A Quote by Annie Leibovitz
What has stayed true all the way through my work is my composition, I hope, and my sense of color.
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The impressionistic method leads into a complete splitting and dissolution of all areas involved in the composition, and color is used to create an overall effect of light. The color is, through such a shading down from the highest light in the deepest shadows, sacrified an degraded to a (black-and-white) function. This leads to the destructions of the color as color.
I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on.
I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on
I know that the materials found on the streets is rich and wonderful, but my experience is that the way I am accustomed to work, slowly planning my composition etc. is not suited for such work. By the time I have the composition or expression right, the picture is gone. I guess I want to do the impossible and therefore I do nothing.
The right use of color can make any composition work.
I have dreamed in my life, dreams that have stayed with me ever after, and changed my ideas; they have gone through and through me, like wine through water, and altered the color of my mind.
A third or more of the brain is devoted to visual processing, not true of any other sense. We have color vision and it is truly binocular. This sophistication is not true of other senses, such as smell, where many genes are actually mutated and no longer work.
In my photography, color and composition are inseparable. I see in color.
White people don't have that problem, they get to go through life never having to fit into a box, and it's really more so true for white men because even just being a woman, you sort of have to walk around other people's assumptions of you and it's so exhausting and there's a sense, especially among young people of wanting to just live your life, not having to wear the weight of that pressure - pressure that people of color feel, that gay people of color feel, that women of color feel.
On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.
In Lords of Rainbow I start out by taking away color from the world, and in the process show color's vital place in our lives. At least I hope that by the end of the book it's a portion of what the reader comes away with - a sense of how much color perception enriches our lives and how its lack can make our sensory experience incomplete.
Color is one way the eye and the brain work together to define the external world. However, not all cultures see color in the same way, nor do they give it as much importance as in western culture.
It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
The true color of life is the color of the body, the color of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest color of the unpublished blood.
With all its variety and liveliness, color acts in the work of art as blood does as it circulates through our bodies. Color is what keeps the painting alive and moving.
Many other artists who sing about hope think that it is something every single person carries within himself. I'm not so sure if that's true. For me, hope is the little light guiding you the way, which reminds you that life does have a sense, that you have goals. To believe in that is often more easily said than done.
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