"Capturing Apartheid’s Daily Indignity"

A propósito da exposição “Ernest Cole: Photographer”, na Grey Art Gallery, em Nova Iorque, publica-se no New York Times um artigo sobre a vida e a obra do fotógrafo sul-africano negro que acreditou no potencial da foografia para mudar o mundo, assinado pelo crítico Holland Cotter. 

Artists will stop making art about race when racism ends. I won’t be here when that happens, and you won’t either. But in the early 1960s, a brash, South African photographer in his 20s named Ernest Cole thought he just might be, once his pictures of his racially sundered homeland got out into the world.

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He’s not always so physically removed from his subjects. In a series on the life of a rebellious township adolescent nicknamed Papa, Cole moves right in when the street-fighting man in the making swings a punch or bursts into tears. And when he documents the mugging of a white man by five black thieves on a Johannesburg street, he’s not a startled witness; he’s part of the scene, positioned to watch a piece of criminal choreography unfold.

Capturing Apartheid’s Daily Indignity, aqui