Holding the header for this semi-rant—that I believe is extremely necessary—is the late Chantal Akerman. She was one of the most audacious, talented, unwavering filmmakers in her time and stands as one of the key figures of the dawn of the feminist film movement. As a film studies major and a lover of her creations, I think she's a perfect embodiment of feminine power.
French photographer Antoine D’Agata is universally recognized for his “taboo” predilections. Drawn to the Other, D’Agata seeks out subjects in dark corners of the world that First World society would likely deem inhabitable. Frequently compared to his mentors Nan Goldin and Larry Clark who adhere to similar mantras as D’Agata, he manages to stick out like a sore thumb in the mix of those he’s often likened to. This is heavily due to the transcendent nature of his work, which he asserts is typically driven by pure accidents and done with as little intention and direction as possible. Focusing on the depiction of the daily practices of the Other, may it be drug use, prostitution, sadomasochism, and so on, D’Agata uses photography as a direct engagement with the world, where the hierarchy between photographer/photographed is blurred, commonly throwing himself into the action. Through his insertion of himself in his works, he shatters the boundary that separates Artist from the Other.