Why can't a photograph be all four things at once? -be an art object; be a document, what ever that means exactly, but deal with content; be a formalist exploration; and operate on some, metaphor is not the right word but, resonant level.
I am constantly torn between the attitude of the conscientious journalist who is a recorder and interpreter of the facts and of the creative artist who often is necessarily at poetic odds with the literal facts.
I would that my photographs might be, not the coverage of a news event, but an indictment of war.
Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.
I didn't want to be criticized for taking low-quality photographs, so I tried to reach the best, highest quality of photography and then to combine this with a conceptual art practice. But thinking back, that was the wrong decision [laughs]. Developing a low-quality aesthetic is a sign of serious fine art-I still see this.
I'm inviting the spirits into my photography. It's an act of God.
Let us not be afraid to allow for post-visualization. By post-visualization I refer to the willingness on the part of the photographer to revisualize the final image at any point in the entire photographic process.
The truth is that one is more frequently blessed with ideas while working.
I've learned over the years that when you get a clue to another possibility to follow it through.
My visual quest is driven by a desire to create a universe capable of supporting feelings and ideas.
I think of many of my photographs as being obviously symbolic but not symbolically obvious. There isn't any specific correlation between the symbols in this image and any content that I have in mind.
One of the major changes in attitude that occurred in the world of art as we moved from the nineteenth into the twentieth century was that the twentieth century artist became more involved with personal expression than with celebrating exclusively the values of the society or the church. Along with this change came a broader acceptance of the belief that the artist can invent a reality that is more meaningful than the one that is literally given to the eye. I subscribe enthusiastically to this.
All knowledge is self-reflective.
I'm really very concerned with helping to create an attitude of freedom and daring toward the craft of photography.
Empty space is never-wasted space. Wasted space is any space that has art in it.
Pop art is for everyone.
I find myself every so often looking at my ground glass as though the unrecorded image might escape me!
...through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.
It's been a strange [summer].... I was sent by a magazine to photograph famous photographers.... Of course, I included myself.
Anyone who looks for life can find it... and they don't need to photograph ashcans. The average camera fan reminds me of Pollyanna, with a lollypop in one hand and a camera in the other. You can't be a Nice Nelly and take news pictures.
I had so many unsold murder pictures lying around my room...I felt as if I were renting out a wing of the City Morgue.
To me, pictures are like blintzes - ya gotta get 'em while they're hot.
Everything is shared by everything else; there are no discontinuities.
The coherent way of investigating any field is to examine its possible relatedness to other things.
Life itself is not the reality. We are the ones who put life into stones and pebbles.
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