1/5 In light of yesterday’s discussion around the ethics of editing old photographs (mugshots in particular), I’ve been thinking a lot about the rights & wrongs of using vintage mugshots for my word of the day & would like your thoughts on this. Here are mine.
2/5 I secured permission from the Tyne & Wear archive to use their images like this, years ago. I cite the copyright on every image so it ppl can look the original up. I link to the archive on my website. I don’t make any money from my use of these images.
3/5 I’m not presenting them as any kind of historical truth or trying to say anything about the person in them. I always felt ok to use the images because I had permission. It it legal for me to do so. BUT maybe it’s not ok to use these images like this.
4/5 These are prison mugshots after all. The ppl in them are real & they would have been having a really shitty day when they were taken. Its always a good thing to take stock, review what you’re doing & change it if needed. So, what do you guys think?
5/5 Should I just stop using the Tyne and Wear archived images in WoD? Is it ok because I have permission & they are clearly for fun - or Is it just wrong to use criminal mugshots like this? Comments below
Should I keep using the prison mugshots in the Word of the Day?
To be clear - no one has suggested I stop using them. No one is trying to ‘cancel’ them, or has said they are offended. I’m just having a think about it and wanted to know what you all think too. X
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I’m glad @VICE have taken down the article featuring Matt Loughrey’s edited photographs of victims of the Cambodian genocide, but their article featuring Loughrey’s manipulating mugshots of Australian female convicts is still there
👇 vice.com/amp/en/article…
I really value colourising historical images. It can bring history to life & is a powerful tool in creating empathy, but manipulating images is just wrong, especially when the image is one of trauma.
This is Matilda ‘Tilly’ Devine, a former sex worker, gang boss, & madam of a chain of brothels in Sydney. She was a violent mob boss & slashed a man’s face open with a razor. Loughrey has given her a big smiley face & youthful complexion.
Munchausen syndrome (or factitious disorder) is a disorder where a person fakes illness. The name comes from Rudolf Erich Raspe’s 1785 fictional character Baron Munchausen - but he was based on a real person.
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Hieronymus Karl Friedrich von Münchhausen (1720-97) fought for the Russian Empire in the Russo-Turkish War of 1735–1739. After retiring, he became famous for his outrageous stories about his time in the army.
He wasn’t looked on so much as a liar, as a fantastic storyteller - even royalty came to listen to him. After hearing him, Raspe (who was a bit of a git all round) wrote his stories down and published them anonymously in England.
This is Elena Milagro de Hoyos (1910-31), a beautiful Cuban-American woman who sadly died of tuberculosis. Elena’s doctor, Carl Tanzler (1877-1952) was madly in love with her, and wasn’t going to let a little thing like her dying get in the way of them being together.
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Tanzler was a German-born radiology technologist at the Marine-Hospital Service in Key West, Florida. He married married Doris Schäfer in 1920, had two kids & the family emigrated to the US, where Tanzler left the family & set up on his own.
Tanzler was certainly something of an eccentric & claimed to have had visions of Countess Anna Constantia von Cosel (a long dead ancestor) who showed him a beautiful, dark haired woman was going to be his true love.
This is La Femme Damnée, by Nicolas Francois Octave Tassaert (1859). Two years earlier Charles Baudelaire published Les Fleurs du mal, & 6 of his poems were banned, including “Femmes damnées”.
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Femmes Damnées (or the damned women) tells of lesbian lovers Delphine and Hippolyta. You can read it all here, but here is the final verse fleursdumal.org/poem/180
Baudelaire and his publisher prosecuted for offending public decency. The court ruled that the erotic poems would “necessarily lead to the excitement of the senses by a crude realism offensive to public decency”. The ruling was only overturned in 1949.
This is ‘Christ and the Adulteress’. It depicts a scene from the Gospel of John. The painting was one of Hermann Göring’s most prized possessions. Once the war was over, Allied forces set about discovering who had sold this Dutch masterpiece to a Nazi.
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Göring had acquired Christ with the Adulteress, by Dutch master Johannes Vermeer (1632-75), from Alois Miedl, a Nazi art dealer & right shit who made a lot of money stealing art from Jewish ppl & selling it on.
Göring gave Miedl 137 looted paintings for Christ with the Adulteress and showcased it at his residence in Carinhall. In 1945, Göring’s vast art collection was discovered by allied soldiers led by Captain Harry Anderson (pictured).