification and more acceptance of the human form, Kuhn develops long term and deep relationships with her subjects. Together they work as a team to create the images and in so doing, Kuhn deepens the relationship between subject and photographer extending power outside of its traditional scope.

AB - Visceral images from Haley Morris-Cafiero document her response to the negative feedback and online bullying generated by her previous series, Wait Watchers, where Morris-Cafiero captured passerby gawking at her physical appearance. In The Bully Pulpit, she responds to the vitriolic language by researching images of the bully, dressing up like them and incorporating their insults into the picture. By turning a mirror back on the bully as well as creating a physical, real-life response to the insult, she meets the gaze of her attackers by gazing right back. In contrast, Mona Kuhn’s photographs from Native present intimate images of nude subjects that signal safety and security. Working in a naturalist community with less commodification and more acceptance of the human form, Kuhn develops long term and deep relationships with her subjects. Together they work as a team to create the images and in so doing, Kuhn deepens the relationship between subject and photographer extending power outside of its traditional scope.

M3 - Exhibition

ER -