A Quote by Robert Barry
I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.
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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.
When you are 18, 19, 20, you're used to being photographed all the time, in a certain way. So, the narcissism becomes almost out of control. And the way that young women are photographed, they become addicted to this feedback of the image.
I hate cameras. They interfere, they’re always in the way. I wish: if I could just work with my eyes alone. To get a satisfactory print, one that contains all that you intended, is very often more difficult and dangerous than the sitting itself. When I’m photographing, I immediately know when I’ve got the image I really want. But to get the image out of the camera and into the open, is another matter.
We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.
I learned a lot from Elvis. He never took his image seriously. So many performers today put their image before themselves. It can ruin them. Like Elvis, I never took my image seriously.
The image my work invokes is the image of good - not evil; the image of order - not chaos; the image of life - not death. And that is all the content of my constructions amounts to.
We can see from the experience of Odin that the image of the tree was the template within which all of the sacred world could be apprehended. The tree was the framework within which one "flew" to these Otherworlds. And since the exploration of sacred space was also a quest into the nature of human consciousness, the tree was regarded as an image of the ways in which we, humans, are constructed psychically. It was a natural model for our deepest wisdom, our highest aspirations.
We chose the most interesting image available to us to illustrate the theme of the cover, which is what we always try to do. We apply the same test to photographs of any public figure, male or female: does the image convey what we are saying? That is a gender-neutral standard.
'2001' used a lot of what's called 'front projection.' You project an image onto this giant reflective screen, and the image bounces back and comes back to the lens and seems to be in the background behind the actors. The whole 'dawn of man' sequence in '2001' was projected eight-by-ten photographs of the African savannah.
If you see an image and it's just an image, and there's a bad link or no description, and you don't know what that image is, or who took it, or what it's a picture of, it's not a very satisfying or actionable experience.
I took a very small image and blew it up to enormous scale. What happens when you do that is that the information in the image starts to become indistinct. The image darkens.
Among archetypal images, the Sacred Tree is one of the most widely know symbols on Earth. There are few cultures in which the Sacred Tree does not figure: as an image of the cosmos, as a dwelling place of gods or spirits, as a medium of prophecy and knowledge, and as an agent of metamorphoses when the tree is transformed into human or divine form or when it bears a divine or human image as its fruit or flowers.
I make one image—though 'make' is not the right word; I let, perhaps, an image be 'made' emotionally in me and then apply to it what intellectual & critical forces I possess—let it breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
An image often propels the novel, gets it started. For me, it's an image that has a lot of emotion connected to it.
I often think of the image only I can see now, and of which I’ve never spoken. It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight
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