A Quote by Barbara Kruger

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.
Honor to the idealists, whether philosophers or poets. They have improved us by mingling with our daily pursuits great and transcendent conceptions. They have thrown around our sensual life the grandeur of a better, and drawn us up from contacts with the temporal and the selfish to communion with beauty and truth and goodness.
The enemy of photography is the convention, the fixed rules of 'how to do'. The salvation of photography comes from the experiment.
Photography is a hobby born out of my time in undergrad at USC. It is more of a pleasurable hobby, a stress reliever. I don't consider it a professional endeavor like acting or directing.
The art of meditation may be exercised at all hours, and in all places, and men of genius, in their walks, at table, and amidst assemblies, turning the eye of the the mind upwards, can form an artificial solitude; retired amidst a crowd, calm amidst distraction, and wise amidst folly.
A commodity doesn't have the same characteristics as a security, characteristics that allow for analysis. Other than a recent sale or appreciation due to inflation, analyzing the current or future worth of a commodity is nearly impossible.
If global oil prices or commodity prices are high, then it is bound to create inflation. So, we should not be too worried if the inflation is created by global commodity prices. When they come down, inflation will automatically come down.
I had loved magic tricks from the time I was six or seven. I bought books on magic. I did magic acts for my parents and their friends. I was aiming for show business from early days, and magic was the poor man's way of getting in: you buy a trick for $2, and you've got an act.
The magic of the street is the mingling of the errand and the epiphany.
I never went to school for photography and started when I was pretty young. I was somewhere around 12 or 13. I started photographing as a hobby and carried that hobby through high school and university.
Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.
Oil is a tangible commodity, so there is a global market. The fact that we may need less may affect the global price because we're big consumers: we probably take about a quarter of global demand. But if suddenly, let's just use a crazy example, fighting in the Middle East led to the closure of the Strait of Hormuz and no oil could get out through the Strait of Hormuz, well that would affect China, India, Europe, it will affect the whole global economy. It will affect us, too, then.
Co-mingling really disturbs a lot of the purists, who want to see the historical and cultural divides instead of the meshing.
In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.
Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that.
Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.
We also have a cultural phenomenon: the emergence of a global culture, or of cultural globalization.
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