I think that very early on, and principally this first project of Carnival Strippers, the sense of a photograph was a beginning point. It’s interesting you say “text” or “words” and actually for me it was sound. It was their voices, their very words, the way they said things. So in fact the first representation of that work, Carnival Strippers, was in an installation form with the sound in an open space floating above and around the photographs. So it was that tension between what the photograph itself could tell or reveal and what people know about their lives that I would not have access to except though these exchanges.
from Project MUSE
Part of his series on sex workers in Lourenço Marques (published in the 2004 book Our Nightly Bread) was included in the 1996 exhibition In/Sight: African Photographers 1940 to the Present at the Guggenheim Museum. In these extraordinary images, made in the 1960s and ’70s, Rangel’s sensitivity to his subject matter and his affection for the city of his birth are clear. In the nightclubs of Lourenço Marques it seemed possible to put aside the constraints of life in a repressive society. Sailors from international vessels docked at the port made their way to clubs like Casablanca and the Ritz, where they mingled with locals, soldiers, and holidaymakers from apartheid South Africa. Experimenting with fast film, Rangel shot without flash in the clubs, unobtrusively making images that would represent a pivotal moment in the history of Mozambique, between the death of colonial rule and the civil war that followed independence. This work cemented rangel’s reputation as the foremost documenter of Mozambican life, demonstrating his formidable aesthetic sensibility and the humanity that underpinned his images.
After being invited to join Magnum Photos in 1978, he worked increasingly as a freelance magazine photographer, undertaking assignments on such diverse topics as the American family, drug addiction, emergency medicine, pediatric AIDS, aging and death in America. In 1992, he directed and shot Cocaine True, Cocaine Blue, the first of seven short films he would eventually make. Continue reading Eugene Richards
After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master’s degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. Continue reading Sebastião Salgado