Enrique Metinides worked as a bad behavior picture taker from 1948 to his obliged retirement in 1997, taking a large number pictures and following a few records in and around Mexico City, for instance, bad behavior scenes, vehicle mishaps and ordinary fiascoes. His work was, for the most part, dispersed in the “nota roja” (really “red news” because of draining pictures), regions and event whole journals depicted by grungy substance and screenwriter photography overseeing viciousness and death. Sometime after his retirement, his work began to be recognized without any other individual authenticity and innovative worth, being shown in Mexico, the United States, and Europe.
From 2011 to 2013, a gathering of 101 photographs picked by the image taker visited Europe and the Americas under the name of the “101 Tragedies of Enrique Metinides”.The photos have moreover been circulated as a book with a comparable title, with extended captions and a biography of Metinides.
Various photos and works by the image taker have been the point of convergence of individual shows at territories, for instance, the Josée Bienvenu Gallery, New York (2008), the Anton Kern Gallery, New York (2006), Blum and Poe, Los Angeles (2006), Club Fotográfico de México, Mexico City (2005), Kunsthal, Rotterdam (2004), The Photographer’s Gallery, London (2003), Air de Paris, Paris (2003), the Royal College, London (2002, 2003), Museo Universitario de Ciencias y Arte UNAM, Mexico City (2000). Noteworthy total shows fuse those at the Nicholas Metivier Gallery, Toronto (2012), SFMOMA, San Francisco (2012), Kominek Gallery, Berlin (2012), Museum of Modern Art, New York (2008), NRW Forum Kultur und Wirtschaft, Düsseldorf (2006), Center for Contemporary Art, Antwerp (2004), Casa de América, Madrid (2004), Central de Arte Guadalajara, Guadalajara (2004), Galerie Cantal Crousel, Paris (2002), Kunst-Werke Institute for Contemporary Art, Berlin (2002), PS1, New York (2002) and Centro de la Imagen, Mexico City (2002).
His work has won prizes from the Mexican government, journalists’ affiliations, rescue, and lawful affiliations and Kodak of Mexico. In 1997, he got the Espejo de Luz (Mirror of Light) prize, the most bewildering given to picture takers in Mexico.