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I have a toy giraffe on my bed. I've got photographs over my desk as well as a mask of a giraffe in my kitchen. I am totally hooked.
I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody's face in a photograph. The magic is in seeing people in new ways.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
When people think of slavery, they think of an era from the distant past. Grainy photographs from Civil War times. And yet it goes on.
Twelve significant photographs in any one year is a good crop.
To take photographs means to recognize - simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye and one's heart on the same axis.
Of all liars the most arrogant are biographers: those who would have us believe, having surveyed a few boxes full of letters, diaries, bank statements and photographs, that they can play at the recording angel and tell the whole truth about another human life.
A. N. Wilson
Photographs aren't accounts of scrutiny. The shutter is open for a fraction of a second.
The camera photographs what's there.
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
Americans are always mortified when I tell them this, but in England, it's a tradition to put your plaques and photographs and awards and gold records and stuff in your bathroom. I don't know why.
All photographs are accurate. None of them is the truth.
No journalist has ever been in my house and no photographs have ever been taken of where I live. I don't parade my family out for display, which is the way it will stay.
When I started performing, there was no Internet; I didn't really have anything to copy. I kind of had to just make up what I thought burlesque was, based on photographs of Sally Rand or whatever.
Dita Von Teese
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
My photographs are not planned or composed in advance, and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind, something has been accomplished.
I became an adult in an extreme way. I was recently sorting some old photographs and I found another.
There's one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says.
I take photographs with love, so I try to make them art objects. But I make them for myself first and foremost - that is important.
The reason I do photographs is to help people understand my music, so it's very important that I am the same, emotionally, in the photographs as in the music. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
If I feel confident wearing something, I think it translates in photographs. It changes my demeanor and posture.
The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photographs.
Few Americans have ever met their Congresspeople. They don't see them at the grocery store; they don't meet them at the bowling alley. They're more likely to see their representatives in photographs from the Daily Grill in Washington, D.C., than at a local town hall.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
I have a vision of life, and I try to find equivalents for it in the form of photographs.
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