To me, the work I do is a means of interpreting unsettling truths, of bearing witness, and of sounding an alarm. The beauty of formal representation both carries an affirmation of life and subversively brings us face to face with news from our besieged world.
Richard MisrachThe one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is allowed to meditate on something that normally we don't stop and stare at, whether it's people or a cactus.
Richard MisrachOur experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way we've been taught to read.
Richard MisrachThe very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to see the flaws everywhere, in any practice of photography. Traditional genres in particular-journalism, documentary studies, and fine-art photography-have become shells, or forms emptied of meaning.
Richard MisrachThe desert ... may serve better as the backdrop for the problematic relationship between man and the environment. The human struggle, the successes ... both noble and foolish, are readily apparent in the desert. Symbols and relationships seem to arise that stand for the human condition itself.
Richard MisrachI think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the microscope and the telescope expanded what scientists could do.
Richard MisrachOne of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.
Richard MisrachPeople have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this mystical, magical place. The desert is also a very barren place, a very lonely place, a very boring, uneventful place.
Richard MisrachI've come to believe that beauty can be a very powerful conveyor of difficult ideas.
Richard MisrachIn spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
Richard Misrach... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most powerful and engaging medium today - one central to the development of cultural dialogue.
Richard Misrach