AbstractPhotographer Terry Richardson works in a digital aesthetic vernacular that looks more to underground hardcore pornography of yesteryear than traditions associated with the institutionalisation of erotica, as associated with Playboy. And yet his images, in Kibosh and Terryworld, anticipate the contemporary public recalibration of ideas of intimacy as associated with Social Media, tally with contested ideas of the sexualisation of female empowerment as associated with contested elements of Third Wave Feminism, and can be read as a contemporary phase of Antonio Negri’s theory of art and immaterial labour in their evidencing of the affective labour on the part of the photographer himself. This critical commentary, the first such academic writing on Richardson, explores his work in these contexts, and considers Richardson’s return to the figure (over abstraction) as evidencing and exploring of the nature of work, and the nascent eroticisation of working relations, under Western neoliberal regimes.
CitationHalligan, B. (2017) Modeling affective labor: On Terry Richardson’s photography. Cultural Politics, 13 (1): pp. 58–80
PublisherDuke University Press
DescriptionThis is an accepted manuscript of an article published by Duke University Press in Cultural Politics on 01/03/2017, available online: https://doi.org/10.1215/17432197-3755192 The accepted version of the publication may differ from the final published version.
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