A Quote by Patti Smith

With the death of Robert Mapplethorpe, I had lost my main collaborator in taking photographs. So I didn't know who to work with. — © Patti Smith
With the death of Robert Mapplethorpe, I had lost my main collaborator in taking photographs. So I didn't know who to work with.
You can't work on that scale without trust. I learned that from working with Robert Mapplethorpe.
He had a stellar talent. I not only lost a contemporary in the death of Robert E. Howard. The world lost a writer of extraordinary gifts.
From childhood my mother had me examining Robert Mapplethorpe's style and Egon Schiele's framing - that's what modelling is about.
I made the first 'Blumen' picture after looking at Robert Mapplethorpe's Pictures book. I was struck by how much freedom Mapplethorpe was able to extract from his model's restraint-that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual.
He found it was as easy to hurl beauty as anything else. (On Robert Mapplethorpe)
You know I grew up on the Batman movies, and they had some terrific actors in, but you know a lot of the other ones - it wasn't always the case that you had people the caliber of Jeff Bridges or Robert Downey, so to kind of show up and work with Jeremy Renner or Robert or with Mark Ruffalo, any of them, Chris Evans, Chris Hemsworth, the caliber of people you're acting with, to me, is really fun. From the first day I started doing scenes with Robert, it's been one of the funnest experiences I've ever had.
It got to the point where I started hiding because I didn't want to be photographed. (On living with Robert Mapplethorpe)
Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.
I've had photographs taken for portraits because I very much prefer working from the photographs than from models... I couldn't attempt to do a portrait from photographs of somebody I didn't know.
Like Robert Mapplethorpe, Helmut Newton, and so many others before me, sexual imagery has always been a part of my photography.
Robert Mapplethorpe asked me to write our story the day before he died. I had never written a book of nonfiction, and so it took me almost two decades to write that book.
A society that doesn't know any longer how to observe every death with proper rituals, that does not know that death is not the end, but only part of the journey, has lost its way, has had the very heart of its humanity torn out.
I never had any intention nor interest in being an artist, but when I made work I realized that this was my language. What I had to say needed to be said in this way. I always loved taking photographs - but never considered myself a photographer. I have tremendous respect for photographers. I do use a camera and a photo as a basis for a lot of my work, but I use it as a means to attain an image to work from. The actual photography in my work is a monochromatic photograph. I'll photograph something and extract a color that will then be the background for a painting.
Robert Mapplethorpe, I met in 1967. He was a student at Pratt, though even as a student a fully formed artist. We went through many things in our life together. He became my loved one, then my best friend.
I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.
Each time I arrived in a new city, I'd get lost in the streets and photograph everything that looked interesting, taking nearly a thousand photographs every day. After each day of shooting, I'd select 30 or 40 of my favorite photographs and post them on Facebook. I named the albums after my first impression of each city.
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