A Quote by Jim Goldberg

Since 1970, I've been using text and ephemera as well as photographs in order to tell stories of one kind or another. There's a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them.
To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
I believe in the resonance and staying power of quiet photographs. These photographs required a certain seeing, but few special techniques, and no tricks. Something though was hard. It was hard being between photographs and not knowing when or how another image would reveal itself.
I'm really much better at asking questions than answering them, since asking questions is like a constant deflection of oneself.
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.
Though infested with many bewildering anomalies, photographs are considered our best arbiters between our visual perceptions and the memory of them. It is not only their apparent 'objectivity' that grants photographs their high status in this regard, but our belief that in them, fugitive sensation has been laid to rest.
In general, questions are fine; you can always seize upon the parts of them that interest you and concentrate on answering those. And one has to remember when answering questions that asking questions isn't easy either, and for someone who's quite shy to stand up in an audience to speak takes some courage.
Teaching is only interesting because you struggle with trying to talk about photographs, photographs that work, you see.
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 am the thread that runs through all these pearls, and each pearl is a religion or even a sect thereof. Such are the different pearls, and God is the thread that runs through all of them; most people, however, are entirely unconscious of it.
I don't use photographs because photographs don't give me the kind of information I need.
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.
I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I've always thought the best place for my photographs was inside books of my own creation.
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.
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.
My photographs tried to find the politicians at their most wary, most vulnerable, and perhaps most truthful moments. I wanted the photographs to reveal the person through stance and stare, when he or she was most reflective or off guard, in order to measure the person and event unfolding.
I am not much interested in discovering new territories to photograph. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs... The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.
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