A Quote by Jonathan Anderson

I collect primarily ceramics but also black-and-white photography and some bits of contemporary. — © Jonathan Anderson
I collect primarily ceramics but also black-and-white photography and some bits of contemporary.
Photography has always been associated with death. Reality is colorful, yet early photography always took the color out of reality and made it black-and-white. Color is life; black-and-white is death. There was a ghost hidden in the invention of photography.
White is the color of decomposition. White is also no color. White is nothing. In photography, the paper is white, next comes the light, which is also white, then the shadow is created, the apparition.
As the lone black host at two different all-sports stations, black callers and listeners dominated my show. Black advertisers did not. The show was financially supported primarily by white businesses, and the largest demographic for listener growth was white males.
I prefer black and white and portrait photography. I like old, you know, interesting faces, so I think black and white brings out the contrast.
Black and white means photography to me. It's much easier to take a good color photograph, but you can get more drama into a black and white one.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
I collect art on a very modest scale. Most of what I have is photography because I just love it and it makes me happy and it looks good in my home. I also have a pretty big collection of art books mainly, again, on photography. A lot of photography monographs, which is great because with photography, the art itself can be reproduced quite well in book form.
To some extent, the cult surrounding black-and-white photography is based on nostalgia.
Only in black and white can I see the design and textures. I don't consider color photography art. Black and white is an interpretation. Color is a duplication.
I started as a black-and-white teenage photographer, and I'm still there decades after. In some ways, the genre is almost gone. I am thinking of true, stubborn, lifetime black-and-white photographers, as opposed to black-and-white as a photographic commodity.
I have spent my whole life earnestly believing the fundamental American dictum that a single 'drop of black blood' makes a person 'black' primarily because they can never be 'white.'
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
Black males who refuse categorization are rare, for the price of visibility in the contemporary world of white supremacy is that black identity be defined in relation to the stereotype whether by embodying it or seeking to be other than it…Negative stereotypes about the nature of black masculinity continue to overdetermine the identities black males are allowed to fashion for themselves.
In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.
When we concentrate on photography, we make it possible to see the walls of photographs in black homes as a critical intervention, a disruption of white control over black images.
I've never seen a sincere white man, not when it comes to helping black people. Usually things like this are done by white people to benefit themselves. The white man's primary interest is not to elevate the thinking of black people, or to waken black people, or white people either. The white man is interested in the black man only to the extent that the black man is of use to him. The white man's interest is to make money, to exploit.
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