Tonika Lewis Johnson’s Folded MapTM connects people of matching addresses in North and South Chicago to show urban segregation looks within the city. Johnson’s goal was to create a dialogue about the effects of a socially and racially segregated city. Her project has brought on awareness of the issues as pushes for change and a solution. The project is still being worked on by Johnson and the images can be seen on https://www.foldedmapproject.com/tonika-bio.
Earlier this month, well-known photographer Alec Soth’s work “The Great Divide” was commissioned and published in The New York Times juxtaposing different areas in Chicago. Finding it almost identical to her work, Johnson accused Alec Soth “of copying her trademarked photography series” (Seymour). While Soth apologized, he said "From what I can tell, Tonika Johnson’s work has nothing to do with Streeterville. Her work is about comparing two addresses, one on the North Side of Chicago and one on the South. Streeterville is downtown. Moreover, I wasn’t making side-by-side comparisons. My photographs were only arranged as pairs by the photo editors, but they aren’t linked as addresses" (Seymour). Yes, to his credit they are exactly the same, the concept and idea bear a striking resemblance to the Folded MapTM project.
Seymour, Tom. Magnum Photographer Alec Soth Defends Similarities with Work by Chicago Artist Tonika Johnson. 15 Sept. 2020, www.theartnewspaper.com/news/magnum-photographer-alec-soth-may-face-legal-action-after-plagiarism-claim-from-chicago-artist-tonika-johnson.
I was not expecting to learn how
resistant Alec Soth was to truly accept fault with his comments on the situation, he beats around the bush without actually apologizing. I would
expect better from a well-known photographer with influence in the industry to
set a better example and understand the importance of Johnson’s project and
what it stood for.
This is a really interesting project that Johnson created. I don't know how she actually thought of this, but it's really cool. I'm also surprised by Alec Sloth's indirect responses. He never really owned up to anything — if anything he just blamed other people for the likeness of the two projects (i.e. the photo editors), though I guess if he was a really well-known photographer, he probably just wanted to try and protect his name and dissuade people from thinking he actually did copy, though his attempt at doing so might have backfired.
ReplyDeleteNonetheless, although I didn't personally research her myself, I do find Tonika Johnson's project really fascinating, and I'm glad she's still working on it even now, because this kind of segregation and division needs to be brought to attention.
Great comment Kelly. I agree that pushing the similarities between the projects off on editorial choices is a weak argument. As a broader issue, I can't help but see the institutional racism in place. Alec Soth is a white male who was flown in (during a pandemic) and commissioned for this project. The NY Times could have hired Johnson instead. Overlooking black female photographers is a pattern by editors, museum curators, and even educators. It needs to stop. Even though Soth donated his commission to Johnson's project, an apology from The NY Times along with a feature of Johnson's work might help make amends. I am speaking with my personal opinions here.
DeleteGreat post Aurora. Well done.
ReplyDelete