A Quote by John Currin
I've always found paintings of nudes depressing because they can't compete with photographs. The grainiest photograph of some girl, a blurry Polaroid - you'd rather look at that than the Venus de Milo, because you think, Wow, that's really somebody... This camera really was in front of this real naked lady.
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I'm definitely a Polaroid camera girl. For me, what I'm really excited about is bringing back the artistry and the nature of Polaroid.
The model is just one element of the photograph. There's also the location, the light - all that junk. It helps if the girl is really good-looking, but a girl can be not super good-looking and it'd still be a really good photograph. I ask people to send some photos of where they live if that's where I'm shooting. I go for shabby places over too-nice places, because most of these girls are going to look better if they're not made to look rich.
It's like he would take a photograph of Sam, and the photograph would be beautiful. And he would think that the reason the photograph was beautiful was because of how he took it. If I took it, I would know that the only reason it's beautiful is because of Sam. I just think it's bad when a boy looks at a girl and thinks that the way he sees the girl is better then the girl actually is. And I think it's bad when the most honest way a boy can look at a girl is through a camera. It's very hard for me to see Sam feel better about herself just because a boy sees her that way.
I started out, in the mid-'70s, taking photographs of rock bands that I liked but not because I really wanted to photograph them. Initially, I was pretending to be a photographer, simply so that I could go up to the front of the crowd and be a bit closer to the bands. But, I found I was gradually developing an interest in the photos I took.
I don't really diet or anything. I'm miserable when I'm dieting and I like the way I look. I'm really sick of all these actresses looking like birds I'd rather look a little chubby on camera and look like a person in real life, than look great on screen and look like a scarecrow in real life.
I was really lucky because I went to an all-girl school and that single sex education really helped me because I really learned to bond with women and to not compete with or compare myself as much because we were all allowed to be ourselves and be unique and kind of have our unique strengths.
I was really lucky because I went to an all-girl school, and that single-sex education really helped me because I really learned to bond with women and to not compete with or compare myself as much because we were all allowed to be ourselves and be unique and kind of have our unique strengths.
For a while, I was nervous about portraying women because of the objectification that automatically comes with it, whether the artist intends or not. With "Of Another Kind," I've not so much drawn nudes - I hate saying "nudes" because it's not a spectacle - but portrayed people naked. I see them in a more straightforward way - exposed, but with no indication of who or what they are; they're just there.
Now everyone's main objective of taking photographs is to have a photograph for Twitter or Facebook. I find that troubling. If you have an opportunity to meet the Dalai Lama, don't work out your camera or iPhone issues. Sit and a listen to what the man is saying, because nine times out of 10, you're not going to look at that photo. You're not going to look at the video. As a photographer, I don't carry a camera. I have my iPhone, but I don't carry a camera. I want to live.
It was a woman who drove me to drink. Come to think of it, I never did hang around to thank her for that. 'Hey lady! Do I look all blurry to you? 'Cause you look blurry to me!'
I think of [my photographs] as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me.
My aim is increasingly to make my photographs look so much like photographs [rather than paintings, etchings, etc.] that unless one has eyes and sees, they won't be seen - and still everyone will never forget having once looked at them.
I would get adult acne when it was somebody really famous I had to interview, so sometimes I would have to look straight at the camera because I couldn't look sideways or profile, because it would show.
I look at the field, and I think about the boy who just made the touchdown. I think that these are the glory days for that boy, and this moment will just be another story someday because all the people who make touchdowns and home runs will become somebody's dad. And when his children look at his yearbook photograph, they will think that their dad was rugged and handsome and looked a lot happier than they are. I just hope I remember to tell my kids that they are as happy as I look in my old photographs. And I hope that they believe me.
I was always the tallest girl in my class, and it made me have really bad posture because I wanted to seem shorter than I really was. It really reflected how I felt about myself. I spent most of my youth in school feeling really insecure about the way I looked because I was different.
I'm really bad at doing my hair, so the front always looks a little bit off. I think that the front is the most important in terms of the whole look. So, because the front layers just get awkward sometimes, I feel like I have to clip them back.
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