Framing the Working Class: Ray’s a Laugh, 28 Years On
Billingham’s desire to make something aesthetically rather than socially or politically moving can be understood not just as a form of complicity with individuals and their families but, in its commitment to structure, as the imagination of an alternative. For example, the question of the frame in the photo of Liz doing her puzzle is not reducible to the ethics of photographing your mother. Rather the photo ignores the questions of family ethics. More important, it doesn’t so much ignore as seek to overcome even the question of working-class identity. Liz’s dress, her tattoos, the couch she’s sitting on can all lend themselves to being read as the markers of such an identity.