Abstract
War photography scholarship tends to focus attention on photographers’ lives and the thematic content of images. This study shifts the spotlight onto how varied members of the public respond to a body of work, in this case the photography and filmmaking of Tim Hetherington (1970-2011), whose archive the Imperial War Museum (IWM) obtained in 2017. We discuss findings from a number of visually-led focus groups with refugees, veterans, military family members, photography students and museum volunteers. Together we examined his image-making process with the groups to discover how they discussed notions such as intimacy, masculinity, the ‘good’ conflict photograph, and ethical dilemmas. We argue that engaging with multiple public perspectives through visual elicitation methods enhances curatorial knowledge and understanding of image-making practices in this specific context, whilst also offeringt insights for national museums more broadly on how dialogue with diverse communities can enrich the handling and display of new collections.
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