A Quote by Duane Michals

People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
We wanted to more richly experience why we were alive, not just make a better life, and so people went in search of things. The great thing that came from those that time was to realize that there was definitely more to life than the materialism of the late sixties and early sixties. We were going in search of something deeper.
People don't remember that during the Fifties and Sixties there was a Cold War, and kids were getting under their desks during school because they thought they were going to get bombed. So it wasn't really that ideal at all.
There are those photographers who have made a whole career doing commercial work but have never had a museum show, and then there are others who've only had museum shows but couldn't survive for five seconds in the real world of photography. But I've done absolutely everything.
The Fifties and Sixties were years of unreal optimism about weather forecasting. Newspapers and magazines were filled with hope for weather science, not just for prediction but for modification and control. Two technologies were maturing together: the digital computer and the space satellite.
There is a lot of sixties-bashing going on these days that I don't agree with at all. I feel that extremely important ideals were brought to the forefront of the collective consciousness at that time. Granted, drug use was so pervasive that our generation did not as a group have the capacity to manifest our ideals to any great extent. But many of the people who were young in the sixties and who were most touched by that collective ethos are still touched.
In the early '90s, it felt like there was space - there was like an empty feel. There was nobody really doing this. Maybe the Pixies were, a little bit. Their lyrics were also disjointed, more psychosexual or something. That's part of youth, too, maybe, that you just feel like you're doing something different.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
The years of the Great Depression were a superb time for economists because people not knowing what could be done or what should be done would always assume that maybe an economist had the answer. If you were just a lawyer in Washington, you were nobody. But if you were an economist, you might have the answer.
In the late sixties, when revolution and upheaval were everywhere, feminists were ridiculed for focusing on housework.
The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easygoing sound and strangle the life out of it.
At the beginning of the Larry Sanders show, you know, we were grateful to get guests. At the end, it was as if we actually were The Tonight Show. People would come on, and it had the same sort of imprimatur as if we were on the air. I've been on a lot of talk shows during that time and since then, and people would come up in the dressing room or in the corridors and say, "You guys got it exactly right." Or they would say, "We have Larry Sanders moments every day."
My first show at MoMA in New York was pictures of new developments along the eastern edge of the Rocky Mountains. They were housing developments that were brutal in many ways, that cared almost not a thing for the human beings inside. They were just designed to make money.
The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.
I was a consultant for Kodak back in the late 80's. There were engineers there who told me that in the future, most photographs would be taken on telephones. They weren't able to do anything with that. They were engineers, not management.
In the early sixties, we were strong, we were virulent.
I'm known for fashion photographs, but fashion photographs were mostly a joke for me. In 'Vogue,' girls were playing at being duchesses, but they were actually from Flatbush, Brooklyn. They would play duchesses, and I would play Cecil Beaton.
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