ABSTRACT
This chapter discusses the effects of this strategy on the relationship between anthropology and photography and then to suggest that the heterogeneity that surrounds the reception of photographs could become a more explicit part of the process of producing ethnographic images themselves. Rosier brings us close to the traditional sites of documentary photography, but makes us question this imagery by withholding the kinds of visual information, recording only the traces of people's habitation empty bottles, cigarette packets. If artists' uses of photography can be a way of questioning the authoritative forms of cultural representation and appropriation, the workshop described here set out in a modest way to ask if anthropological uses of photography might usefully aspire to something similar. At the intersection of museum, anthropology, photography and culture, it is increasingly the figure of the artist stands as an intermediary, facilitating a critique of museum practice and revealing ‘the epistemological base of collecting the museum through counter-narrative’.
