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In this series of 70 self-portrait photographs, the artist Enid Crow investigates the contemporary American worker by dressing up as characters in discarded work uniforms and posing in front of their workplaces. The series is accompanied by a video in which Crow interviews herself playing the character of an artist-provocateur playing the character of a journalist-fraud documenting the American workplace. The series and interview use humor and parody to respond to injustices such as low wages, deceptive employment contracts, and hostility at work.   

Humour is often used as a tool to disarm.[1] When built into a photographic project such as this one, it immediately engages the viewer and enables the performative aspect of Happy Workers to rise above simple parody and offer a compelling critique of contemporary corporate capitalism and its labor practices.

The characters portrayed by Enid Crow work in retail, food service, public service, and healthcare, and some are middle managers. They are recognizable by their uniforms that bear logos, like Chick-Fil-A, Waffle House, and the Federal Bureau of Prisons. The uniforms communicate to the viewer the type of work the characters perform, their social status, as well as information about the organizations that employ them.  

The artist includes a quote from the characters below each photograph. The characters speak about problems such as dangerous conditions, stress, and low wages, as well as pleasures, like friendships and pranks. Many quotes are adapted or taken from worker blogs and message boards, recruitment websites, employment agreements, lawsuits, management training materials, and the news; and some quotes are imagined. 

 

References

1. There has been much recent writing about the role of humour in photography and visual analysis. See Tanya Sheehan, "Photography Performing Humor and Photography and Humour," History of Photography 43 (2019), for a discussion of recent contributions to this ongoing discussion. It is worth noting that the use of humour, and the depiction of naive and accepting workers in comedic art, has a long history in the culture of the American syndicalist left. The IWW's "Mr. Block" serves as a prime example. See Michael Cohen, "‘Cartooning Capitalism’: Radical Cartooning and the Making of American Popular Radicalism in the Early Twentieth Century." International Review of Social History 52 (2007): 35–58.

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click the arrows on either side of the carousel to move through the self-portraits

Enid Crow lives in New York City. Her work is influenced by Nikki S. LeeBill Owens, vernacular photography, and observational and improvisational comedy.  

She was an artistic fellow of A.I.R. Gallery and BRIC Arts Media, and she is included in the Brooklyn Museum's Feminist Art Base and the N.Y. Public Library's Photographers' Identities Catalog. She has had four solo shows and several group shows in the U.S. and Europe.  

She studied acting and performance art at S.U.N.Y. Geneseo and Northwestern University.  

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