A Quote by Lucy R. Lippard
There is indeed something omnivorous about the act of photography. It offers a way of responding to everything about everything.
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Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.
The act of migration puts into crisis everything about the migrating individual or group, everything about identity and selfhood and culture and belief. So if this is a novel about migration it must be that act of putting in question. It must perform the crisis it describes.
To me, photography is an art of observation. It's about finding something interesting in an ordinary place... I've found it has little to do with the things you see and everything to do with the way you see them.
Photography gives you the opportunity to use your sensibility and everything you are to say something about and be part of the world around you. In this way, you might discover who you are, and with a little luck, you might discover something much larger than yourself.
Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.
I spent so much of my time when I was growing up just worrying about what people thought of me, about my appearance, how I should act in school, how to... be popular and all that rubbish. Stop worrying about everything. Everything's going to be okay.
In the business world an executive knows something about everything, a technician knows everything about something and the switchboard operator knows everything.
When I say something about anything, there's really not much left to be said. Which is why I don't tell you everything I think about everything.
When you play somebody's life, everything about your likeness, everything about the way you talk, whatever, has to become that person.
An educated man should know everything about something, and something about everything.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
Since we cannot be universal and know all that is to be known of everything, we ought to know a little about everything. For it is far better to know something about everything than to know all about one thing. This universality is the best. If we can have both, still better; but if we must choose, we ought to choose the former.
I know this much about racing in the rain. I know it is about balance. It is about anticipation and patience... [it is also] about the mind! It is about owning one's body... It is about believing that you are not you; you are everything. And everything is you.
We're not like a nostalgia act, or the normal classic rock act - we're a really good musical organization, ... You're going to hear some blues, some jazz, a little of everything. The guys in the band are great musicians. When we play, we're there for real. It's not about posing, strutting in tights, that kind of stuff. It's all about music, and I've always respected my audience that way.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
I suppose everything I do has sexual undertones, but I don't set out to make everything about sex. My clothes are more about sensuality. What I do is dress and beautify the body. My feeling is, if you have something beautiful, then show it.
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