Philip Montgomery's 'American Mirror' observes the impact of political turmoil, protests and the pandemic.
, the California-born photographer had accreditation to both events, and as Donald Trump's success became clear in the early hours of 9 November, he took a taxi from the Javits Centre in Hell's Kitchen , to the Republican event at the New York Hilton, a few blocks south of Central Park. While most of the country's liberal media crowded the Clinton camp, Philip describes Trump's spectacle as a"drunken, tailgate-party" with just a handful of media present.
Philip's style is piercing. Shooting in black-and-white, the photographs veer from motif-based, distanced commentaries to, at times, portraits of almost unbearable intensity. Several depict people on the brink of overdose; armoured police move through thick clouds of tear gas; on front lawns, filled body bags lie motionless as family grief writhes around them.
This is not, then, strict photojournalism; Philip rightly points out that few of these images would work on newspaper front pages. From growing up in the Californian desert, his move to New York City led him towards the American magazine tradition made famous by . Profound, complex human storytelling enlarged on glossy pages, to be pored over at weekends and, if they serve their purpose, filed away as historical bookmarks by readers.
Then there are the single-subject studies, where traditional portraits emphasise either standalone influence , or desperate loneliness. An incarcerated woman looks dejected as she phones home from the 'detox' wing of Montgomery County Jail in Ohio; one man clings to a lamppost as floodwaters rise around him in Miami; another collapses after first responders save him from a heroin overdose.
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