A Quote by Jerzy Kosinski
Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.
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Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography.
I never liked photography. Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand.
It is obvious that Paul did not regard prayer as supplemental, but as fundamental-not something to be added to his work but the very matrix out of which his work was born. He was a man of action because he was a man of prayer. It was probably his prayer even more than his preaching that produced the kind of leaders we meet in his letters.
I made the first 'Blumen' picture after looking at Robert Mapplethorpe's Pictures book. I was struck by how much freedom Mapplethorpe was able to extract from his model's restraint-that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual.
Morality in sexual relations, when it is free from superstition, consists essentially in respect for the other person, and unwillingness to use that person solely as a means of personal gratification, without regard to his or her desires.
The Master gives himself up to whatever the moment brings. He knows that he is going to die, and her has nothing left to hold on to: no illusions in his mind, no resistances in his body. He doesn't think about his actions; they flow from the core of his being. He holds nothing back from life; therefore he is ready for death, as a man is ready for sleep after a good day's work.
One of the reasons Americans hold Washington in such low regard is the perception that nothing ever gets done. Whatever the issue - no matter how urgent - they always seem to be 'working on it.'
When it happens that a person has to give up a sexual object, there quite often ensues an alteration of his ego which can only be described as a setting up of the object inside the ego, as it occurs in melancholia; the exact nature of this substitution is as yet unknown to us.
It always amazes me that just when I think there's nothing left to do in photography and that all permutations and possibilities have been exhausted, someone comes along and puts the medium to new use, and makes it his or her own, yanks it out of this kind of amateur status, and makes it as profound and as moving and as formally interesting as any other medium.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
Man hath his daily work of body or mind Appointed, which declares his dignity, And the regard of Heav'n on all his ways.
I thank the Savior personally; for bearing all which I added to His hemorrhaging at every pore for all humanity in Gethsemane. I thank Him for bearing what I added to the decibels of His piercing soul cry atop Calvary.
The mind of a child is no less vagrant than his steps; it pursues the gossamer and flies from object to object, lawless and unconfined, and it is equally necessary to the development of his frame that his thoughts and his body should be free from fetters.
I do note that photography, a despised medium to work in, is full of empty phonies and worthless commercial people. That presents quite a challenge to the man who can take delight in being in a very difficult, disdained medium.
No individual photo explains anything. That's what makes photography such a wonderful and problematic medium. It is the photographer's job to get this medium to say what you need it to say. Because photography has a certain verisimilitude, it has gained a currency as truthful - but photographs have always been convincing lies.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
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