Photography's ability to blur truth and fiction is one of its most compelling qualities. But when misused... this ambiguity can have severe, even lethal consequences.... Photography's ambiguity, beautiful in one context, can be devastating in another.
Photography's history is bound to the mistake, to the accident.
The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.
I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.
Simulations directly relate to the process of and complications in photography. They also overtly create layers of fantasies, myths and interventions... The simulation confuses the idea of a truth. I've always been interested in this kind of theater and illusion at the foundation of belief.
Photography, to me, is the dewdrop that reflects my inner and outer worlds simultaneously.
I consider myself fortunate that photography exists, because otherwise I'd be stuck in the tragedy of ephemeralness that can come with installation art.
I think I'm really fortunate to be an installation artist who is heavily invested in photography: I don't have the emotional problems with the loss of work that some installation artists have. The photographs wouldn't exist without the installation... but at the same time, I think I'd kill myself if I only did installations. There's something deeply tragic about doing work that you know is temporal.
In a world of disturbing images, the general body of photography is bland, dealing complacently with nature and treating our preconceptions as insights. Strange, private worlds rarely slip past our guard.
Somebody said recently that the best thing a student could do was to get in some shows and publish a book; but nothing about becoming a human being, nothing about having important feelings or concepts of humanity. That's the sort of thing that is bad education. I'd say be a human being first and if you happen to wind up using photography, that's good for photography.
To extend the depth of what has been called 'art' into photography requires... making available to the spectator the amazing transformations the subject undergoes to become the photograph.
I think it's all absolute nonsense how people talk about photography as being an art. It's a very menial career that you do if you draw badly. Now they teach it at the Royal College of Art and get grand about it. It's the only course there that I don't understand.
If there is a good thing about photography, it is that it can be easily enjoyed.
Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.
In the final analysis, photography... is ever a hireling, ever the hired gun.
... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.
Art photography, although long since legitimized by all the conventional discourses of fine art, seems destined perpetually to recapitulate all the rituals of the arriviste. Inasmuch as one of those rituals consists of the establishment of suitable ancestry, a search for distinguished bloodlines, it inevitably happens that photographic history and criticism are more concern with notions of tradition and continuity than with those of rupture and change.
I got into photography because of the immediacy of the medium. I used to sit in front of a canvas for weeks trying to create something. Now I can see the image right away.
Photography, for me, is a lot like web surfing in real life.
[Photography is] very related to poetry. It's suggestive and fragmentary and unsatisfying in a lot of ways. It's as much about what you leave out as what you put in.
There are only two hard things in photography; which way to point the camera and when to release the shutter.
There is no such thing as the perfect picture. That's the challenge of photography. I was always striving for perfection, even though I knew I could never achieve it. But it kept me reaching for something.
Photography has always been capable of manipulation. Even more subtle and more invidious is the fact that any time you put a frame to the world, it's an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame. You take 35 degrees out of 360 degrees and call it a photo. There's an infinite number of ways you can do this: photographs have always been authored.
The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.
... photography is just a medium. It's like a typewriter. Photography as an art doesn't interest me an awful lot; as a participant, though I like to look at it.
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