A Quote by Kerry James Marshall
I don't want the pictures to mean things. But the implication of the image and its relationship to the people that are viewing it is something I'm really interested in.
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I'm aware of other artists, but what I'm really most interested in is viewing individual pictures. I like dramatic pictures.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
I've long come to the conclusion that when people say they can't put a book down, they don't mean they're interested in what's happening next; they mean they are so mesmerised by the writer's voice and the relationship that has been established that they don't want to break that. That's what I feel when I read, and I'm sure now that that's what's going on in the relationship between the reader and the writing.
Saying that something is accessible gives it this implication that people need something, and thinking that we know what people need or want is really unpleasant. I don't like to think that way, like, predicting what it is that the people want.
What ends up happening is people form images and the image they form is, in some ways, what they want it to be. The idea of trying to correct the image is something I'm not interested in doing.
The implication of game theory, which is also the implication of the third image, is, however, that the freedom of choice of any one state is limited by the actions of the others.
In a way, it's like the photographer always has his vision of me. The pictures that I'm known for are not really my image, they're always the photographer's vision of me. I can look a hundred different ways, but what people see of me in pictures is not really my image.
I don't know really. I've always been interested in the small picture instead of the big one, and I've always been interested in relationship pictures.
I did all the stuff that people do - film, performance, photography, pictures and words, words and pictures. In retrospect, I was trying to find some way to put things - meaning images and forms - together that highlighted some idea of what was underneath the surface of an image, what determined how something was seen.
I'm interested in aesthetics, in the way things look, in finding something in an image that maybe people haven't seen.
People are constantly trying to make an image for you. They`ll dress you up and tell you to pose a certain way and take all these pictures... they want a certain image, so they create that. And unless you`re spending a lot of time to create another image to counteract that image, theirs will win. So right now, I`m kind of dealing with a lot of false ideas of what I`m about.
What does it mean to go deeper? Taking pictures when you're more emotional or sorrowful, or having sex? I just want to have really boring snapshots - people just standing in front of a camera taking pictures with a smile.
It would be so easy to lose the plot now. It's not about achieving something for its own sake, and taking pictures for their own sake. But to make conscious decisions and choices, and it includes this constant questioning - Why am I taking pictures? Because really, the world is... it has pictures enough. I mean, there are enough pictures out there.
Anything that looks like an idea is probably just something that has accumulated, like dust. It looks like I have ideas because I do books that are all on the same subject. That is just because the pictures have piled up on that subject. Finally I realize that I am really interested in it. The pictures make me realize that I am interested in something.
I've learned from my experience that desire is 80% of achievement. That if you really, really want something, if you really, really, really want to do something, that the vast majority of achieving it is wanting it. I mean, really wanting it. Not a preference, and not, "Gee, I hope this." I mean really wanting it. It is the desire that makes you do what you have to do to achieve.
Calling something exotic emphasizes its distance from the reader. We don't refer to things as exotic if we think of them as ordinary. We call something exotic if it's so different that we see no way to emulate it or understand how it came to be. We call someone exotic if we aren't especially interested in viewing them as people - just as objects representing their culture.
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