Control Order House, Edmund Clark
“We live in a moment when many photographers and audiences have become ambivalent and self-conscious about documentary photography as a means to make statements about the condition of the world. Edmund Clark, however, effectively uses a documentary mode in a political context. His approach brings to mind Walker Evans’ distinction between “useful” documentary and art in a “documentary style”, a distinction that only highlights the difficulty of defining “documentary”, and which has since been blurred by photographers in myriad ways.”