Young practitioners now are expected to be good at verbalising their intentions, verbalising their results, self-promotion and networking etc. I think these lists are getting a little out of hand as they often highlight the opposite of what led me to photography in the first place. They often appear to be steered by few, friends of friends, publishers, authors, writers etc and perhaps this back scratching can lead to exclusion of many who make work who can’t or don’t want to ‘play the game’.
There is no exquisite beauty…without some strangeness in the proportion.
I wanted to develop my own desert look…I was unsure how the journalistic community would take it. It was a form of manipulation. They’d say, ‘That’s not how things look.’ But to me, the way things felt kind of trumped that concern.
Gonzalez, D (2012, November 27) A Reckoning at the Frontier, New York Times
William S. Burroughs once described Mexico City as “sinister and gloomy and chaotic, with the special chaos of a dream.” In fact, the sprawling megalopolis, home to 20 million people, is insistently literal—at once intensely alive and decaying, filled with bodies and odors and clangor. For the last 50 years, photographer Enrique Metinides has cataloged Mexico City’s human calamities: murders, suicides, plane crashes, car wrecks, derailed trains, collapsed buildings, gas fires. His photographs—most of them published by the tabloids La Prensa and Alarma!…