Robert Hirsch

Almost since photography’s inception, the camera has been seen as an instrument of history. Over time, this view has evolved to tie the meaning of photographs to the maker’s perspective, leading people to ask questions such as: does an artist have to be Jewish to legitimately address the Holocaust or must an image maker be African American to photograph the Civil Rights Movement? But why stop there? When addressing history, is a photographer necessarily bound by time and place? Does a photographer have to be physically present when the event is happening, or even to have been alive when it occurred?

My response to such questions can be seen in my projects of the last decade. ...

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