Photography's history is bound to the mistake, to the accident.
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.
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.
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.
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.
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 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.
Photography is space, light, texture, of course, but the really important element is time - that nanosecond when the image organizes itself on the ground glass.
[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.
The portrait is the subject matter in photography where the problems of the media are the most visible.
I think the best way to put it is that newspictures are the noun and the verb; our kind of photography is the adjective and adverb. The newspicture is a single frame; ours, a subject viewed in series. The newspicture is dramatic, all subject and action. Ours shows what's back of the action.
I don't like the discussions about whether photography is an art. Even though I think that if it would be just a craft I would not have stayed with it all my life.
Literature especially has an interesting relationship to photography - to observation, to description, to fiction: taking something that you see and elaborating, jamming, and I think, staging.... taking that moment of observation and letting it go, giving it some wings, following it, rather than nailing it. You're riffing off of reality.
In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection.
In short, [photography] is a matter of turning loneliness into thoughts.
Photography is my method for defining the confusing world that rushes constantly toward me. It is my defensive attempt to reduce our daily chaos to a set of understandable images.
What is important is that our optical awareness rids itself of classical notions of beauty and opens itself more and more to the beauty of the instant and of these surprising points of view that appear for a brief moment and never return; those are what make photography an art.
Perhaps why so much of today's photography doesn't grab us or mean anything to our personal lives is that it fails to touch upon the hidden life of the imagination and fantasy, which is hungry for stimulation.
I had my young eyes opened by the impersonal blood and guts of news photography. I was running the gamut every low man on the totem pole runs - country clubs to mass murder.
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