Tapestry of Space: Domestic Architecture and Underground Communities in Margaret Morton’s Photography of a Forgotten New York. By: NERSESSOVA, IRINA, disClosure, 10556133, 2014, Issue 23
In the article, Tapestry of Space: Domestic Architecture and Underground Communities in Margaret Morton’s Photography of a Forgotten New York, Irina Nersessova introduces the concepts and works of Margaret Morton. The Tunnel: The Underground Homeless of New York City and Fragile Dwellings are examples of the books of photographs created by Morton that forces viewers to reinterpret and question this idea of “home”. Nersessova interprets Morton’s photography of New York’s homeless in the article and utilizes Morton’s work to visually describe the actual “fragility” of home itself. Through the use of the Situationist International theory and the underlying goal of Morton’s photography, Nersessova aims to help eliminate the binary between “us” (those that have homes) and “them” (people who are homeless). She forces readers to ask themselves “Am I any different from a homeless person?”
Nersessova begins her article by establishing the similarities between aboveground and underground homes. Aboveground homes are defined as the living spaces that are socially acceptable and deemed appropriate. Underground homes are defined as the living spaces of the homeless that are not viewed as actual places of living. She states that both home spaces are “designed by taking material fragments and lining up the pieces in a cohesive manner” (2014). Even the actual constructions of these homes are similar. For example, homeless people gather scraps of discarded materials to build their homes. Aboveground homes are made with scraps of metal and materials. The author implies that although society views aboveground and underground homes as if they are on completely different spectrum’s, they are really not that different at all. The author also introduces this concept of the “fragility of home”. Both aboveground and underground homes are subject to a lack of stability. Natural disasters, financial problems, and floods are examples of circumstances that could occur and affect the stability of both above and underground homes. Nersessova attempts to blur the lines between homelessness and having a home.
The article continues and the reader begins to ask the question “why do we correlate homelessness with the lack of materials or personal belongings?” The author answers this question by discussing the images within society and how they dictate our desires. This theory on the consumption through image promotion was created by a group called the Situationist International (SI). Nersessova correlates their 20th century Marxists ideas to Morton’s photography. Margaret Morton’s photography defies the capitalist mentality of society by promoting the beauty in not having an abundance of materials. Capitalism maintains the society it has created through promotion that makes people feel they need materials. The author wants readers to understand that in a way homeless people have more than those that have homes.
In conclusion, Nersessova eliminates the binary between “us” (none homeless people) and “them” (the homeless) by utilizing Margaret Morton’s photography of the homeless in New York, establishing the similarities between aboveground and underground homes, and discussing how images dictate desires. Ultimately the author opens the eyes of her readers and helps them to realize that there is no difference between “us” or “them”.
Margaret Morton Photography