Alyse Tunnell

One of the most contentious issues implicit in the art of photography is the voyeurism that creates a complex and sometimes problematic relationship between the photographer and subject. This is heightened when the photographer, being in a position of power, does not address the potential ways that this disparity could affect the subject. And though this difference can be diminished by integrating inclusive measures into one's practice, often such considerations are not fully developed. In cases where people from marginalized communities are being photographed by those of the dominant norm, the photographer must avoid objectifying and spectacularizing marginalized bodies to avoid further othering the subject. Questions surrounding these issues of voyeurism, othering, and inclusivity are brought into focus by artists such as photographer Denis Darzacq who has chosen to depict differently-abled 1 models through a series of portraits titled ACT. Compiled by the artist from 2008-11, the series was inspired by Darzacq's want to represent the interaction between the disabled body and public space. 2 Using numerous models and spaces across Europe, Darzacq focuses on subjects who are visibly differently-abled, many of whom are 1 I choose to use the term "differently-abled" to describe people that might be deemed "disabled" or "handicapped" as it presents people in a less-stigmatizing and more accurate light. This term leaves room for people to relate to the world outside of the presupposed "lack" that the word disabled connotes. 2 Etienne Hatt. 'Biographie De Denis Darzacq'. Denis-Darzacq. 2015; I use "disabled" in this context because it is the terminology used in this publication.

It seems deeply intuitive that as humans we try to create art that is permanent. Legacy in objects and ideas is a way to ensure our remembrance for generations and counteract our own mortality. The desire for permanence is embedded in our existential anxiety, both on the part of the individual who wants to make a lasting contribution or be remembered, and the institution who wants to collect, create, and assign objects with economic and cultural value. This is demonstrated in the decisions individuals and institutions make when creating or handling art objects, from material choices to the employment of conservation tactics. The creation of permanent art objects also establishes and perpetuates an economy of art possession that has become intertwined with capitalism and consumerism, fostering a disparity between the accessibility of art ownership and viewing. However, since the mid-twentieth century, numerous artists have found ways to radically subvert permanence and its implications through various modes of art-making. Perhaps the most poetic examples being the installations of Felix Gonzalez-Torres (1957-1996), whose work explores mortality, desire, relationships, love, and absence through sculptures that are in a continuous cycle of loss and regeneration. Often open about his personal life and political views,