A Quote by Michael Craig-Martin

The viewer brings all additional information to the image. — © Michael Craig-Martin
The viewer brings all additional information to the image.
The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.
Every part of the photographic image carries some information that contributes to its total statement; the viewer's responsibility is to see, in the most literal way, everything that is there and respond to it.
Maybe the bride-bed brings despair, For each an imagined image brings And finds a real image there...
Terrorism brings the reprisal; the reprisal brings the additional hatred; the additional hatred breeds the additional terrorism, and so on.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
[Even the mechanism can be endowed with an image. Thus] the thermostat has an image of the outside world in the shape of information regarding its temperature. It has also a value system in the sense of the ideal temperature at which it is set. Its behavior is directed towards the receipt of information which will bring its image and its value systems together.
I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.
Normally if you add information to information, you have more information. In case of my art, I destroy information, I would say, because the image is disturbed by the writings. In a way, they become pure imagery. For me it's really fun because it's an idealistic approach to images, to just play around with information and see what's happening.
I took a very small image and blew it up to enormous scale. What happens when you do that is that the information in the image starts to become indistinct. The image darkens.
I don't really think that the technique really determines the veracity of the image. It's what the image does to the viewer that determines whether it's right or wrong.
The viewer brings something individual to the experience of any artwork.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
I will be sharing additional information I've been hoarding for years about the world of Harry Potter
Based on information from the Pentagon and estimates by analysts such as former Reagan Pentagon official Lawrence Korb, the costs of restoring destroyed and damaged Army and Marine Corps equipment is now estimated to be close to $30 billion, and it will grow by an additional $14 billion for every additional year we stay in Iraq. Even if these funds were available tomorrow, it would take years to restore the forces to the state they were in at the outset of the conflict.
As a viewer I came of age during a time when cast members were prone to fistfights. So I may be carrying a little of that kind of image in my head.
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