Photography has not invented anything.
Many artists, having assimilated the Conceptualists' explorations to varying degrees, have reused the painterly model and use photography, quite consciously and systematically, to produce works that stand alone and exist as photographic paintings.
It was only with the emergence of the Conceptualist approaches of the late 1960s that the opposition between artists using photography and photographers became explicit.
As the possibilities for straightforward photography seem to have become exhausted it has been the photographers who know about the history of art, not simply the history of photography, who have shaped important directions for the future.
Any photographer worth his/her salt - that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent - can make virtually anything look good. Which means, of course, that she or he can make virtually anything look bad - or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image.
... the battle for the acceptance of photography as Art was not only counter-productive but counter-revolutionary. The most important photography is most emphatically not Art.
Photography is, and has been since its conception, a fabulously broad church. Contemporary practice demonstrates that the medium can be a prompt, a process, a vehicle, a collective pursuit, and not just the physical end product of solitary artists' endeavors.
I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.
Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.
Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.
For me, photography must be visual, rather than intellectual and ideological.
There is something beautiful about photography; it allows the self to be reunited with the world.
I was twenty when I discovered war and photography. I can't say that I wanted to bear witness and change the world. I had no good moral reasons: I just loved adventure, I loved the poetry of war, the poetry of chaos, and I found that there was a kind of grace in weaving between the bullets.
The denunciation of suffering by photography has replaced the religious justification of suffering in painting. Denunciation is a function of photojournalism, and in itself that's a step in the right direction.
Fashion is the opposite of the real, its worst enemy. Fashion photography is subversive; it makes you believe everything is true, whereas this could not be more false. It is the opposite of a mirror, a deformation.
Photography has fooled the world. There's no more convincing fraud. Its images are nothing but the expression of the invisible man working behind the camera. They are not reality, they form part of the language of culture.
...photography can lie as convincingly as literature or painting. The angle, the selected content, the assumed context.
The Latin American photographer has the possibility, and the means, for naming the things of our world, for demonstrating that there is another kind of beauty, that the faces of the First World are not the only ones. These Indian, black, plundered white and mestizo faces are the first element defining the demographic content of our photography.
[Photography is a] hair-raising joy ride in a medium that, despite being a mechanical trick, can break down the division between mind and matter like a superhero, or an artist.
Photography is a foreign language everyone thinks he speaks.
Photography... unites the obvious and the unconscious at the level of the limimal - the border between what we see and what we suspect.
In the beginning of my photography I controlled everything: rearranging the room, lighting it, and telling people what to do and where to put their hands. By the last project, I was basically totally at the mercy of serendipity.
There's a reductiveness to photography, of course - in the framing of reality and the exclusion of chunks of it (the rest of the world, in fact). It's almost as if the act of photography bears some relationship to how we consciously manage the uncontrollable set of possibilities that exist in life.
Photography works hand in glove with image and memory and therefore possesses their notable epidemic power.
It's good to be around people who see [photography] as a reasonable enterprise when everyone in the neighborhood may think it's ridiculous. (On the benefit of teaching photography)
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