A Quote by Craig Owens
Photographs are but one link in a potentially endless chain of reduplication; themselves duplicates (of both their objects and, in a sense, their negatives), they are also subject to further duplication, either through the procedures of printing or as objects of still other photographs.
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All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.
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.
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
I agree that all good photographs are documents, but I also know that all documents are certainly not good photographs. Furthermore, a good photographer does not merely document, he probes the subject, he 'uncovers' it.
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.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
Sex is not a subject in my photographs, or would only be if it had to do with romance, sometimes vulnerability. The photographs are quite clearly about happiness, or search for happiness.
[The Library of Congress] is a multimedia encyclopedia. These are the tentacles of a nation.
[Referring to the diverse holdings of the library, including motion pictures, photographs, recordings, posters and other historic objects which collectively far outnumber the books]
A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs-especially those of people, of distant landscapes and faraway cities, of the vanished past-are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic
feelings of those for whom desirability is enhanced by distance.
In one sense 'there are' both universals and material objects, in another sense there is no such thing as either: statements about each can usually be analysed, but not always, nor always without remainder.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
When we were kids, growing up in the sixties, the only images we had of ourselves were either still photographs or 8mm movies.... Now we have video, digital cameras, MP3s, and a million other ways to document ourselves. But the still photograph continues to hold a sense of mystery and awe to me.
A thinking that approaches it objects openly, rigorously ... is also free toward its objects in the sense that it refuses to have rules prescribed to it by organized knowledge. It ... rends the veil with which society conceals them, and perceives them anew.
We need to empower all women, both financially and socially, to give them the tools to support themselves and their families. We need to start seeing them as contributors to society, as assets, not as objects of pity or, even worse, objects of shame.
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