A Quote by Richard Misrach

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
If it were possible for any one person or group of persons to go through a photographic finishing plant's work at the end of a day, you could probably pull out the most extraordinary photographic exhibition we've ever seen. On almost any subject. The trouble is to find the things.
Photographic data... is still and ESSENTIALLY THE SAFEST POETIC MEDIUM and the most agile process for catching the most delicate osmoses which exist between reality and surreality. The mere fact of photographic transposition means a total invention: the capture of a secret reality.
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
I studied African American studies, and I read these slave narratives and the escape narratives of people that were able to escape slavery and always found those stories intriguing and powerful and inspiring.
North Korea aside, most authoritarian governments have already accepted the growth of the Internet culture as inevitable; they have little choice but to find ways to shape it in accord with their own narratives - or risk having their narratives shaped by others.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
The problem is almost everybody is just recording the world with home photographic toys, not doing metaphor or ideas. We have a photographic culture that's not conditioned to think in terms of symbol.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
With every (informative) photograph, the photographic program becomes poorer by one possibility while the photographic universe becomes richer by one realization.
Thinking through how you find that intersection between individual, compelling human narratives and structural, systemic injustices - that's the place that's most interesting to me as a reporter.
'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules.
Knowing a great deal about what is in the world art, catastrophe, the beauties of nature through photographic images, people are frequently disappointed, surprised, unmoved when the see the real thing. For photographic images tend to subtract feeling from something we experience at first hand and the feelings they do arouse are, largely, not those we have in real life. Often something disturbs us more in photographed form than it does when we actually experience it.
I hope I succeed in demonstrating that you may equally find compelling and significant narratives - stories that alter or add to our understanding of history - in unprepossessing places: a Victorian sewer system; a Cold War bunker; derelict hospitals.
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