A Quote by Joseph Gordon-Levitt
There's something really appealing about the simplicity of black-and-white images.
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I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.
A lot of racism going on in the world right now. Who's more racist? Black people or white people? Black people. You know why? 'Cuz we hate black people too! Everything white people don't like about black people, black people really don't like about black people.
My 'Black Panther' run really wasn't about Black Panther. It was about Ross. It was about exploding myths about black superheroes, black characters, and black people, targeted specifically at a white, male-dominated retailer base.
[Black nationalism] is not designed to make the black man reevaluate the white man--you know him already--but to make the black man re-evaluate himself. Don't change the white man's mind; you can't change his mind. And that whole thing about appealing to the moral conscience of America--America's conscience is bankrupt.
Back when we was in school in Mississippi, we had Little Black Sambo. That's what you learned: Anytime something was not good, or anytime something was bad in some kinda way, it had to be called black. Like, you had Black Monday, Black Friday, black sheep... Of course, everything else, all the good stuff, is white. White Christmas and such.
You are a white. The Imperial Wizard. Now, if you don't think this is logic you can burn me on the fiery cross. This is the logic: You have the choice of spending fifteen years married to a woman, a black woman or a white woman. Fifteen years kissing and hugging and sleeping real close on hot nights. With a black, black woman or a white, white woman. The white woman is Kate Smith. And the black woman is Lena Horne. So you're not concerned with black or white anymore, are you? You are concerned with how cute or how pretty. Then let's really get basic and persecute ugly people!
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.
We want to live in the black and white, but we don't. The world is gray. And, I'm always fascinated by people who are clearly, 'This is black and this is white, and that's the way life is.' Life always has something to say about that.
The United States is not a nation of black and white people. Any fool can see that white people are not really white, and that black people are not black.
When I was coming up, we didn't have the movement of Black Girl Magic or Black Girls Rock, but my parents made it their business to make sure I saw positive images of myself and celebrated images of black women.
To describe something as being black and white means it is clearly defined. Yet when your ethnicity is black and white, the dichotomy is not that clear. In fact, it creates a grey area.
When your characters are not white hats or black hats but something in between, you do have to be very careful about your details. So, that takes a while. I'm not interested in white hats and black hats. I don't think that's how people are in real life.
Full-color images lack the poignancy of monochrome... Black-and-white film inherently peels off interesting images from the world; it sees things we do not see, and thus insists on the existence of a phantom presence within reality, a world we cannot perceive.
There were no black images of dignity, no images of beautiful black people. There was this big hole. I tried to fill it.
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.
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