On a recent trip back to the homeland (NYC), my sister Mosbef hooked me up with It’s All Good by a syrbian photographer living in New York, that goes by the name Boogie. The book is published by powerHouse:
A gritty, graphic, and gripping exposé of the underworld and its inhabitants, It’s All Good, the first monograph by Boogie, presents the predators and the prey in the drug game today. Shot in New York City’s most notorious neighborhoods—Bushwick, Bedford-Stuyvesant, and Queensbridge—Boogie gained intimate access into a world few dare to venture, a world closed to outsiders, a world of crackheads, junkies, and gangsters. From the cops patrolling the project roofs to the addicts overdosing on the streets, It’s All Good chronicles ghetto life in stark, heart-stopping images and intense testimonials. Boogie brings us to a place few will leave and most will stay, a place where escape is one rock, one shot, one glock away.
The photos are intensely candid and close-up. The people being photographed know and confide in the photographer and you can see it in every image. Boogie spent a lot of time getting to know these people and gaining their trust. The book is really powerful and grim.
In photography books / monographs, the images always stand on their own. In the truest sense, the story is told through the images. Text and image don’t often collide. It’s all about the images and most of the time, rightly so.
In ‘It’s All Good’ the images appear one to a page, with an introductory text to each of the characters every few pages. In the back of the book, there is a glossary of images, each one with a comment, from the photographer, on the person being photographed or context that the photo was taken in.
I really enjoyed Boogie’s comments and although the book kinda takes the middle road (by displaying the images by themselves and then including the glossary), I gotta say that I spent a lot of time in the glossary section looking at the thumbnail images and reading the comments. The full size images are gorgeous and raw, but the comments really open the story up and provide the details and context that the photos sit in. I can’t help but wonder why they didn’t just include the text with the photos.
There’s definitely a conversation there, about the role of the image, versus the roll of image and text together. And the intention of the publisher/author to present the images versus the intent of the viewer to understand the context of the images. I’m not sure if my “art discourse” hat is fully on today, so I’ll leave it at that.
