Experimental documentary photography was regarded as an oxymoron, a contradiction in terms. Interestingly, documentary filmmaking had always preserved a much more vital and sovereign relation to the experimental.
“More people should be partisan. More photographers should be partisan. Should call people bastards and point the finger. I wonder (every year pretty much on this blog) why they aren’t. So many photographers profess to be progressive and get outraged about exploitation in photography and the like, yet fail to reflect that in the overwhelmingly dull work that often passes for photojournalism or documentary.
I’m not sure why that is. I guess it’s because there’s still the myth of the objective truth-telling photographer and there is the dominating voice of documentary – which is one of sobriety. But really! The sober voice is a boring voice. You should be shouting abuse and throwing things.
The other reason is photographers are scared of offending those who might potentially give them custom and help them make a living. You don’t want to offend the wealthy and powerful; they own the magazines, the companies, the galleries, the universities, the foundations, they publish your work, they buy your work, they commission your work, they show your work.
Essentially we should be fucking the rich with photography, not literally, but metaphorically. Instead, photography is, as always, serving the rich, it is giving it a right royal tongue-up-the-arse servicing. How did that happen? How does it continue to happen? Or am I missing something?”
“I am probably over simplifying many key elements in my rant. It is only that- a rant. I am sure that I am missing other quibbles to have about photography and since I am not being paid to write this drivel, I am simply going to let the problems carry on as this is the truth that I have experienced and there is little I can do about it just as there is nothing I can do about global warming, the world debt (to the Martians?) or any other of the many complexities of any of the other markets that drive photography’s and humanity’s potential into the ground. What I do purport to do is to get these little things off my chest and perhaps give some small insignificant insight into the market, the community and the potential that is missing for photography in a few key categories. I do not have answers and I do not really even care.”
‘I has become the commodity we spend most of our lives producing. In real-time. Around the clock. We fashion a self that we peddle to others in search of the next job, the next contact, the next “like.” I do exist. This is really happening. See?’