A Quote by John Szarkowski

Photography's central sense of purpose and aesthetic: the precise and lucid description of significant fact. — © John Szarkowski
Photography's central sense of purpose and aesthetic: the precise and lucid description of significant fact.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
In fact, words are well adapted for description and the arousing of emotion, but for many kinds of precise thought other symbols are much better.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
Mathematics has a threefold purpose. It must provide an instrument for the study of nature. But this is not all: it has a philosophical purpose, and, I daresay, an aesthetic purpose.
I am interested in marginality, in immaturity, in naïveté, in illusion, in fictions, in transitions, in the fact that at a certain moment in life there is no limit. I would like my photography to pose a question rather than make a precise statement.
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
My intention, certainly, is to create something which is aesthetic but many things are implicit in the work that I do. For me photography is writing, it is history; it can be aesthetic, it can be many things though it does not have to be art.
Great photography comes about at the right time but it also needs the right cut that enhances that precise moment. Photography must feed on both contents and form, if it gives up the one for the other it is not going to last.
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.
Central banks are choosing to increase their gold holdings as a percentage of total reserves. They obviously think there is a reason to do that. It doesn't make sense to back up one currency with a hoard of other paper currencies. There needs to be a real anchor there. I think that central banks are well behind the curve. If you look at the percentage of above-ground gold controlled by central banks, it's historically low. Hence the fact that central banks are trying to increase their holdings. They've got a long way to go to get where they need to be.
Good design is a great combination of common sense, unusual imagination, clarity of purpose–with a prerequisite knowledge of structure, values, color, aesthetic insight and a deep reverence for the love of life.
[I had a sense of interior panic].Always. I didn't really know what to call it for a long time, but I have a friend in Greece who used that word panic a lot, and I found myself resisting it, until I totally accepted that as a precise description of my interior condition. It was mostly panic from one moment to the next. And nothing much else was going on.
Although photography generates works that can be called art-it requires subjectivity, it can lie, it gives aesthetic pleasure-photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made.
I'm not particularly lucid after a concert. I'm not very lucid before, either.
By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.
Of all the means of expression, photography is the only one that fixes a precise moment in time.
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