A Quote by Bernd Becher
This is about objects, not motifs. The photo is only a substitute for an object; it is unsuitable as a picture in its customary sense.
Related Quotes
A picture, to be an interesting picture, must be more than a picture, otherwise it is only a reproduction of an object, and not an object of value in itself.
Of course, pictures of objects also have this transcendental side to them. Every object, being part of an ultimately incomprehensible world, also embodies that world; when represented in a picture, the object conveys this mystery all the more powerfully, the less of a 'function' the picture has. Hence, for instance, the growing fascination of many beautiful old portraits.
Object-oriented programming aficionados think that everything is an object.... this [isn't] so. There are things that are objects. Things that have state and change their state are objects. And then there are things that are not objects. A binary search is not an object. It is an algorithm
An object painted upside down is suitable for painting because it is unsuitable as an object.
[There are] unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.
When we hold a photo negative up to the light all objects are reversed. Black is white, white is black. Moreover, the character lines of any face in the picture are not clear. Once placed into the developing solution, what photographers call "the latent image" is revealed in the print-darkness is turned to light; and, lo, we have a beautiful picture.
A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
My style is in the 21st century. If you look at the process, it goes from photography through Photoshop, where certain features are heightened, elements of the photo are diminished. There is no sense of truth when you're looking at the painting or the photo or that moment when the photo was first taken.
Music and love are the only accomplishments of humanity which do not, in an absolute sense, have to be called attempts with unsuitable means.
As you are aware, no perceptions obtained by the senses are merely sensations impressed on our nervous systems. A peculiar intellectual activity is required to pass from a nervous sensation to the conception of an external object, which the sensation has aroused. The sensations of our nerves of sense are mere symbols indicating certain external objects, and it is usually only after considerable practice that we acquire the power of drawing correct conclusions from our sensations respecting the corresponding objects.
To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.
I have lots of objects. Every object has a story, which makes me think I should write a story about every object.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
Perception without the perceiver in meditation is to commune with the height and depth of the immense. This perception is entirely different from seeing an object without an observer, because in the perception of meditation there is no object and therefore no experience. can, however, take place when the eyes are open and one is surrounded by objects of every kind. But then these objects have no importance at all. One sees them but there is no process of recognition, which means there is no experiencing.
It's true the punk fashion itself was iconographic: rips and dirt, safety pins, zips, slogans, and hairstyles. These motifs were so iconic in themselves - motifs of rebellion.
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