Quitting Wall Street To Tell A Prostitute's Story

noisycheese

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This brings home the power of photography and lays to rest the fallacy that documentary and/or street photography are pointless and futile pursuits.

This is a moving yet tragic story, one that will make you think. The circumstances of our birth are pretty much a big cosmic crapshoot. There but for the grace of God goes any one of us...

Link: http://kunc.org/post/quitting-wall-street-tell-prostitutes-story
Quitting Wall Street To Tell A Prostitute's Story


By Jim Hill

Chris Arnade spent 20 years working on Wall Street, but after the financial crisis of 2008, he found himself increasingly disillusioned with his profession. So, in the summer of 2012, he quit and began walking the streets of New York, camera in hand.

Arnade was drawn to the Hunts Point neighborhood in the Bronx, known for its crime, drug trade and prostitution. There, he met Takeesha, a prostitute, ( http://www.flickr.com/photos/arnade/7851973212/in/set-72157627894114489 ) outside an old monastery with a high, barbed-wire wall a block long.

"It was a Sunday afternoon, and she called me over and saw me with my camera and had seen me before, and asked me to take her picture," Arnade tells NPR's Jennifer Ludden. He did, and then chatted with her at length about her life and how she ended up on the streets.

Takeesha's hard story and her honesty had a tremendous impact on Arnade. "She was raped by a relative at 11, had her first child at 12, and was put out on the streets by her mother, who was also a prostitute, at the age of 13." Takeesha has been on the streets now for almost 25 years.

"When I finished up talking to her for that hour and a half ... I asked [her] how [she] wanted to be described," Arnade remembers. "She said, 'As who I am: a prostitute, a mother of six, and a child of God.' "

Arnade says Takeesha has always been very supportive of his photography, which he's published in a series called Faces of Addiction ( http://www.flickr.com/photos/arnade/sets/72157627894114489/ ). "One of the things that's been told to me, I forget who exactly told it to me, was 'Being a homeless junkie, I often get offered people who want to buy me lunch. But very rarely does anybody ever ask me who I am.' "

The photography project has challenged Arnade's beliefs — particularly his atheism. "I walked into Hunts Point and naively thought that I would see the same cynicism towards faith that I had, and I saw the exact opposite."

Takeesha says the person who gives her hope is God, and in the crackhouses he visits — abandoned buildings at three in the morning, with no electricity or plumbing — he almost always finds a bible. "You have to respect how people get to their beliefs, and why they get to their beliefs."

Arnade hopes people look at the people he photographs for several seconds at a time, reading their stories and thinking about inequality. "There are people in this world ... who have very little. Not due to their own problems, not due to their own failings but to society. Everybody, homeless, prostitute and a Wall Street trader is as valid as anybody else."
 
Its great Amade got out of the office and saw a world many of us already know about and are trying to better. Maybe he can use his financial skills to help people.

In the second article, who elected the Bronx Art Exchange to be the hall monitor for who can/cannot take photos in the Bronx? This one is pretty arrogant. Clean up your town Bronx Art Exchange instead of slamming the media hound.
 
The work is not exactly without controversy. The dude is despised by many in the Bronx and beyond given what is perceived as his exploitative approach. For starters:

http://www.baxnyc.com/2013/12/14/bronx-exploitation-by-chris-arnade/



While I don't find anything exceptional in the photography itself I think that particular article attacking the photographer is harsh and innacurate.

Arbus spent a lot of time photographing people that many regard as freaks and they are some of the most powerful photos I've seen.
 
Arbus' relationship with her subjects was completely different which I think results in the power you are sensing from her work.

Also while the article may be harsh, it's important to read in in context. The Bronx has been marginalized and negatively stereotyped for many decades. The 1981 film "Fort Apache, The Bronx" is one example from popular culture but there are thousands, including many outsider photographers who came to the Bronx looking to do sensational stories about junkies, drugs, burned out buildings, etc. But there were many other realities that did not get portrayed, like the story of Sonia Sotomayor, who now sits on the US Supreme court...

More on the Fort Apache film: http://www.npr.org/2011/08/24/139916927/on-location-fort-apache-a-war-zone-in-the-bronx
 
The story is interesting, but as always, the reality is more complex than a short story would like us to think.
1) Photography
Some portraits are good, but the bulk are snaps of people in undefined circumstances, or engaged in taking drugs. Photos of street garbage don't help to make this portfolio any better. I see more value in the documentary aspect of this project, than in anything else. Therefore, the main point is, what are these photos conducive to? This is a problem of the photographer himself, and of people who are going to see his local exhibitions.
2) "God" and "Justice"
My point of view is very straightforward: religions are belief systems invented by people for people, they contain no valid insight about the reality, the origin of life on earth or morality, or at least the insight is usually proportional to the knowledge humanity had on these topics at the time these religions have been formulated.
Given, that all "great" religions have been formulated at least 1500 years ago, they attempt to give us the solutions to 21st century problems with the 7th century knowledge, at best.
When the author talks about "going back to belief in God", I think, he means Christian god, and the obvious reason is, that what destitute people lack the most is self esteem and a prospect of reward for their suffering. Given, that Christianity solves these problems, by stating, we are "all children of God", and "the last will be the first" ( in "afterlife"), it is immediately appealing to them.
However, while I would respect any kind of belief as such, I think that going "towards God" is missing the point, because what these people need, is a valid social network, that would in the first place protect them from violence and exploitation, and secondly assist them in obtaining education and finding their place in society, so that they could express fully their human potential, without false hopes of reward in "afterlife".
I agree, that all humans have their dignity, but this has nothing to do with religions, it is a simple matter of fact, and it could easily be extended to all sentient beings on Earth, because we all share the same tree of life.
 
I think it's very difficult to judge the photographer's attitude towards his subjects or his intentions out of the photos he shared. Surely, they are not stolen snapshots but appear to have been taken after he was well accepted there, so he did at least something very right. On the other hand, one may have had very good intentions and approach to this subjects but still deliver something that feels exploitative purely due to lack of technical, editing or story telling experience.

That's why I prefer to stick to the photos and judge only those. And my opinion is that there are a few very good images, but also a lot of rather similar and little interesting ones. There are way too many images (editing, editing..) and as a result the series feels like a "catalog" of everyone he came across in the streets. I'd have preferred MANY fewer subjects but followed closer and for some time, so that we would get a better insight into some of their lives. They all look ruined the same way, while I believe that each of them has a very different story (which I can't see there). But that's just me.
 
any photographer who ventures beyond pets, fire hydrants, "street" and actually does some coherent work with a theme deserves credit
 
any photographer who ventures beyond pets, fire hydrants, "street" and actually does some coherent work with a theme deserves credit

I'd say he's doing street as well. The bottom line for me is that the work is way more about the photographer (look at MY work) then its subjects. Many do it in the photography world and we even enjoy some of the work. However, that's where the exploitation factor comes into play for non-photographers / viewers.
 
I'd say he's doing street as well. The bottom line for me is that the work is way more about the photographer (look at MY work) then its subjects. Many do it in the photography world and we even enjoy some of the work. However, that's where the exploitation factor comes into play for non-photographers / viewers.

that is not street. he has established a relationship with his subjects. if you "street" those people, most likely there will be an altercation with the photographer on the losing side.

the photographs are about a photographer when he/she photographs something that does not resonate with others, 99% of the boring photographs on the internet
 
I have to say that I don't find those pictures all that interesting and they trigger quite negative thoughts in my mind about the photographer's intentions.
 
The photos to me are observant but with no intimacy. Most of them would have been better if he'd taken a few paces forward and mixed it more with his subjects.
 
I won't second guess what his motives may have been, but I hope that his writing is more dimensional than his photographs.

I have always been skeptical about work like this - in truth, can you ever trace a line from work like this to the lives of "street people" getting better ?? I don't think so. I could be wrong.
 
He could easily find faces of addiction (drugs aren't only addictive things out there) without quitting WSt. Now he has found a therapy for himselves after years of doing job he didn't like. No problem, this is better than that. Snapshots vs real phootography, street vs. location portraits - does it matter really? Pictures are pictures.
 
when moriyama does this http://youtu.be/JKbFAPq75UI?t=1m43s its not exploitation because his everyone's darling guru/sensi of street photography but when some guy actually goes and takes direct and personal pictures of exploited people, instead of visual nonsense moriyama style, its called exploitation

maybe we all need to reevaluate what photography, serious photography is all about. what this guy is doing is what eugene richards did in the 70s, its nothing new but at least his keeping that tradition alive. just because people are downtrodden and don't make for pretty pictures, it does not mean photography cannot tell their story
 
maybe we all need to reevaluate what photography, serious photography is all about. /quote]


When you`ve done this how are you going to ensure that people stick to it ....I mean they may just wander off and start taking pictures just because they want to.
 
Not all photographs are to my liking but his work isn't all that bad either. I also agree with Margu. When certain people do it it's great if others do it it's exploitation
 
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