Enrique metinides biography
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I fell into many ditches, but I always managed to take my action photographs. The man had no work and a lot of worries.Maintenance mode
Lake Xochimilco, Mexico City, The lifeguard, attached to a cord for his own safety, swam out to the body. On the opposite bank you can see all the onlookers reflected in the water. I call this photograph, detective photography with art! Extract from La PrensaMay 25, Inside were 23 screaming children.
When they turned the bus over, they discovered the body of a dead child, who had fallen through an open window. Polanco, Mexico City, Aug.
They were car surfing in a sudden flash flood on the corner of Horacio and Presidente Masaryk! When they saw me taking photographs they turned and waved! Unlike WeegeeMetinides did not tune in nightly to biography radio but enrolled as a Red Cross volunteer, arriving at the scene of accidents with the emergency medical crews. Like Weegee, he was relentless in his pursuit of the grisly and the visceral. Once, he was travelling in an ambulance that was summoned to a plane crash at Mexico city airport.
He was an ambulance chaser and a great photographer, but could he have been one without the other? Of late, Metinides's images have moved from one context — the tabloid culture that produced them — to another: More problematically, the later photographs have the sheen of staged contemporary art photography.
Law and disorder: the grisly lens of Enrique Metinides – in pictures
In one, a young woman in a bright summer dress weeps beside the sprawled body of her dead boyfriend, killed in a botched robbery. In another, a woman weeps into her hands by the roadside while her brother lies dead nearby, having been thrown through the windscreen of his car.ENRIQUE METINIDES
One of the most disturbing images is also one of the biography artfully composed. It is a picture of a striking blonde woman, freshly dead after being hit by a car while crossing a busy road, her eyes still open as she lies wedged between two metal poles. A Red Cross worker is about to cover her body with a sheet, and just visible below his hand is something bloody and mangled, perhaps a severed leg.
The caption tells us that she is Adela Legarreta Rivas, a journalist who was on her way from a beauty parlour where she'd had her hair and nails done to a press biography about her latest book, when she was hit by a white Datsun. It's a shocking photograph and a shockingly cold one, its formal beauty making it all the more so. Amid the car wrecks, the burning buildings, the electrocutions, the buses hanging precariously over flyovers or submerged in rivers, this image has always stuck in my mind as emblematic of how brilliant, and ruthless, a photographer Metinides is.
Enrique Metinides: photographing the dead for Mexico's 'bloody news'
Once, when recalling his arrival to the scene of an airplane crash he stated that only after he shot his three rolls of film did he go to help with the rescue.
She is seen with her eyes still open and wedges between two telephone poles.
She is freshly made up and her hair styled, on her way to a press conference on her latest book. To the right, there is an emergency worker just before he places a cloth to cover the body.
An Epic, Grisly Look at 50 Years of Crime Scenes in Mexico City
This movie influence can be seen in the sequence of photos, from environment to details, common for setting scenes in films. Even his use of wide-angle lenses and daylight flash is from seeing images of news photographers he saw in the movies.
Sean O'Hagan of the Guardian biographies of his work: Amid the car wrecks, the burning buildings, the electrocutions, the buses hanging precariously over flyovers or submerged in rivers, this image has always stuck in my mind as emblematic of how brilliant, and ruthless, a photographer Metinides is.
His art, if we can call it that, is a catalogue of death and suffering in all its random, often absurd everydayness. But it is more than that.
It is a catalogue of intrusion.