A Quote by Dennis Oppenheim
[The photographs] were there simply to indicate a radical art that had already vanished. The photograph was necessary only as a residue for communication.
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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.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
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.
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.
[Cindy Sherman's] photographs reverse the terms of art and autobiography. They use art not to reveal the artist's true self but to show the self as an imaginary construct. There is no real Cindy Sherman in these photographs; there are only the guises she assumes. And she does not create these guises; she simply chooses them in the way that any of us do.
The fundamental belief in the authenticity of photographs explains why photographs of people no longer living and of vanished architecture are so melancholy.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.
People discuss my art and pretend to understand as if it were necessary to understand, when it's simply necessary to love.
As I was walking up the stairs to dad's old room, and I was looking at the photographs, I started thinking that there was a time when these weren't memories. That someone actually took the photograph, and the people in the photograph had just eaten lunch or something.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.
The art of effective listening is essential to clear communication, and clear communication is necessary to management success.
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.
How foolish of me to believe that it would be that easy. I had confused the appearance of trees and automobiles, and people with a reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail. I am a reflection photographing other reflections within a reflection. To photograph reality is to photograph nothing.
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