A Quote by Jerry Saltz
In the late nineties, Katy Grannan began making haunting photographs of people who had extraordinary inner yens to be seen by strangers.
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you have often seen in the cinema, erich, haven't you, that between extraordinary people extraordinary things like for example extraordinary love can arise. so we only have to be extraordinary and see what happens.
The meagre lighthouse all in white, haunting the seaboard, as if it were the ghost of an edifice that had once had colour and rotundity, dripped melancholy tears after its late buffeting by the waves.
That period in the late Eighties and early Nineties was when I was playing my best snooker. My trouble was that I had so many bad habits that my preparation was terrible: people like Steve Davis or Dennis Taylor were model pros.
Laurie Simmons began showing her photographs in New York in the late '70s: black-and-white and then candy-colored scenarios with plastic dolls in 1950s-style domestic interiors.
It was the most haunting room I've ever seen. Because you know what's in it? All the leftovers, all the paraphernalia that the different condemned men had had with them in the "holding" cells.
The simplification of life is one of the steps to inner peace. A persistent simplification will create an inner and outer well-being that places harmony in one's life. For me this began with a discovery of the meaninglessness of possessions beyond my actual and immediate needs. As soon as I had brought myself down to need level, I began to feel a wonderful harmony in my life between inner and outer well-being, between spiritual and material well-being.
What to say? That the end of love is a haunting. A haunting of dreams. A haunting of silence. Haunted by ghosts it is easy to become a ghost. Life ebbs. The pulse is too faint. Nothing stirs you. Some people approve of this and call it healing. It is not healing. A dead body feels no pain.
Like many other touchstones of twenty-first-century pop culture, 'The Sopranos' was hatched in the late Nineties, predicting a future that never arrived. It was designed for a decade that would be just like the Nineties, except more so, in an America that enjoyed seeing itself as smarter and braver and freer than ever before.
I had seen the financial crisis unfold, and I had seen the credit derivatives market get operationally ahead of itself, which resulted in systemic risk counterparty exposures. I began to believe that distributed ledgers had the capability to tackle that problem.
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.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
There are videos where I would go approaching strangers and sing the songs from 'The Lion King. I would have been about four years, and I came running up to people on the beach, strangers that I chose at random and began to sing, and my family never knew where I was, they were always looking for me, trying to imagine who I was harassing this time .
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
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 I started, I had a really hard time getting work. It was the mid- to late-nineties. There was the WB. My age was perfect for it, but I just never came across as a youngster. I had to grow into my age in order to start working, and by the time I did, it was when things started to get good.
Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs ... But after repeated exposure to images it also becomes less real. ... 'concerned' photography has done at least as much to deaden conscience as to arouse it.
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