Visit to the Cardiff Museum / No Such Thing as Society - Photography Exhibition

From spending time in the exhibition I noticed a variety of social class in the photographs. The middle class and the working poor class particularly came across quite clearly. The differences in the social class in some photographs are strongly conveyed between the working poor, middle class and the capitalist class. One photograph which stood out for me, representing the capitalist class, was ‘Ascot’ 1973 by John Benton Harris. They show typical characteristics of top level executives and politicians. However, Paul Graham’s ‘Crouched man, DHSS Waiting Room, Bristol 1984, shows characteristics of the underclass.

From looking at the photographs in colour and then comparing and contrasting them with those in black and white, I do notice a different impact. Many of those in colour appear to be more uplifting, the times seem less harsh and the social class seems to be in a very fortunate position. It emphasises a more joyous view on life.

I would say that the main difference is that with the photographs that contain people we immediately see how they are mentally and physically represented in that social class. We then immediately assume that they may be middle class, for example. With the photos that didn’t contain people they created an impact that the situations of the social class, such as working class, were very difficult, harsh and unnecessary.

I feel that the photo that resonates with me the most is the ‘Portrait of a village’ 1977 by Jurgan Schadeburg. I found this photograph quite haunting to look at in the way that each face was separated from the other by darkness. This helped to encourage the emotions on each face so that I would just see each person at a time. I found it particularly interesting because I feel social class is more often judged by how people look and how they are contrasted from everyone else in society. As I come from a small village it is interesting because there is a variety of social class within the village and each person is different from the other.

Another photograph that I did find quite disturbing to look at was Chris Killip's, Youth on Wall, Jarrow, Tyneside, 1976. It was beautifully framed and shows a young skinhead boy in the very district, that 40 years before had come to symbolise Depression-era England, with the 1936 Jarrow March against poverty and unemployment.

Going into Cardiff High Street, it was certain that I could read what type of social certain class some people were in, though some were harder then others. Those selling magazines and those who sat in the doorways of shops were easier to read. The people in the photographs were all in situations which they are accustomed too, so I found it easier to read the social class of the photographs compared with the people on the street.